hollywood draw

After two short days of vacation, Wayne came to a post-production studio in Warner Bros. Studios to start the post-production work of "The Walker of the Side".

Compared to filming lens materials, the later stage is never a simple thing, and it undoubtedly requires cooperation between multiple departments and teams, and all of this is editing.

The first impression of the film production that ordinary people know is that the director directs the crew to shoot. In fact, it is the opposite. It can be said without any politeness that no matter how powerful the director is, including Wayne, all the shooting work in front is to serve editing.

Nothing different from the previous years, the editorial team of Dawn Scott, who works with Wayne, has always had a very tacit understanding of the editor of this commercial film with him.

Therefore, no matter how well the film is filmed, it cannot be missing the editing part of the movie. When making a movie, the most important thing is to pay attention to the editing of the movie clips.

These days, Dawn Scott took his assistant to wash the bottom version taken by Wayne, and made a set of work samples, completely preparing for all the work before editing.

Today, they officially used this set of samples to edit. They selected the required lenses and film from a large number of samples, cut the film with scissors, and then glued them together with glue strips or glue.

Then he watched the editing effect on the editing stage. Usually he would ask Wayne and Gilmore for their opinions and get affirmation. This process would be repeated and produced continuously.

This is also the so-called first rough cut, which is considered a relatively repetitive work and the basis for subsequent fine cuts.

Entering the movie editing part, you really enter the nonlinear part of the movie, because you have a very good understanding of Wayne's intentions and ideas. Most of the time, Dawn Scott, who is highly skilled, will not follow the steps when editing the movie.

In other words, you won’t edit one by one in a sequence. Many times, you will cut it from the middle, insert a shot, or cut some pictures, so that you can quickly splice out the desired picture effect.

Editing is a heavy and meticulous task. A story film often has at least a few hundred or more shots. The picture part has interior, exterior, real scenes and matching scenes.

The contents in the same scene are usually shot in a concentrated manner, and Dawn Scott must be reorganized in the order of content when editing. Some important shots in the film are often shot several times by Wayne due to performance or technical reasons, and they all need to be selected during editing.

The film was first filmed, or before the script was written, the final result was printed in Wayne's head. This will also save a lot of time for the subsequent fine cutting work. After all, he considered this issue during the filming.

A large part of the shooting styles between Martin Scorsese and Wayne are similar, which is one of the reasons why he chose this movie.

If you have carefully paid attention to Old Martin’s representative works, from "The Streets and Alleys", "Good Guys", "Taxi Driver", to "Angry Bull", "Casino Storm", etc., the shooting perspectives focus on the real life of lower-class civilians, and like to use images to record the "panoramic views" of various immigrant groups in life in North America.

Therefore, the media has always called Martin Scorsese a "film sociologist" and praised him for using lenses to objectively reveal the truth of the world.

Of course, there is also essential blood and violence.

Chacha Wayne also likes this. Whether it is exposing social problems or human nature, his first idea is to make good use of blood and violence.

The difference between the two is also quite obvious. All Martin Scorsese's films almost break and subvert the traditional narrative, the narrative structure of the strictly followed beginning-discovery-high nest-end. They also like to use documentary shooting techniques to enable actors closest to "life".

Wayne is completely the opposite. He is accustomed to following the traditional academic linear narrative structure. Whether it is a so-called commercial film or an art film, telling a story from beginning to end is the foundation, and what is left is nothing more than a matter of speed and slow pace.

No matter whether it is multi-line parallelism or single-line narrative, promoting the plot according to the timeline has always been his symbol. These two styles cannot be said to be good or bad, but there will be some differences during editing.

"Zach Schneider just now came over and saw you discussing the video with Dawn, and you're back."

Nina waited for Wayne to finish her work and handed him a cup of coffee. She was afraid of affecting the others in the room and said in a deliberate voice.

Put the cup to his mouth and tried the temperature, and found that the coffee was not hot. While taking two big sips, Wayne walked out of the editing room with the assistant lady.

"Didn't say anything?"

Sitting on the rest chair at the door, he asked. "It is probably the first edit of the Matrix, otherwise he wouldn't have the leisure to come over."

