Like his previous habits, Murphy still started shooting with scenes in the studio, but unlike before, he had more stringent requirements for shooting.

"cut! Jim, your expression is not in place."

"Sally, your smile is not innocent enough, do it again!"

"Light, the light just shook. David, don't have the next time!"

From the beginning of filming, everyone in the crew felt a different atmosphere from the previous filming. Murphy almost became a perfectionist. Some of the shots that were so miserable in "Deadpool" or "Sin City" were rejected by him and had to be reshooted.

The first shot of James Franko and Charlize Theron was shot six times in a row, but Murphy was still not satisfied.

This is just a seemingly simple scene where Nick and Amy meet at the party and chat together.

The scene is indeed not difficult. Murphy kept calling for a stop. On the one hand, he wanted to get the best shooting effect, and on the other hand, he wanted to establish a different shooting atmosphere from the previous shooting from the beginning, so that everyone could understand that he wanted to be more perfect in this shooting effect.

“cut!”

Once again, Murphy took off the baseball cap and threw it on the director's monitor, crossed the laying camera track, entered the set, and stood opposite James Franco and Charlize Theron. "Jim, Sally, that one just now, you both have problems."

James Franco pinched his eyebrows and took the lead in getting rid of the role. Charlize Theron paced back and forth twice, and the show was also out.

"What's wrong with me?" James Franko was a little confused. "Isn't Nick Muna?"

"Mona is not needed now." Murphy shook his head and circled around James Franco. "Nick's Muna was born with laziness. Now he just met Amy and was attracted by Amy..."

He turned to look at Charlize Theron, who was listening very seriously.

"What Nick needs is to attract Amy, not to expose his nature." Murphy said again, "He has tested Amy and has a general understanding of Amy. Now he is what Amy wants to see."

When a director talks about a show to an actor, he must not directly tell the actor what specific expressions you should use and how you should act. That is a very amateur approach, which will make the actor's performance stiff and patterned.

In a film like "Deadpool", which does not require acting skills, you can do this appropriately, but in the filming of "The Lost Love", doing this is a disaster. Murphy needs James Franko to come up with the best form, rather than being limited to the rules and regulations by him.

Therefore, he can analyze the current status of the character for James Franco, but he will not say what to do.

Having said that, when it comes to acting, James Franco doesn't know how many streets he is going to be.

"I get it." James Franco nodded, "Give me a few minutes, I need to find a feeling."

Murphy waved his hand at him and looked at Charlize Theron, "Sally, you have the same problem."

"Yes." Charlize Theron nodded slightly.

"You were really beautiful just now, and you looked innocent enough, very attractive." Murphy looked at the hairline of her wig and raised her voice, "Jack! Re-adjust Sally's wig!"

He turned the topic back, "Nick Dunn likes not only beauty, but also cool, his favorite is cool girls."

Charlize Theron instantly understood, "So I'm going to give Nick Dunn a cool girl."

"That's it." Murphy raised a finger, "Take out your cool side."

After saying this, Murphy quit the set. Charlize Theron, like James Franco, needs to find his feelings again, and as the male and female protagonists, they also need to have another exchange.

Back behind the director's monitor, he looked at the previous shots one by one, and then called photography director Philip Raschel over.

"The lens is still moving a little too much," Murphy said, pointing to the monitor screen, "In this way, the next shot will make the lens as quiet as possible, cancel all the moving shots, and place the second machine on the tripod, and don't move."

Filey Raschel nodded, "I'll make adjustments."

He understood Murphy's meaning. In the previous preparations, the two had enough communication. This time the shooting of "The Lost Lover" was completely different from the previous shooting of "Deadpool". It basically did not require intense sports footage, and the scenes displayed by the camera were quieted down.

This is also what Murphy means. The camera language of this video is typical for quietness rather than moving.

Nowadays, mainstream commercial movies in Hollywood are all screen heroes to save the world or fight monsters. When it comes to camera use, the audience’s minds are cool and stunning shots or eye-blind special effects, which directly leads to photographers who are good at shooting crazy sports lenses and are very popular in the industry.

Not to mention anything else, Murphy used a lot of operating shots the last time he filmed Deadpool.

