Back in Los Angeles, Murphy only rested for two days. Hans Jimo, who was the soundtrack, called and informed that some of the soundtracks had completed samples.

An excellent film requires an equally excellent soundtrack to set off the atmosphere. If the two can be perfectly combined, the effect of one plus one is far greater than two. It has proved this countless times with many movies today, so Murphy immediately gave up his vacation and told Hans-Jimer to meet in a professional studio in the Fox Building.

Both sides are veterans in the industry, and they didn’t talk unnecessary nonsense when they met. After simply saying hello, Murphy said directly to Hans-Jimer, “Let’s start now.”

"Yeah." Hans-Jimer nodded and told his assistant, "Alex, play it."

The soundtrack sent is mainly divided into three aspects, involving the three most important characters in "The Dark City": Magician, Jay Rachel and Chris Dane.

Murphy, Gal Gadot and Cara Fais, the three producers of the film pricked up their ears and listened carefully to the first version of the music played by Hans Jimo's assistant.

The first thing to play is the main soundtrack of the Magician, just like Hans Jimo said to Murphy, who used a lot of depressing electronic music to highlight the restlessness and extreme evil brought by the Magician.

Although he is a completely amateur in music and does not know very professional knowledge such as composing music and creating, Murphy has been in Hollywood for more than ten years and has filmed and produced so many movies, so he still has a certain understanding of the soundtrack of the movie.

The sense of depression is a distinctive feature of this magician's theme soundtrack. It uses a seemingly inconsistent monotonal tone change, combined with the special sound effects produced by electronic synthesizers, which directly gives people a strong auditory stimulation.

Hans-Jimer obviously used a lot of cold tones to create a dark atmosphere of the soundtrack, many inconsistent chords and almost crazy weird melodies, coupled with extremely rich electronic elements, and even analog stopwatch countdowns and explosion-like sound effects incorporated into various tones. Not only does this electronic sound effect describing the magician not seem thin in hearing, but also makes the emotions more full and real.

After playing the Magician's main soundtrack, followed by Chris Dane's background soundtrack. This soundtrack inherits the tone of "City of Chaos", but is more rich and gorgeous. The violin keeps moving, playing a sixteenth note jump bow, which is powerful and powerful. Combined with the urgency created by the percussion instrument, it also shows an unstable and uneasy mood, just like the thought that Chris Dane may fall into the abyss at any time.

Coupled with the long notes stretched out on the strings, it is a passionate release, and it is full of dynamic with the accelerated theme of Chris Dane with a strong sense of rhythm.

This soundtrack combines the effects of electronic music and orchestral music, with a commercial flavor and a full sense of modernity.

Murphy and Hans-Jimer have worked together many times and are aware that this approach often appears in many works of Hans-Jimer. The soundtrack uses a large number of electronic sounds to quickly transfer between orchestral music. This transfer is quite rapid and difficult to detect, allowing the music to be completed smoothly.

The final play is the background music of the heroine Jay Rachel. This soundtrack uses a large number of beautiful piano solos and a large number of theme variations, which are obviously divided into two parts, just like Jay Rachel's ups and downs in life.

However, even in the first half full of light, the musical piano melody uses a string of cool notes, which is quite divergent, and seems to be telling a poignant story.

The room returned to quiet, Duke turned to look at Gal Gadot and Cara Fais, and asked, "How do you feel?"

"I think it's good." Gal Gadot now has quite professional skills. He nodded and whispered, "Hans Jimo's usual high standards."

Kara Fis also showed an expression of agreement, "very outstanding!"

Hans-Jimer was a distance from them. At this time, he looked at Murphy, and he knew very well that Murphy was the one who really had the right to decide.

Murphy asked the assistant named Alex to play three soundtracks again, and thought for a while, and said, "Hans, I am very satisfied with the soundtrack. You guys can complete it as soon as possible. The latest cannot be exceeded by the end of February next year."

"No problem." Hans-Jimo immediately stood up, "I will do it on time."

"Okay, let's get here today."

Murphy stood up, shook hands with Hans-Jimer who was walking over, and said, "I'll wait for your good news."

