"What's this?"

In the theater, Michael Billsson complained to his companions, "A shot that didn't even have a line was actually played for two minutes. Are you wrong?"

His companion also looked very dissatisfied, "The pace is so slow that I feel sleepy. Is this a movie made by Murphy?"

A man on the right shook his head, "This is not the same as we thought. This is not an action crime movie."

Several people were silent at the same time, and this movie was simply a niche, literary and artistic personal biopic.

The slow pace, the long shots used to express the characters' inner heart, painful struggle choices, various artistic shots... completely different from the fast-paced film noir they expect!

Not to mention the dull literary scenes in front, Diego Ross finally designed the climax scene of killing his gang boss. According to Murphy's past style, there was a battle between comets and Earth, but the film did not have any. The gun battle scene passed by. The film focused on the plot of Diego Ross, and there was no big scene at all.

Diego Ross took advantage of the conflict between the gang and Mexican drug dealers, and joined forces with a sheriff of the police station and an accountant who served the gang to kill the boss of the gang to take over the ranks. The video ended here.

Although I saw the faces of James Franko and Jonah Hill, Murphy's fans were not very satisfied. When they left the theater, many people had a look of disappointment on their faces.

"The video is indeed dark and serious..." Some movie fans chatted while walking, "but there is always something missing, which makes people unable to get excited."

Someone shrugged, "Without the climax scene, the narrative of the whole film is slow and looks dull."

"This is not a movie for us to watch at all." Some movie fans inadvertently pointed the key to the problem.

In the premiere theater, looking at the falling subtitles, Todd McCarthy stood up and applauded hard. This is one of the best films I have ever seen since the awards season. The narrative is smooth and the theme is profound, the characters are brilliant, and the long shots are cleverly designed. It is more skillful than another "City of Chaos" directed by Murphy Stanton in the first half of the year!

Kenneth Tulan was also applauding. The unique dark aura of the film reflects Murphy Stanton's extraordinary directorial skills. The use of film language is more plain and easier to arouse his emotional resonance!

There was a thunderous applause in the cinema. Kenneth Toulan saw the crew in the first row heading to the exit to the press room and said to Todd McCarthy, "Let's go, it's a lot of rewarding tonight."

Todd McCarthy followed Kenneth Tulane and walked outside with the flow of people, saying, "Murphy Stanton finally abandoned the glitz in the movie and returned to the most simple nature of the movie."

Murphy Stanton's past movies were also good. Compared to this film with calm narrative and profound theme, the sessions were too fast, the shots were too short, the show off too many skills, and the editing was too sharp...

Films like this that have a foundation in ordinary movie languages ​​are what he should pursue.

Behind was a press conference, and neither Todd McCarthy nor Kenneth Tulane had any interest in participating and left the theater directly.

At the post-screening press conference of this film, Murphy was dealing with the media reporter's tongue and lip sword.

"Director Stanton..."

The first person who stood up and asked a question was a reporter from "The Hollywood Reporter". His question was more professional. "This video is mainly long shots and has a relatively soothing pace. It is completely different from your previous fast-paced videos. Why did you make such a change?"

"Because I must first ensure that the audience can feel the emotional atmosphere of the story. Emotion is something I have to keep in this film at all costs."

Compared with past interviews, Murphy basically told the truth when answering this question, "What do you want the audience to perceive? When watching the movie, if the audience can feel the feeling you want to express from beginning to end, everything you do is worth it. What they ultimately remember is not editing techniques, photography skills, performances, or even stories, but their feelings."

If you want the audience to remember Diego Ross, the nameless pawn to them, people will empathize with it after watching it.

This is Murphy's idea, and he cannot guarantee whether he can do it.

Another reporter stood up and took the microphone and said, "Murphy, when I was watching the movie, I sat at the end and sat with some ordinary fans. Some of your fans around me were very dissatisfied with the slow narrative rhythm of this film."