But if these shooting methods are used in films like "The Lost Lover", they will make the most basic mistakes, which is completely inappropriate.

The content, theme and way of expressing emotions in this video determine that it is best not to use intense exercise shots.

It can even be said that for "The Lost Lover", other shooting methods are wrong.

It seems that this is different from Murphy's past style, but it is not something that can be done.

In fact, people with a little bit of film cultivation will understand that they are not consistent in directors. The excitement of a movie lies in the fact that one hundred people have a hundred ways to tell stories, which is to see who tells it more excitingly.

There is an interesting phenomenon among people who make movies. The more dramas they direct, the easier it is for them to control the details in the story scene. Many people think that the director’s awesomeness lies in how they shoot magnificent scenes, those crazy shots or images with strong personal stylization.

Often these classic scenes or shots will be imitated as soon as they come out, and these classics do have a strong visual impact. Many directors think it is these that allow the audience to understand the thoughts of the characters in their movies.

However, different types of films have different requirements. Compared with shots with strong visual impact, Murphy is more concerned about the information the camera can convey to the audience during shooting. Many other directors like to create suspense when telling stories, but he wants to control the drama brought by the suspense when the characters get new information.

For example, in the scene where Nick and Amy first met, they seemed to be attracted to each other and fell in love at first sight, which seemed to be a natural couple, but is this the real situation?

Are the things they can arouse each other's interests really what they really have?

The shots Murphy needs to shoot extend this information. When the audience sees the subsequent plot, they realize that all this is just something the other party wants and they express it specifically.

Hollywood can shoot everything possible and impossible. A more mature director like Murphy faces a problem that is actually "what you don't shoot", not what you shot.

Therefore, according to the theme and emotional needs of the film, Murphy decided early on what not to shoot.

Murphy is the kind of director who likes to put cameras on a tripod. He hates handheld lenses. Even if someone needs to follow them, he must support Steinicon for stabilizing the lens, rather than violently shaking hand-filmed shooting. This film requires more stable lenses. Most of the shots he wants to shoot are as solid as a rock like a damn tripod.

The second is that many directors nowadays like to add another tremor in the camera and some actions that suggest the existence of the camera. Murphy asked in this video to completely eliminate this situation and to avoid letting the audience realize that a breathing human is manipulating the camera.

His camera needs to appear here without flaws and then move there, everything must be perfect as much as possible and not noticeable. It needs to be calm and objectively demonstrate what is happening now and what is going to happen soon.

Also, the close-ups taken in this film must be noticed. For example, Charlize Theron in this scene will give people a stunning feeling as soon as she appears, making the audience feel that she is the cool girl Murphy asked for. The illusion brought by this close-up should be extended to the middle of the film to achieve the dramatic effect of the reversal of the second half.

At the same time, Murphy has to control the number of close-ups, and the close-ups will appear unless it is really necessary.

This is a film with a strong suspense. Every time the director cuts to a close-up, the audience will immediately make up for it by themselves and see, the truth is.

So he decided to be very cautious when shooting close-ups.

What Murphy wants is to cleverly switch shots from different angles to show a very substantial dramatic moment, rather than using close-ups, so that under objective conditions, we can simply and bluntly express what is happening now and what the characters see.

During this filming, Murphy set many strict requirements for himself and the crew: no handheld, no traces of human operation of the camera, no unnecessary close-ups, no movement of the camera without motivation??

The shooting started quickly, abandoning Stenikon and completely fixed the lens. Murphy needed to readjust the camera and tried two shots in a row. James Franco and Charlize Theron in front of the camera also found their state, and everything seemed to be back on the track of the previous smooth shooting.

"Then..." Charlize Theron leaned against the wall, holding a bottle in his hand, and asked coolly, "Who are you?"

"I'm the one who saved you." James Franco held the wall behind Charlize Theron with one hand, "to keep you away from all the horrible things."

The scene ends here, Murphy stands up and shouts, "Stop!"

Everyone breathed a sigh of relief and waited for the director to shout through, but what was waiting for was Murphy yelling at Filey Raschel, "Reshoot again, Filey, the two cameras captured Sally at the right and left forty-five degrees!"
Chapter completed!