When Hans Jimo was sent away, Murphy was not ready to leave. In the editing studio next to him, Jody Griffith was taking several assistant editors to watch all the shots. He went over and looked at them.

After discussing editing with Jody Griffith, Murphy left the Fox Building. In the following days, he would come to the editing room on time to handle some preparations before the formal editing. Since more than 80% of the special effects of the film were taken in real scene shooting, and there were fewer shots using CGI. While letting the colorist adjust the color of the camera, the editing was also put on the work schedule.

Entering November, Murphy and Jody Griffith began to roughly cut the film to turn the total length of more than 1,850 minutes into a coherent action crime movie.

Although some special effects scenes that require cgi synthesis have not been added, those shots that only need to adjust the background and light have been basically completed. After the rough-cut picture style is fully in line with Murphy's requirements, how to edit the entire story more compactly while maintaining the overall style is what he and Jody Griffith need to do the most.

The theme of the film is dark and heavy. If it drags on a slow pace like "The Story of Fire", Murphy believes that "The City of Darkness" will definitely fail to make Twentieth Century Fox vomit blood.

"My request is very simple. Use concise and sharp editing to form a strong narrative tension, highlighting the dark and heavy theme of the film!"

The dark style of commercial production, with Murphy's efforts, has finally become a type of mainstream North American films since "Man of Steel". It is definitely a new thing at present. It should not be outdated in the past decade. However, there are not many stories that can carry the Dark Wind. Moreover, based on the existing content framework and style restrictions, it is unrealistic to turn all commercial films into Dark Wind, and completely eliminate Dark Wind from the large-scale commercial films.

However, to a certain extent, the visual effect of the dark style is easy to make people tired.

In fact, what makes people more tired is the process of watching movies. It is precisely because of the dark outlook on life, the villains come and go, and the repeated battles, and human nature rushes and circulates in it, which can easily make people feel "tired".

Such movies are not like those commercial films with light comedy features of Disney and Marvel, which make people feel "crunchy when eating popcorn". However, dark movies similar to Murphy also have their own advantages. They will not be as monotonous as popcorn, forget the taste after eating, but can continue to touch the nerves.

Of course, from another perspective, Darkness is not a universal style, nor is it an element that every director can play with. Although "The Dark Knight" was the pinnacle of the Dark Style, in "The Dark Knight Rises", the Dark Style was reduced to a point where it was better than nothing.

Although there are commercial considerations in this, this style itself restricts movies, stories, and characters, which is also a huge factor.

Some people believe that Darkness has a high-quality and high-level movie style, and cannot be compared with commercial movies in the general sense, especially those comic-style superhero films that make superheroes fight in a whirlwind.

In fact, even in Murphy's own eyes, whether it is a dark style, this matter has nothing to do with the style, but is only related to the personal choice of the studio and director.

For example, it is not difficult to adapt some of Marvel's superheroes into darkening, but Marvel did not do this because such a movie style is very different from the styles of Marvel Comics and the entire series.

More importantly, not everyone will like dark-style films. Movies are just a way of entertainment for most viewers. Therefore, in general, shooting seemingly profound and unique stylized films often cannot satisfy the mainstream audience, especially the underage audiences who occupy a considerable market share.

Nowadays, in the increasingly important overseas film market, the audience's perception of commercial films is "high-tech special effects blockbusters".

Therefore, when "The Dark Knight" was released, viewers prefer to regard it as an independent film rather than a superhero film.

Kevin Feige, the head of Marvel Studios, once said that the movie "The Dark Knight" does show the difference between a comic and a movie and the potential of the movie. But I don't think the audience will just love this dark and rough film. Therefore, we did not shoot "Thor" and "Captain America" ​​into a dark film like "The Dark Knight".

Even Murphy's current opinion may not be unreasonable.

Movies are always diverse. Disney and Marvel are sticking to their own styles, and Murphy is sticking to their own styles. Unless the inherent style is not done, there will be no changes easily.

Compared with Murphy's post-production of "Dark City", Gal Gadot has to take control of the overall situation of Stanton Studio. As the head of the daily work of this bag company, several projects currently invested in, such as "House of Cards" and "Game of Thrones", must be paid attention to in a timely manner.
Chapter completed!