Murphy was silent for a few seconds, and then said, "As a filmmaker, you must know that no matter how positive things seem, you will always see bad comments, you will always notice that what some people like is exactly what some people hate, so you can't take corresponding measures. I think it's good to just do what you believe."

Murphy also predicted that such a film would definitely not please his inherent fans, but the negative impact was limited. After all, almost all big-name commercial directors have directed art films, and after this literary and artistic film, he would use an absolutely super commercial production to eliminate these bad effects.

What I asked later were some clichés, such as the relationship with Diego Ross and related rumors. Murphy had already made sufficient preparations and resolved them easily.

"I know you don't like talking too much about yourself, but can I ask a less personal question?" A reporter turned the topic to Murphy personally, "What do you like to do when you don't make movies?"

Murphy replied directly, "I like to be with my fiancée. I don't play golf, I don't ride horses, and I don't like racing. I can completely relax when I'm with Gale."

Perhaps it was inspired by the previous reporters, the next reporter's question was still aimed at Murphy personally.

"Which filmmaker do you want your future to be like if you have a choice?" he asked.

"Well, there are many great filmmakers in this world."

After saying the previous sentence, Murphy had already thought about the wording afterwards. Now that the awards season has begun, we should be positive enough, "I would like to work like some great filmmakers until my old age, such as John Houston."

After a moment of pause, he said, "I think Stanley Kubrick is great. As long as he wants, he can shoot very personal movies in the studio system. I think this is what most filmmakers desire. Steven Spielberg has always been at the forefront of the movie. How amazing is it! And Clint Eastwood! I think that the films that many filmmakers are making are as interesting as the first hits they have made. Constant efforts to make excellent works are my ultimate pursuit."

Instead of handing over the microphone, the reporter asked, "How do you want them to comment on Murphy Stanton's movies in many years when people look back on this era?"

Murphy could have refused to answer this question, but after thinking for a few seconds, he said, "I hope they say that my movies are always ambitious, always with sincerity, and work hard to achieve this ambition. I hope that as for the quality of the movies, I certainly hope that people like them."

Speaking of this, Murphy laughed, "But to be honest, that's really not sure."

Just as Murphy was dealing with the reporter, Todd McCarthy had already arrived at his studio, entered the studio and turned on his computer, logged into his online column, opened his notebook and looked at it. Taking advantage of his deepest memory of the video, he was preparing to update his Internet video column as soon as possible.

"In films like Diego Ross, Murphy Stanton used realistic techniques to deeply portray the chaotic Los Angeles in the 1980s and 1990s, creating a modern apocalypse. The most worthy of thinking about is what the so-called state and religion have given to the people? Can law and fairness rise slowly on this free land? For the minority people, it is undoubtedly a huge doubt that they cannot imagine and cannot see..."

"The problems reflected in this film exist not only in Los Angeles, but also in America. What it extends is the problems of this world. Violence breeding and religious issues are persecuted in today's civilized world. The abundance of the upper class always forms a sharp contrast with poverty and backwardness. They, perhaps also include us, have always struggled to hang on the edge of the world of pain."

After updating his column, Todd McCarthy opened the online film review column of his old friend Kenneth Tulan and found that the old guy was moving faster and updated his column five minutes ago.

"Murphy Stanton created a plot for Diego Ross very carefully and unconventional, and the way of telling stories is very close to art, which is the most shining part of this movie."

"I admire his skills very much. The film reviews are violent, guns are rampant, and drugs are rampant. It is difficult to find a clean and bright picture. The whole film is immersed in a dim, dull, stale and old atmosphere."

"He used an extremely realistic shooting and production technique to tear the reality of the characters' depravity due to the collapse of faith to each of us. The degradation of morality and the collapse of faith, the City of Angels opened its bloody mouth and swallowed every young life."

Just now, Todd McCarthy's phone rang, and after answering it, it was Kenneth Tulan.

"I just got the news that the 20th Century Fox sent the copy to Roger Albert a few days ago."
Chapter completed!