Please give me a monthly ticket and a recommendation ticket!

The simple temporary office was silent. Jessica Chastain said everything that had just happened. He just looked at Murphy. Murphy frowned slightly and didn't say anything immediately. The Israeli woman sitting next to him seemed a little angry, but she still kept quiet when she saw Murphy not moving.

"Jesse," Murphy finally spoke, "Are you sure it's Sheriff Gatling Collins?"

"Yes!" Jessica Chastain said firmly, "I'm totally sure of this!"

Murphy stood up and took two steps back and forth, as if thinking about countermeasures.

Jessica Chastain first looked at Gal Gadot, she frowned, and then looked at Murphy. This was not the first time she had turned to Murphy. She once chose Murphy between her agent and Murphy, and then came to the peak of her career so far...

"Thank you, Jesse."

There will be rewards when you give. Maybe Murphy is not a good person, but often he follows this rule. He nodded to Jessica Chastain and said, "Have you changed your mobile phone number?"

Of course Jessica Chastain could understand what Murphy said, and quickly said, "I changed it once."

"Give me your contact information."

Hearing Murphy's words, Jessica Chastain took out a piece of paper from his handbag and handed it to Murphy. Murphy took it and handed it to Gal Gadot behind him. Gal Gadot also understood Murphy's meaning and put it away with only a string of numbers.

Murphy said to Jessica Chastain again, "Keep your phone open."

"Um."

Jessica Chastain nodded, knowing that it was time to leave, and said, "Then I'll say goodbye first. If there is still need, call me."

She quickly left the warehouse set.

After getting into the car, Jessica Chastan breathed a sigh of relief because she had worked as Murphy's assistant before. She knew some of Murphy's methods of doing things, but now it seems that there have not been much change.

You should be able to get a generous reward, right?

After seeing Jessica Chastan off, she returned to Murphy's temporary office and saw Murphy sitting there quietly, probably thinking about what Jessica Chastan said. She did not interrupt Murphy's thoughts, but sat next to her and waited quietly.

After more than five minutes, Gal Gadot asked, "Is it very troublesome?"

"It's okay," Murphy said, shaking his head, "he can't find anything."

"No wonder the bullet threat letter has never been found," Gal Gadot suddenly realized, "It turned out that there was something wrong with the police officer in charge of the case."

She couldn't help but ask curiously: "What did you do back then? Is it actually caught? "

Murphy smiled, and just about to talk about how to speak, Gal Gadot said again, "Forget it, don't say it. The fewer people know about this, the better. It's better to rot in your stomach."

She knew very well that what Murphy did back then must not be very glorious, and maybe it was the kind of thing that could die when he saw the light.

Since Gal Gadot said that, Murphy swallowed the words he made up again, even if the Chief Gatlin Collins really went to investigate, he wouldn't actually find anything. Not to mention Jessica Chastain and Carrey Mulligan, even Cara Fais didn't know what happened.

Cara Fais saw the final result, and it was not clear how he did it in the middle. Murphy had never said it in detail to her.

However, anyone will feel uncomfortable if they are investigated privately like this.

So, Murphy said again, "Gal, I'll go to work, please call Bill and Robert and ask them to come to your house tonight."

A bunch of people on the crew were still waiting, leaving these things to Gal Gadot, and Murphy was back in the filming.

As Murphy returns to the set, filming begins again, a rivalry between Jordan Belfort, played by Robert Downey Jr. and Doni Azov, played by Jonah Hill.

This scene is not complicated. Jordan Belfort, played by Robert Downey Jr., faces investigation by the FBI, but handed a note to Doni Azov, played by Jonah Hill. But he did not expect that Doni Azov also faces the investigation by the FBI and betray him without hesitation.

During Jordan Belfort's bail, Doni Azov came to his house and said he would help him or something. Jordan Belfort was moved. When he cooperated with the FBI, he wanted to privately protect Doni Azov and read the notes for Doni Azov. When Doni Azov saw the notes, he suddenly became alert, and then secretly covered the notes with a towel and handed them over to the FBI.

The FBI went to the mansion to arrest Jordan Belfort. Jordan Belfort understood everything when he saw the note, but he was betrayed! At the same time, he also understood the truth that there was no friends on Wall Street. Doni Azov's betrayal made Jordan Belfort make up his mind to confess the others, and finally confessed all his accomplices.

