บท 43: Chapter 43: The Work of a Novice Director
"Kerry!"
In the temporary set in the living room, Murphy called Kerry Mulligan over. The trial filming had yielded decent results, but Murphy believed Kerry could do even better. "You haven't quite transitioned yet; try to portray your innocence more naturally."
Since rejecting James Franco's invitation that night, Kerry had gradually formulated a plan. She temporarily suppressed her feelings towards James, striving to show improvement in both rehearsals and on-location filming. While her performance wasn't flawless, it showcased her rapid progress.
On the other hand, James Franco managed to shake off his character's state and observed Kerry attentively as she listened to Murphy's instructions. Over the past week, he had displayed what he called sincerity, and Kerry's attitude towards him had noticeably softened. It seemed the derogatory term "amateur director" had some merit after all.
Kerry wrinkled her nose, "I'll try."
"Get ready," Murphy waved her off.
The makeup artist, Jack Watson, followed Kerry and James to touch up their makeup.
Subsequently, the filming resumed. Murphy, serving as both director and cinematographer, adjusted the actors' positions and movements while searching for suitable shooting locations and techniques.
Although many shooting methods had been planned beforehand, there often existed a significant difference between conceptualization and actual filming, especially for a novice like Murphy.
"Lights, ready! Actors, ready! Action!"
Thanks to the previous trial shoot, the lighting technician, John Douglas, and the lead actors, James Franco and Kerry Morgan, quickly got into character. Particularly, James and Kerry appeared in front of Murphy's camera according to the designated positions.
When James offered a cup to Kerry, she hesitated to take it. "What's wrong?" James asked.
Kerry innocently replied, "Adults always say not to drink beverages given by strangers."
Despite several rehearsals and trial shoots, Murphy decided to change the shooting style, opting for different positions and techniques.
In the midst of filming, Murphy focused not only on adjusting the actors and crew but also on finding the most suitable approach to achieve the best results.
Murphy paid attention to maintaining spatial continuity, ensuring that each shot connected logically to the next. He strategically placed elements within the frame to convey relationships between characters and convey essential information to the audience.
Furthermore, Murphy avoided excessive close-up shots. He believed that relying solely on close-ups would make the film appear stiff and lack fluidity. Instead, he employed a 360-degree axis approach, circling around Kerry as the central axis, a technique often utilized by renowned directors like Michael Bay to illustrate character relationships and emotions.
After completing a segment, Murphy didn't immediately resume filming but announced a brief break before reviewing the footage with the editor.
The editor, Griffith, who had joined recently from Fox Los Angeles Channel 6, was a seasoned professional in contrast to Murphy's novice status. Griffith's experience allowed him to share valuable insights with Murphy on how to manage the editing process effectively.
Murphy valued Griffith's assistance during on-location editing sessions, which helped compensate for his lack of experience. Through live editing, Murphy could assess whether his scene designs were effective and if they effectively conveyed his vision. Additionally, real-time editing allowed him to explore alternative shooting possibilities.
Moreover, Murphy sought to maintain a sense of rhythm throughout the film, particularly focusing on emotional pacing. For instance, he carefully considered the progression of Haley's attitude towards Jeff.
After a busy half-day in the studio, Murphy emerged and announced the end of filming for the day. Despite the slow progress, he declared, "We'll take a day off on Saturday to maintain morale."
He also needed time to reflect on the day's work.
Jessica Chastain approached him, whispering, "I need to head downtown."
Murphy waved her off. As Jessica left, Kerry, now makeup-free, approached him. "Murphy, are you going home for the weekend?"
"No," Murphy shook his head, his face displaying fatigue and a hint of headache. "I have work to do."
"That's perfect! I got rid of Bill," Kerry exclaimed excitedly. "I just arranged with James. We're rehearsing the scene where Haley confronts Jeff tomorrow."
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