Hollywood Road

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In fact, the core concept of Murphy's post-editing is very simple: it should not cause confusion to the audience, distract them from the storyline, or make them feel annoyed and depressed, but the overall plot framework is simple and easy to understand, which can make most people watching the film. Pleasant.

This is also the essence of the movie being able to circulate widely.

It took more than ten days to complete the initial cut. Murphy asked the special effects department to start adding special effects. Since the zombies basically rely on makeup, the special effects mainly come from two aspects, one is Jessica Chastain’s prosthetic leg, and the other is all The tone of the lens is dimmed.

In all scenes of Jessica Chastain's broken leg, the right leg is wrapped around the green screen. It is not difficult to remove the green screen and replace it with the corresponding wooden leg, M4A1 or Gatlin. This is just very simple in Hollywood. The post-production technology in the early 1990s could be easily realized.

The latter relies on the Da Vinci color palette to adjust all shots taken during the day to the background at night.

Again, this is not too difficult work.

While adding special effects in the special effects department, Murphy and Russ-Beinte continued their editing work. Excluding the subsequent videotapes and TV broadcasts, they will also prepare two edited versions for theater screenings, divided into North American version and European version.

The former is mainly shown in North America, and the cyan lens is relatively convergent, while the latter is mainly aimed at European theaters with a larger cyan scale.

In addition, Murphy has also prepared a larger-scale version, which not only has the shots of the male and female protagonists Jessica Chastain and Robert Downey Jr., but also a large number of other actresses. Picture.

This is a screening version specially prepared for the Cannes screening.

At the most famous international film festivals in the world, the scale of Cannes has always been at the forefront. It’s too common to have **** shots. If you don’t engage in some large-scale cyan shots, you are embarrassed to say that you are a Cannes movie Participating films for the festival.

Murphy remembers very clearly that the original "Love 3D" with its amazing large-scale **** content and 3D screening system, successfully refreshed the public's three views on the Cannes Film Festival; on the day of its premiere in Cannes, it was even more so. There were too many people in the venue and the screening was postponed for 30 minutes. According to the relevant reports he had seen, the film was hard to find at the time, and the queues to enter the venue were even more crowded than the New York subway during peak hours.

Since the beginning of the 21st century, the scale of participating films at the Cannes Film Festival has also been increasing year by year.

Homosexuality, bisexuality, sex, sex, SM... this is not a problem, some of the "little ****" specially provided by the Cannes film industry, directly broadcast the whole process of **** the scene of female childbirth, it is simply No one can beat the rhythm of flying into the sky!

Perhaps this is the art of film in the eyes of some people.

"Our goal of participating in the Cannes Film Festival is very clear,"

While sitting in the employee entertainment room on the first floor, Erica Steinberg said without concealment, "Use the film festival to increase the visibility and attention of the film, and sell it at a better price!"

Murphy and Russ Beint looked at each other, and they were not surprised by these words. Even Miramax, which is known for producing art and independent films, ultimately pursues commercial profits.

"I heard that the screening rights in several overseas markets have been pre-sold?" Murphy asked.

"Our goal is not just the overseas cinema market." Erica Steinberg smiled and explained, "I and Harvey both think that "Planet of Horror" cannot have more box office results than "Cry of the Chainsaw". ."

He looked at Murphy, and Murphy nodded without mind. His director knows very well that box office miracles like "Chain Saw" can be met and cannot be sought. He can't do that terrifying every time. The return on investment ratio, in most cases, the final box office of a Hollywood film can reach three to four times the production cost, which can be said to be very successful.

Miramax can't expect this film to hit the box office at fifty times the production cost, unless the Weinstein brothers and the entire company's brains are all show off.

"The revenue from other channels is also very important to "Planet of Horror"." Erica Steinberg said unhurriedly. "Participating, screening or setting up exhibitions at the film festival will allow more potential buyers. The family’s awareness of the film can also receive similar good news from the audience or the media, which can greatly help the film to make more profits."

"It's a pity..." Lars Beint shook his head and joked, "I have no chance to walk the Cannes red carpet as an editor."

Murphy and Erica Steinberg laughed.

"You can pay for it out of your pocket," Erica Steinberg joked rare. "It's not impossible to buy an invitation letter out of your own pocket and go to Cannes to rub the red carpet."

Murphy knows on the red carpet, but can you still buy invitations?

"Can you buy an invitation letter from Cannes?" he asked.

"Of course." Erica Steinberg didn't seem to be joking. "If you are a star or other film worker supported by the Cannes Film Festival sponsor, it is easy to get an invitation letter, even if If not, I will also have the opportunity to participate in the Cannes Film Festival and appear on the heavyweight red carpet."

