Hollywood Road

From the very beginning to the present, Murphy has always been clear that all film shooting is for editing, and post-editing must be taken into consideration when shooting shots.

As with any film, the continuity of the story is of utmost importance. If the director has an editing mindset when shooting, it will be twice the result with half the effort and save a lot of trouble in the later editing.

The thinking of editing in shooting, or the thinking of shooting for editing, can be of great help in post-production.

As a director, Murphy has a sense of editing when shooting, such as how to shoot and what materials to shoot, so that they can be fully used in post-production.

Movies are crafts, shots and editing are the characteristics of movies.

From this perspective, if a movie can exclude the plot and characters and give the audience an indelible impression of a certain scene in the movie, it can be said to be a success.

Frankly speaking, this is also one of the greatest pride of being a movie.

Of course, this is not to say that the use of aerial lens, push-track zoom and other lens techniques is a good lens. The lens is a language. When using this language, it must fit the story, scene, tone, etc. of the film itself. factor.

Sometimes, the film needs to use difficult lens techniques, and sometimes you just need to keep the camera still to take a great shot.

Every excellent lens is built on a well-thought-out basis, and has sufficient motives and reasons. As long as the lens can show the content of the film vividly and vividly, it is a good lens.

"As far as I'm concerned, real photography began to brew before shooting, and I had already thought about the composition and predictions of the lens in my mind."

In mid-October, the filming of the crew ended smoothly. Murphy accepted an interview from the media of 20th Century Fox, "Today we watch the great shots presented by the great films in the history of film, and they are all the result of the hard work of directors and photographers. A great lens is like a fleeting shooting star, and you can only catch the shooting star if you dedicate everything to yourself."

He added, "Dreams are not only dreams and daring to think, but also the process of dreaming and thinking."

After the shooting ended, Murphy did not stop and immediately plunged into the post-production work. Because Jody Griffith was unwell, Murphy decided to carry out the editing work himself.

The post-production of this film has only a few shots that need special effects processing. In addition to the necessary color correction work, it is basically editing.

The lens is the basis of editing, and editing is the new life of the lens.

Godard once said that the lens is the beginning of the creation of the film. Editing is like dressing up. When the original footage is placed in front of the editor, the editor is like the greatest magician in the world, presenting a scene to the audience. A beautiful fairy tale of the ugly duckling turning into a white swan.

How to shoot, how to connect, and how to stitch them together depends largely on what the director wants to express. Is it a very tense action scene or a tender romantic scene. The director wants to use this scene to emphasize the protagonist's facial expressions and movements? Think about what is most important and when to express this most important part.

For example, is a small thing on the protagonist's hand or an inadvertent look worth catching?

Once the film decides to start editing, when editing shots of different lengths, you will be surprised to find that one or two wonderful moments will change the feel of the entire film.

Murphy first edited the aerial shots used to make the opening scene of the film. After watching all the shots taken again, he quickly determined the editing method.

Murphy took the long-range shot of downtown Los Angeles as the first shot, gave them a guide, followed by a black and white mid-range shot, and finally a black and white close-up shot centered on the old Chinatown.

After editing, he felt that there were still shortcomings, and added a positioning shot of a run-down slum, so that he could use a short shot to explain the background of the story-the most chaotic place in Los Angeles.

In the opening shots, there will be no characters, but in the subsequent shots, Murphy will directly introduce Diego Rose as the protagonist, so that the editing of the shots must be centered on the characters.

Similarly, before editing, Murphy needs to take a closer look at the relevant shots taken.

How to organize and select the material is not what a good editor really needs to do. To edit well, you only need to master one thing: you know when to cut.

Murphy never edits based on the so-called "knowledge", but integrates into the film and feels it with heart.

This is not a commercial film. The usual editing method used in the past is not suitable for such a serious-looking personal biographical film.

From the scene shots, find out all the shots of Robert Downey Jr. Murphy put the editing point on the eyes of Robert Downey Jr. Because this is a memory, the eyes are the key to editing, and the eyes are better than anything else. Can express the emotion of the picture.