"I didn't say it, but I didn't feel anxious." Nina took the coffee cup from his hand, poured some more from the thermos, and then opened her handbag very consciously, took out her cigarette and lighter.

"Also, the bearded director of New Zealand has also called before and will probably come by before lunch."

In a large cloud of smoke, Wayne nodded and signaled that he could hear it. At this time, except for the video being edited, all the arrangements for the summer season remained in his mind.

While the two were resting, footsteps came from the corridor. Before he could finish a cigarette, Zach Schneider ran over again and saw them sitting at the door, with a hint of joy on their unkempt faces.

"Is there a problem with the Matrix?"

Before Director Zha said hello, Wayne took the initiative to move to the side, leaving him a place, and asked curiously.

"There is no problem with the later work." After sitting down, Zach Schneider shook his head immediately. "The initial cutting work has been basically completed. You can go and see if you have time. Judging from the current progress, you can complete all the work around mid-April."

"Shit, how long has it been since you changed your clothes?"

Even though the cigarettes kept burning, Wayne still smelled a sour smell the moment he sat down. Looking at the wrinkles on the other party's clothes, it was obvious that he had been wearing them for at least a week.

The people here have a strong body odor. When they encounter some people with good health and well-developed sweat glands, they can get angry without taking a bath a day.

Therefore, most men like to spray some cologne to cover up their body odor. Not to mention men, women are not much different. White girls look very pleasing to the eye. In fact, you can find that most of them have rough skin and large pores.

This brings a more obvious body odor, but generally normal people will deliberately take a shower before going out and spray some perfume.

"Is there any? I haven't been home for more than a week, and you've left too much time for The Matrix."

He raised his sleeves and sniffed it. Zach Schneider had an indifferent expression on his face, but his eyes were filled with resentment.

If it weren't for him and the editing team working overtime with his life, "The Matrix" would never have completed the initial editing so quickly. After that, there would be a lot of work such as special effects rendering, soundtrack, dimming, dubbing, etc. It would be impossible for the production before the summer season came.

“Ok, ok.”

Wayne raised his hands and made a surrender move. "Tell me, I encountered something that couldn't solve. I can let you put down your work and run over twice! While I still have some time now."

"Stephenson, Ellera and others made it clear to me that they would not participate in my next project as soon as the crew filming ended."

Noting that he might not have made it clear, he quickly explained: "Stephenson is the crew photography director, and Elella is the crew lighting director. I don't understand, they didn't give me the chance to prove themselves at all, and have joined other crews now."

The core team behind the scenes has dispersed. This kind of problem is very common in Hollywood. Most people who have been smoothed out have lived this kind of life. In their eyes, this is just a job. When it is over, they naturally have to find the next job.

Most of them don’t care whether the film is released or successful. Unless it is a work that is hit hard by the box office, it will attract the attention of these people. However, the probability of a box office boom is too low. Hollywood starts so many projects every year, and only a small part of the box office success is accounted for.

"What do you want to say? Isn't this normal?" Wayne shook his head, not understanding what's going on with depression.

Seeing that he didn't understand, Zach Schneider had to lean on the chair and continued, "I have talked to Robert, Schwartz and I. These good guys who have always followed you have never thought of leaving. It's strange, right? If you didn't give me this opportunity, I wouldn't have thought I would have taken the camera alone."

As he said that, he turned his head and stared at Wayne behind the smoke. "I need some experience. You haven't taught me work experience before. Otherwise, every time you finish filming, you have to change a core behind-the-scenes team, which requires too much energy."

A group of industry elites have always been a happy worry, because these people will never be very easy to lead. Now the team that Warner Bros. helps Zach Schneider to collect is also said to be a good player at the industry level, but they have already parted ways after working together once.

A stable behind-the-scenes team is the biggest foundation for the director's success. Movies are never the product of individualism. Even if they are shooting low-cost mill films, they require the cooperation of various jobs to be produced.

Zach Schneider knew that his future path would definitely focus on filming and commercial production. His most concerned issue now is how to lead a stable team and keep those good players close to him.

"I get it, Zach."

Wayne nodded, stretched out his finger with a cigarette in his arms, pointed at him in a mysterious way, "Self-drive!"