This is also an ideal state that Murphy wants the film to achieve, that is, Jordan Belfort and his gang betray each other!

After the shooting began, Murphy quickly called for a stop. He watched the playback on the director's monitor again, and then shouted to Felix Raschel, "Switch to a 100-mm mid-focus lens to take a portrait of Joe and Donnie!"

When shooting at a medium-focus lens, the shape of the object in the current scene becomes larger and larger, and the lens focal length becomes longer and longer; as the objects in the lens frame move faster and faster, the lens focal length becomes longer and longer.

This is a typical shot-pushing technique and one of the film shooting techniques Murphy used in this film.

Pushing lenses is a common technique in film shooting. The camera lens gradually approaches the picture, the outer frame of the picture gradually shrinks, and the scenery in the picture gradually enlarges, so that the audience's sight can see a certain layout from the overall perspective. Pushing lenses can guide the audience to feel the inner activities of Jordan Belfort and Doni Azov more deeply, and strengthen the emotional atmosphere.

Having filmed so many diverse film themes, Murphy's filming skills have become more and more perfect, he has his own understanding of the camera and pictures, and is more proficient in shooting techniques.

In addition to pushing the lens, he also frequently used shooting techniques such as follow-up lenses, overshoulder lenses, wide lenses and mirror lenses during this shooting.

The camera is one of the classic techniques in filming, but Murphy gave this technique more interpretation in practical applications, forming a highly recognizable black camera style. Generally, Murphy will use the camera for a long time to record two characters walking and talking. In order to pursue excellent visual texture, Murphy will arrange props and extras between the character and the camera in a variety of ways to enhance the visual richness of the picture frame and character activities.

In addition, when the scenes of the two characters who were talking while walking to the end, and Jordan Belfort was about to convince another character, Murphy would ask the two actors to approach the camera and record the scenes of them looking at each other.

Overshoulder shots are ordinary shooting techniques, but Murphy also has his own style of use. He usually uses a wide lens through Robert Downey Jr.'s shoulders, which can make Robert Downey Jr.'s image taller than other characters in the picture, thereby highlighting the role and status of the protagonist and achieving a strong dramatic effect.

In some overshoulder shots, Murphy will also let Robert Downey Jr.'s shoulders occupy most of the picture, thereby squeezing the subject of the picture that you want to highlight to the edge of the lens frame, thereby emphasizing the special meaning of this scene.

In the filming of this movie, Murphy especially prefers wide shots. Whether it is over shoulder, lens or other various shooting techniques, as long as he wants to highlight the prospects in the background of the picture, he will definitely use wide shots. Moreover, his treatment of wide shots is much bolder than many directors, just like the theme and theme of the film, it is extremely adventurous.

The use of wide lenses is also conducive to Murphy's use of mirror shots to express the story scenes. Mirror shots are generally processed through wide lenses, and slowly transition to close-ups of the characters. Through this technique, the transition on the lens is natural without missing traces.

This also highlights the protagonist Robert Downey Jr. in the camera.

Of course, shooting is not a simple list of lenses. Most of the time, multiple lenses need to be shot continuously. Murphy now integrates various lenses. By constantly changing the shooting position, he can use wide lenses, close-ups, and overshoulder lenses continuously, and finally close-ups for continuous shooting, completing in one go without pauses.

The shooting of the day ended successfully. Robert Downey Jr. and Jonah Hill did not take off their makeup, but came over instead.

"You guys did well," Murphy said to the two of them. "Especially the passion scene is better than I thought."

"There is no way, movies are a sublimation of reality, but reality is more exaggerated than movies." Robert Downey Jr. shrugged and said, "You let us contact the middle and lower-level people on Wall Street more during the preparation period, and we see..."

He shook his head and said, "A female student I admired in middle school now works in an offshore company on Wall Street, and can be calm on Wall Street."

Jonah Hill also echoed, "I have been in contact with the account manager of a small company. He said that the company was having a meeting, and a group of people gathered around a round table to meet the boss in a video conference. When the boss was talking on the TV, one of the analysts called a lady in and started working on the spot. Everyone was calm."

Murphy didn't find it strange, and no place full of money would be lacking in messy things.

"By the way, Joe and I plan to go to the nightclub tonight." Robert Downey Jr. invited, "Will you go together?"

"No," Murphy shook his head, "I'll have an appointment with Bill and Robert tonight."
Chapter completed!