Hollywood Road

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Keeping his eyes on the monitor screen, Murphy didn't turn his head. It seemed that this was just a trivial matter, and he asked casually, "If you find out who the whistleblower is, tell me."

Bill Rosses glanced at Murphy, but nodded slightly.

The crew quickly set up the venue. The most special thing about the venue was the big bed placed in the center of the green screen. The bright red color of the big bed was in stark contrast to the surrounding green screen.

Jessica Simpson in a red dress and Seth Rogen in a naked top are already in place.

Probably more than two months of fitness has worked. Although Seth Rogen has not lost weight, his body fat has been significantly reduced, and his protruding muscles are also quite stylish.

On the other side, Jessica Simpson was sitting by the bed, asking the hair stylist to tidy up her slightly messy golden curly hair. She didn't wear any clothes on her upper body, and she didn't seem to care about it. There was no requirement to clear the venue in the signed contract, just so generous Fang Si sat here, letting some scrutinizing eyes glance over.

Although she hasn't had much exposure to movies before, she has worked hard in the industry for many years and doesn't care much about nudity.

And her more famous singing career is also taking a sexy route.

"David, make the lighting softer!" Murphy yelled to the lighting crew, "When Goldie dies, switch to hard lighting!"

When his eyes turned back from the lighting team, he saw Margaret again, and saw the busy David Robbie. Murphy was not surprised that she appeared again. David Robbie is so busy, it is impossible Accompanying her to play in Los Angeles can only bring her to the crew.

However, she did not affect the filming of the crew.

It may be that she grew up on a farm since she was a child. She has a wild temper, but she is very sensible. She always hides in a corner that does not affect the shooting and plays alone.

Today was a bit better. Rutger Hauer, who participated in the filming, also came to the crew with his 13-year-old son. With the company of his peers, it would not be too boring.

After the lighting was adjusted, Murphy checked the effect, then nodded to the director.

The scene director walked to the camera, put the scene record card in front of the camera, and shouted loudly, "Scene 4 of "Sin City", the first act, now begins!"

On the set, Jessica Simpson, who was ready, immediately lingered with Seth Rogen,

The main camera controlled by Phil Lascher also focused on Jessica Simpson's dick.

This is not only a reproduction of the comic book scene, but also Murphy's request, just like Jessica Alba, when the actor should take off the show, he will never be vague, and this has nothing to do with art, only with business related.

He will not be like those directors in Europe, saying that nudity, three skins and s.m are for art, these are just to attract audiences.

The purpose of these films is as simple as that.

Therefore, according to Murphy's request, Seth Rogen and Jessica Simpson kept changing poses. When each pose was performed, the film crew would use three cameras to shoot a large number of shots from different angles, especially Lots of Jessica Simpson topless scenes.

The crew apparently forgot that there were still minors present.

"So that's how these shots were shot." Margaret stood in the distance, watching the intermittent shots, and said something with some accents, "It's not good-looking at all!"

"What do you know!" There was a little boy standing next to him, almost a head taller than Margaret, squinting at Margaret with contempt in his eyes, "Do you know who that woman is? That's Jessica -Simpson, the dream girl of many boys!"

Margaret narrowed her eyes slightly, folded her hands on her chest, "Is it famous?"

"It really is a country bumpkin from Australia!" The boy said sarcastically with an inexplicable pride on his body, "A country bumpkin who doesn't understand anything!"

"Hillbilly?" Margaret turned to look at him, "Rein-Hall, are you talking about me?"

"Is there anyone else here besides you?" Rein-Hall raised his finger and pointed at Margaret's mouth, "Speaking like this!"

Then, he pointed to Margaret's old and white denim jacket, "It's so earthy! It smells earthy!"

In Rein-Hall's eyes, this girl looks okay, but she is too rustic, purely a country bumpkin from Australia.

Marguerite nodded to him, but said nothing and did nothing.

The crew is filming, and her brother is still the head of a department. If it affects the filming, it will definitely be detrimental to his work.

Although not yet thirteen years old, Margaret could still see this.

Rein-Hall next to her looked at her even more contemptuously, and the sense of superiority that grew up in a big city became more and more obvious.

Margaret crossed her arms and just watched the filming on the set.

