Chương 56: Chapter 56 Hollywood Ruins the Art of Cinema

In accordance with Murphy's idea, the picture appears in the chat content, but also supplemented with keyboard tapping as an extra voice, urgent typing sound, can show the male and female protagonists on both sides of the urgency, but also rendered the atmosphere of urgency, the entire chat role has not been revealed, even typing hands did not appear, can enhance the film's sense of mystery, coupled with the opening girl's abusive scene, seems to be a few simple lines of the chat record, can make the viewer feel the hidden killing opportunity.

It can be said that the footage here complements the opening abuse scene, and can also bring up the question, will the newly appeared girl be killed or escape, or something else?

It's the doubt that draws one in to watch.

Murphy and Griffiths were feeling tired after most of the day's work, Paul Wilson had made coffee in due course, and a few people left the workroom for the time being and sat down near the door, around a small table.

This is a suburb of Burbank, the studio is built on top of a small two-story building, out the door is a small terrace, sitting on the top can see a green landscape, can let the eyes of the long time on the screen to relax.

Even Murphy had to admire that the ability of the agent who came from CAA was really outstanding.

Although they were taking a break, the topic of several people never left their work, especially Murphy, who was aware of his lack of ability and constantly asked Griffiths for some advice.

"Jody, how do you stay on top of your editing?"

Drinking half a cup of coffee, Murphy asked seriously, "I've never been able to figure out how a great editor should stay in shape and control the pace of editing."

"Everyone has a different method, I guess," Griffiths thought for a moment, and seeing Murphy's insistent face, slowly spoke, "I can only say some of my personal experiences, which may not be suitable for you."

Murphy nodded vigorously.

"Watching movies non-stop, I will find time to watch a movie every day, including some very popular TV episodes or documentaries, there are times when I will try to shoot and produce something, of course these may not always be the right method, but will find some freshness in between,"

Although not even a second-rate editor in the industry, Griffiths has been in the business for many years and has the experience that Murphy lacks the most, "There's another benefit to this, the movie is ultimately going to be for an audience, so it's important to know what the audience is used to."

Hearing this, Murphy pondered.

Griffiths continued, "There's also the benefit of looking at how people in the industry make things, both North American and European, keeping your own eyes open for sure. But I also do go back and watch older films, I think there has to be a balance, and there's also keeping a drill on the movie to get a feel for the characters in it, and there may be some movies where it's not the editing that's so important, it may be with stealth editing but the editor needs to be on the lookout for the performance that's being presented by those characters."

He picks up his cup and drains the rest of his coffee, and Paul Wilson rushes to refill it, and like Murphy, the intern is keeping his ears open to Griffith's professional experience.

"The other thing is to observe life, usually ride the subway or on the street, pay attention to how the people at the table next to you talk, some details are important." Griffith held the coffee cup, feeling the temperature of the coffee, and added, "Movies can't leave these things behind, don't feel that this is only the director's or the screenwriter's job, the editor is also very important, like in the footage you filmed, Haley said that a girl can't drink a drink given by another man, and the next edit should pick up on the image of her pouring the drink herself, all of these are the existence of common sense , and it's only recorded inside your head if you feel the thing is relevant to you ..."

The sound of heels hitting the ground came from the side of the stairs, interrupting Griffith's words, listening to the familiar rhythm, Murphy turned his head to look that way, a tall blonde woman had turned out of the staircase, wearing wide rimmed sunglasses and a beige sun hat on top of her head, her entire face painted in delicate makeup was hidden beneath the long brim of the hat, to hide from the poisonous sunlight that was still raging in this season.

Fitted professional suit, hate the sky high heels, even if Murphy only saw these, also know who is coming.

"You guys aren't working, huh?" Carla Faith stepped out onto the small patio and offered a greeting, "Hi, Jody. Hi, Murph."

"What gave you time to come over?"

Back in L.A., the two had also spoken on the phone, intending to get together for dinner, but Carla Faith had been so busy with her promotion that it had to be nullified in the end, and Murphy looked at her with mild curiosity, while his mouth was not stopping as he made introductions for a few of Paul Wilson's people.

"It's about time." Jodi Griffith glanced at her watch, "We're going in first."

He took the lead and left the terrace and walked into the studio, followed by the three Paul Wilson.

"What time are you guys up to?" Carla Faith asked.

"Off at six." Murphy glanced at the time as well and fetched a fresh cup, pouring her a cup of coffee, "You'll sip your coffee if you're not in a hurry, and we'll have dinner together after work."

Carla Faith picked up the coffee cup and sniffed it, waving her hand at Murphy, "Go ahead and get busy, I'll wait for you."

Once six o'clock in the afternoon arrived, Murphy punctually announced that the first day's work was over, rejoined Carla Faith who was waiting outside, and went to a nearby Italian restaurant to have dinner together.

Sitting on the window side of the restaurant, Carla Faith asked, seemingly mocking but actually concerned, "The money chain is about to break, isn't it?"

Swallowing the macaroni in his mouth, Murphy shrugged, "Unfortunately, to your dismay, three hundred thousand dollars is enough to last until the completion of post-production."

Carla Faith raised her head and looked at Murphy in surprise, "How did you do that?"

"Make a good plan," Murphy said haphazardly without thinking, "Strictly execute the plan, every link in the work should match like a screw on an assembly line."

"An assembly line?" Carla Faith raised an eyebrow, "I didn't realize you'd grasped the essence of Hollywood so quickly."

"Uh?" Murphy didn't understand what she meant, "The essence of what?"

"Hollywood ruined the art of cinema," Carla Faith's words were not without merit, "In the beginning, cinema was still an art, and the public looked at filmmakers the way they looked at Picasso and Chopin. Then the Industrial Revolution came along and everything that could be commoditized was commoditized all over again, and the Mona Lisa's came out of the printing presses one by one, framed, and brought in small profits for the merchants."

"So movies became a money-making business, too, and everything was just like an assembly line," Murphy picked up her words, "There were people who did professional market research to find out what kind of movies audiences liked to pay for; there were special departments that wrote the scripts or simply outsourced them; the crew, the lights, the sets, each had its own role to play; and sales struggled. Each department has its own role to play; sales is a bit of a pain in the ass, begging grandpa and grandma for distribution; the actors also have to work hard, a crew of two to three big names, the rest of them just manage to eat plus a hundred dollars a day to love not to come."

He switched to a weird accent, "What, you want lines? No problem, come to my room tonight and work on it ..."