This is especially obvious when Murphy works with excellent actors, because they know how to express emotions with their eyes rather than relying solely on body language.

To cut out the effect of "full of words to say, but no lines", the actor does not need to speak, but when editing, he connects his eyes with the picture he is looking at, and he knows what he thinks without words.

In addition, for close-up shots showing emotions, Murphy will give a few seconds. This is a typical literary film editing method, which is usually said to give the protagonist's emotions for a period of time.

The audience usually feels a connection with the characters in the film because they have enough time to perceive the expressions of the actors before they speak, and of course the expressions after they speak. Murphy has to grasp how long it takes to give this emotion. In many scenes that reflect the emotions of the male protagonist, he gave Robert Downey Jr. a "one shot to the end" four seconds before opening his mouth to express his inner complexity and struggle.

In order to express the struggle of the actor's Diego Rose in the face of choice, Murphy also edited five lengths of 4 seconds 15 frames, 4 seconds 9 frames, 3 seconds 6 frames, 2 seconds 17 frames in a scene. The combination of multiple shots with 1 second and 23 frames creates the effect of stacking and slow-motion, pushing to a climax in a shorter and shorter time, and the mood reaches the peak. After five shots, each time is deliberately elongated and the mood gradually eases.

In this clip, Murphy took 15 seconds to reach the climax, and it took twice as long to return to calm, so that the audience would have time to feel the emotions of Diego Rose.

In Murphy's editing this time, 70% of the control is the rhythm. Compared with the fast-paced of the past films, the rhythm of this film is quite slow, but when the screen has a lot of body movements, the editing rhythm It will be faster, and when walking and daily street scenes appear, it will be closer to the rhythm of natural life.

Of course, he will also use some editing skills appropriately, such as lengthening the time of a seemingly insignificant shot when the story is in a hurry. When the anxiety index is about to burst, it is the place to cut.

Editing is a very talented profession. There is not enough talent. Perhaps after constant hard work, you can become an excellent editor, but it is basically impossible to become a master.

Murphy still has some talent in this regard.

He used editing to construct the story of the whole film with six major elements, and listed them in order: emotion, story, rhythm, visual tracking, spatial continuity and two-dimensional plane.

These priorities Murphy serve as a mode and editing plan to ensure that your movie will not have problems with editing.

Among them, the top three are the most important: emotion, story, and rhythm. These three are indispensable. After years of field experience, Murphy can see that these three are closely connected, and they play a very important role. Big.

Although he is the director of this film, Murphy tried his best to maintain a more objective state when editing, not as a director, but as an audience, to really feel the various things in between. Rhythm, details, and whether the play looks good or not.

Some films are suitable for which they have to use what methods to cut them. In general commercial blockbusters, the best editing is the one that allows the audience to ignore the editing, but such niche films are different, and they have to show. A kind of unique editing exists.

This is why Murphy is so troublesome when editing.

After finishing the fine-cutting of the whole film, Murphy did not relax, but looked back at the whole film, looking for extra shots, and then cut all of them. Cutting out unnecessary shots will make the film smoother.

It took a whole month, and a week before Thanksgiving, Murphy finally finished the editing of the film and cut an official trailer for the promotion department of Twentieth Century Fox.

The production cost of this film is limited, and the investment in promotion, marketing and distribution is also limited. For example, there is only one trailer for advertising, instead of the past three or four.

The time is approaching late November. The traditional Thanksgiving holiday in North America is approaching. Although there are still many tasks such as dubbing, soundtracking and sound effects editing that have not been completed, Murphy temporarily put aside the post-production work at hand and specially invited clothing. The designer prepares suitable clothes for him and Gal Gadot to participate in the upcoming film premiere.

Directed by Seth Rogen, starring in Stanton and released by Twentieth Century Fox, "The End of the World" will enter the North American film market in more than 3,700 theaters the weekend before Thanksgiving.

This sci-fi thriller comedy in which many Hollywood stars made guest appearances with their real names attracted media attention before it was released. The 20th Century Fox intended to prepare a very grand world premiere for the film at the Chinese Theater in Hollywood.