Murphy's shooting is still going on, Jessica Simpson is lying on a piece of red, playing Goldie has been murdered, a camera assistant is standing there, using a hand-held camera to shoot close-ups, the lens is still pointed at her. Uncovered ****.

On the screen transmitted to the director's monitor, the white skin and the blood-red sheets formed a sharp color contrast.

The high-definition digital camera brings the convenience of shooting, and other effects can be added through post-production special effects.

Simple black-and-white images are easy to restore with the lens, but after adding many other effects, it is almost an impossible task to restore the comic style with conventional lenses. Murphy solved this problem with digital photography. He only needs to pay attention to making the camera faithful to the angle and depth of field in Frank Miller’s original comics and the storyboard of the new drawing board. All issues related to style are solved through post-production, including adding digital backgrounds and manufacturing Color or silhouette effect.

The shots that have been shot also prove to Murphy that digital photography can completely compete with traditional film in shaping video art.

With the development of film technology to the present stage, digital photography technology is no longer a convenient means, but more a new way of film creation.

Regarding digital photography technology, Murphy also communicated with Quentin Tarantino during the preliminary preparations.

Quentin is a smart and even cunning person. He used to criticize "The Matrix" and other films relying on digital special effects, just to vent his opinion that "film is the purest way to show video art"; when he passed Murphy's experiment When the short film discovered that digital photography can also create a unique film style, this guy's brains were opened, and he vowed to shoot his own digital works.

After all, compared to the dispute over the physical quality of film and digital, how to express the concept of film needs is more important.

Filming of the scene ended quickly, and Murphy turned the crew around to film muffle injuries in a model car. Seth Rogen was pulled into remakeup, and when he came out, his rough face was plastered. white band-aid.

"Rein-Hall," Margaret was also going to take a look, and said to the boy next to him who was very superior before leaving, "Didn't you say that you want to show me, a country bumpkin, the bustling Los Angeles? 5:30 , I'll wait for you in the passage next to Studio No. 3."

"Okay, country bumpkin." Rein-Hall wondered if he should call some friends from school to play tricks on this rustic girl.

Margaret walked near the studio again, and the shooting had already started. An old man in a cowboy hat stood next to her. This familiar outfit gave her a little affection.

But seeing that fat actor had so many Band-Aids on his face, she couldn't help muttering, "Why did you make it look like this?"

This was heard by Frank Miller. This is the idea in the comics. He understood it the most. For some reason, he explained a few words to the little girl.

"This is the first time the tough guy has been injured, and these messy and flat pure white band-aids are hung on his dark cheeks and rough arms, which can make the scars all over his body radiate eye-catching fluorescence, but when he is indifferent It seems so insignificant in front of a fixed consciousness."

What Frank Miller didn't expect was that the little girl listened very seriously, and there was a little curiosity in her blue eyes. Seeing that her youngest daughter was about the same age as his own, Frank Miller continued, "So The color design can intuitively express Murph's beast-like physical fitness, and provide evidence for his amazing fighting and self-healing abilities. Reasons are explained reasonably, so that the development of the plot becomes logical."

Margaret didn't expect to get an answer from an unremarkable old man, so she asked curiously, "How do you know so much?"

Frank Miller smiled, "Because I drew this comic."

"So that's the case!" Margaret suddenly realized, and asked curiously, "Is there any more?"

"Look," Frank Miller said, pointing to the blood on Seth Rogen's face makeup, "Muffle's blood flowed out after being injured is red blood that is very rare in the whole film. The color of blood is precious and alternative in the story scenes filled with white blood everywhere. It not only reflects the violent theme of the movie, but also echoes Goldie’s red bed sheets, alluding to the reason of Muffle’s revenge, and connecting the story of "Sin City" The whole plot."

I don't know if I understood it, but Margaret nodded mechanically, and then said, "I've been watching Murphy's filming for several days, and there are some things I don't understand, can I ask you for advice in the future?"

People are old and their hearts are soft. Frank Miller hesitated, but agreed, "As long as I have time, you can come here anytime."

Today's shooting ended, and it was almost half past five. Margaret did not wait for her brother, and walked out of the second studio ahead of time, and came to the quiet passage of the third studio as agreed. Rein-Hall had already arrive. (To be continued.)