In Murphy's previous recognition, the Cannes Film Festival is definitely a tall existence. He thought it was the limit of Cannes' commercialization when he rubbed the red carpet. He didn't expect to buy the red carpet opportunity.

"Iri," he was very interested, "can you elaborate on it?"

"These are actually money that can be solved," Erica Steinberg did not refuse. "First, let's talk about the viewing seats on both sides of the red carpet that are easily captured by the media and TV cameras. Generally, the first-class seats cost 20,000 euros. A little bit of 15,000 euros, and a little worse, 5,000 euros."

"The price required to walk on the red carpet is even higher." He continued, "Basically it is more than 100,000 euros, but if you are the spokesperson of the official Cannes sponsor, you can usually get 10,000 euros."

"There are other public events in Cannes." When it comes to this, the veteran Erica Steinberg has a wide range of knowledge. "For example, for some brand-sponsored events, you only need to buy a certain amount of the brand's business. You can get the chance to walk on the red carpet."

Murphy knew that this certain amount was definitely not cheap.

"For other Chopin nights, closing ceremonies, or premieres of popular films, as long as you are willing to spend money, you can get relevant red carpet invitations in Cannes," Erica Steinberg shrugged, "You participate Once a film festival will understand, these are almost publicly sold. And it is not just Cannes, the Venice Film Festival and the Berlin Film Festival are similar."

He added, “It takes 15 to 20 million euros to host a Cannes Film Festival. If the organizers don’t want to raise money, this festival will be over.”

For ordinary people, it is obviously worthless to spend such a large price on the red carpet of the Cannes Film Festival, but for stars, it is a rare opportunity.

According to Erica Steinberg, these money-making methods introduced by the film festival are mainly aimed at celebrities who want to rub the red carpet.

In his words, many international film festivals have not only film sales agents, but also special existences such as "red carpet promoters".

The red carpet promoters not only seek opportunities for the stars to go on the red carpet of the film festival, but also pack the stars and participate in the red carpet show at high prices.

Even Cannes has some companies or institutions that have launched similar services one after another, and even ordinary people can spend money to buy the opportunity to go on the red carpet.

This kind of "tall" service also made Murphy's tongue, that is, I don't know whether the stars can enjoy discounts; otherwise, it would be a waste to spend so much money just to go to Cannes to find a photographer to take a photo and report it in the corresponding media. It's better to just spend money to buy an interview, and you don't have to worry about traveling.

He, the director who hides most of his body behind the scenes, cannot fully understand the thoughts of the actors and stars.

Having talked so much with Erica Steinberg, in fact, the most useful information for Murphy is that point-Cannes is so heavy!

The heavier the taste of a film, the more it can arouse attention at the Cannes Film Festival, arousing controversy among the media, audiences, and international filmmakers, and the commercial benefits of controversy mostly outweigh the damage to a film.

In the subsequent editing, Murphy also appropriately released the scale of the Cannes show. All the large-scale shots of the film, as long as they did not conflict with the overall plot, were edited by him in a suitable way and included in this version.

After the few special effects were produced, he called the actors again to dub. During this shooting, live recording was used in a large area, and there were not many scenes that needed dubbing, mainly focusing on James Franco, Robert Downey Jr. and Jie The scenes of the three actors of Sika Chastain.

In addition, Murphy still used the old method for the soundtrack this time, choosing suitable tunes from the existing music, paying a certain amount of copyright royalties, and adding them to the soundtrack of the film by professional sound editors. The soundtrack is mainly Mainly metal rock and electronic music, especially the final ending battle, the soundtrack must be able to set off the atmosphere.

After completing this, Murphy edited two trailers and gave them to Miramax’s marketing staff. The promotion and marketing of this film will be in charge of Miramax’s professionals. His director only needs to cooperate. Up.

Post-production took two full months. After the three different versions were completed, it was not the final film. The completed samples had to be handed over to Miramax, and the Weinstein brothers would make the final verdict. .

In other words, Murphy's edited version is not the last film to appear in theaters.

In the last two weeks of April, Harvey Weinstein and Murphy met frequently to exchange views on some scenes of the film. Murphy does not have the capital to request the final editing rights, and he is not paranoid. According to Harvey-Way At Enstein's request, some shots of the film were adjusted appropriately.

Time slowly entered May, and Miramax’s North American promotion of "Planet of Horror" had just begun. Murphy, Erica Steinberg and several other staff, carrying copies of the film, set foot on their way to France. s plane.