Witness of the film and television world

Chapter 134 The King of B Movies
The cast of "Saw."

"Crack! Pass!"

"rest for a bit."

Sitting in front of the camera, director Roger Corman picked up the microphone and shouted.

Hearing this familiar voice, all the staff, including the actors, instantly relaxed.

It's finally over!

The scene has been played twelve times.

Doesn't sound like much.

In fact, for the rest of the crew, these staff members may not take this number seriously.

After all, there are too many movies with more than ten or even dozens of NG shots, and such examples abound.

Especially for some traditional lens capture masters, they rely on some kind of wonderful inspiration. In order to find inspiration, it is normal for a lens to be NG countless times and take ten days and a half months.

But these processes do not affect the final result in any way.

Even once the movie becomes a classic in the eyes of the public, these NG stories filmed will be regarded as interesting stories made with care.

(Note: In this regard, Wong Kar-wai is one of the leaders. He doesn't like to use scripts, but likes to develop stories based on characters, and find inspiration for the second shot from the first shot, so his sense of shot is great, but The content structure of the film is finely divided. When filming Days of Being Wild, a simple head-up shot was taken 60 times, and he was still not satisfied in the end, so Jacky Cheung broke his defense directly.)
But in this crew it's different!

All the staff have long been accustomed to the fast shooting mode.

Most of them are passed once, and the number of times passed twice is very small. If it is not passed three times, then just skip the show.

In a few days, after the actors have adjusted, we will start shooting again.

The reason for this is because of their director.

Their director's name is Roger Coleman, a "quick shooter" who is not very famous outside but well-known in the industry.

He once shot the movie "Blood Bucket" in 5 days, and the movie "Shop of Horror" in only two days and one night.

Although they are all ultra-low-budget B-grade movies, the quality of the movie is not low. Except for the low-cost blood and corpses caused by limited conditions, the rest of the dark shots and even the fast-changing rhythm fully set off the tense atmosphere of the movie. .

Definitely above the water level.

In terms of B-movies, Peyton hasn't seen a better director in this day and age.

(Note: In fact, he is indeed a wonderful work of this era. Later generations are honored as the king of the world's B-level movies, and have influenced a large number of movies including James Cameron, Spielberg, Quentin Tarantino, etc. Director Cameron even said: In the days of following Roger Coleman, the most effective thing I learned was not a specific skill, but my confidence in film work, which was taught by Roger Coleman. for me.)
Payton chose him to direct "Chain Saw" also because of Roger Coleman's fast-paced, sharp and smooth director style.

His previous works, including the popular "Alien Conquers the World", "Naked Paradise", "Goddess of Shark Reef", "Sorority"... all have this strong style.

While these are just shoddy B-movies filled with cheap action, R-rated nudity and white beauties, most with gore, boobs and bikers, paper aliens, crazy school girls, car chases Scenes, blown heads, hot topless girls wrestling with each other...

It even looks vulgar.

But many of the contents are in common, especially Roger Coleman's adjustment of the style of fast editing and various bloody scenes and tense atmosphere, which fits perfectly with "Chain Saw".

After all, low-budget B-movies are the essence of Saw.

In later generations, Wen Ziren made this film with short time, low cost, and high box office, setting records one after another, many of which were influenced by the king of B-movies.

At the same time, some quality problems caused by the cost of the original work are still a pity.

Now, they now have sufficient conditions and shooting costs, so they can completely improve these regrets of showing their feet and pursue higher film quality.

At least in the production of props, dismembered corpses, and bloody scenes, it can be made more realistic.

With a director like Roger Coleman who fits the style, coupled with Peyton's perfect script and appropriate guidance, he can definitely capture the essence of the original work.

Roger Coleman turned his head: "Ford, give me a glass of water."

"Ok."

Francis Ford Coppola, a crew member and assistant director, quickly walked up to him and poured him a glass of water.

"Sir, do you feel thirsty?"

After drinking it in one gulp, Coleman said with some helplessness: "Anyone who re-shoots more than ten times, and keeps shouting and explaining will also get thirsty."

The handyman shook his head: "You were not like this before, do you still want it?"

"Continued Cup."

"Yes, sir."

Drinking water, Coleman also thought in his heart, he was indeed not like this before, but today is different, people always need to change.

In the past, as a director of low-budget B-movies, Coleman's goal was to complete the shooting as quickly as possible.

As long as there are not too many dramas, he will definitely not go through it a second time. After all, the film is very expensive, and he has no right to strive for excellence.

But "Saw" is different. This is the first million-level large-scale production he took over. Coleman still has high requirements for it, and must be polished and refined.

For example, the climactic atmosphere scene just now was very important. He did not hesitate to NG more than ten times to communicate with the actors in order to achieve the desired effect.

"Ford, you remember, although I have always emphasized in the past that film shooting is fast shooting, but the fast pace is the fast pace. If there is enough cost and the opportunity to strive for excellence, you must not give up."

"The structure of Saw is great. I am confident to make a classic. Then, I will have higher requirements for some important shots." Coleman pointed out.

For this diligent assistant, he is willing to give some pointers.

Francis Ford Coppola nodded thoughtfully, thinking about the shot just now, it is indeed a wonderful picture, especially the black environment, blood red blood, fit perfectly.

After a while, another young man quickly ran to Coleman's side.

"The director, Mr. Chris, the producer, is here."

Coleman stood up quickly: "Come with me to meet Mr. Chris."

For Mr. Chris, he has enough reasons to take it seriously.

After all, this producer is not only a hot gold medal producer in Hollywood, who single-handedly launched "Life is Beautiful" and "The Sound of Music", but also a billionaire and film investor who is well-known in the Federation.

Coleman was able to receive a big production like "Chain Saw" because of the support of the other party, and he couldn't help but disrespect it.

"Mr. Chris!"

"Director Coleman, how is the filming going?"

Peyton smiled and asked.

"The shooting of the film went smoothly. Without accidents, it will be completed by the end of this month."

Peyton smiled and joked, "Mr. Coleman is indeed a representative of fast shooting."

Coleman touched his nose, hiding his embarrassment.

"Haha, it's not a bad thing to shoot fast. The previous filming of The Sound of Music was completed in less than four months. It was still out of town, otherwise the shooting progress would have been even faster."

"You are confident that the filming will be completed by the end of this month, and all investors will be very happy, after all, their funds will return faster."

"Okay, let's go to the crew and have a look, and let me see the results of your shooting."

"Okay, Mr. Chris." Coleman led the way.

After a while, he entered the crew, and under Coleman's introduction, Peyton met the leading actors and actresses, and learned more about the crew.

Seeing some unedited films in the camera, Peyton was satisfied that he had chosen the right person.

Unlike Lie to Lie and The Exorcist, more than [-]% of the director's skill in Chainsaw is in the director's body. A director with ordinary tools will never be able to complete it.

(End of this chapter)