America achieves both fame and fortune

Chapter 425 Martin Goes Mad

On the streets of New York, a scooter equipped with a camera sped by, passing a speeding Cadillac. The high-speed camera accurately captured Aston Martin maneuvering the car through the lowered window.

The Cadillac, which wasn't actually going very fast, braked and came to a stop. A photographer carrying a video camera got into the passenger seat of the car.

Martin started the car again and performed a variety of dazzling maneuvers.

After the pursuing vehicles caught up, he pulled out a pistol from under his arm and fired at the rear.

The car wasn't going fast, so the Aston Martin was fairly easy to handle.

The pistol ran out of bullets quickly, and a car collided with and overturned behind them.

Martin ejected the empty magazine with one hand, replaced it with a new one, and continued driving and firing.

Chad's action choreography style differs from that of Michael Bay and others.

The latter uses a large number of extremely short shots in its editing, giving the viewer a particularly sharp visual impact.

Chad used long takes as much as possible to create a sense of realism.

After filming the long take in the car, Martin opened the door, got out, handed the pistol to Bruce, and ran to Chad to check on the results.

The camera is always in motion, but unlike the purely handheld shots in "The Bourne Identity" that are constantly shaking and shaky, the shots taken with a camera mounted on a Steadicam move much more smoothly.

The wide-angle lens, the vivid and soft lighting, and the smooth camera movement create a unique style.

The constantly shaky camera work in Bourne Identity gives viewers an immersive first-person perspective.

Chad's shots are like those of a high-level observer.

As a director with a background as a stuntman, Chad designed a narrative style that uses action scenes to drive the plot, integrating martial arts with literary elements.

From the beginning, he intended to abandon flashy, fast-paced editing and instead use wide-angle and long takes to showcase each spectacular fight scene.

Because while John Wick's style may seem realistic at first glance, it is actually just an action spectacle disguised as realism.

As the male protagonist, Martin had to take down hundreds of assassins in the first movie!

The conservative estimate is over 150 people.

In a sense, the protagonist Jonathan is like a video game character controlled by the audience, fighting his way through levels and finally defeating the boss to complete his mission.

This depends heavily on Martin's execution of the movements.

He rarely uses stunt doubles; he has to perform many of the more difficult stunts himself.

After a long shoot, Martin inevitably ended up with bruises and minor injuries all over his body.

Fortunately, he found a good way to relieve the pain – massage.

The person who provided Martin with massage services was named Alexandra Daddario.

While working on set, Alexandra used her hands to massage Martin.

Once back at the hotel or apartment after work, Martin's guidance is used to heal the wounds with gentle warmth.

Martin returned to the rest area to sit down and rest. Next, his stunt double, Buck, took the stage and performed a series of car chases and other stunts.

The film crew closed off an entire street in New York for filming.

Compared to when filming "Limitless" in New York, the New York City government provided far more convenience this time.

A female protagonist who only exists in the male protagonist's memory gets so many benefits in return; it's a very good deal.

"Would you like some water?" Alexandra placed the sippy cup on the small table next to Martin.

Martin nodded. "Thank you."

Chad's roars could be heard from ahead. The crew needed to film as soon as possible and evacuate the streets before the evening rush hour. The time available for filming was not long.

Soon, a chain-reaction car collision occurred.

The crew took adequate safety precautions, and no one was injured.

Martin went over, asked about Buck's condition, took the suit Buck had taken off, and put it on.

Buck leaves the set, and the real male lead re-enters the makeshift film set to engage in a fierce gunfight with a group of assassins.

The gunshots rang out incessantly. Martin, like a protagonist in a video game, unleashed a frenzied slaughter on the enemy, fully demonstrating what a suit-wearing thug really is.

"Corpses" lay scattered across the streets of New York.

When Chad called for a halt to filming, the corpses did not rise. The cameraman ran over with his camera, chose a suitable position, and took several photos of the set.

This is Martin Scorsese's film crew. Although they are busy with filming and don't have the creative talent of Nolan, who can write real behind-the-scenes stories anytime and anywhere like a movie script, they can still help the film crew generate news and attract attention.

At 4 p.m., the film crew wrapped up work on time, and a cleaning company, acting like professional street sweepers, entered the road and quickly removed all the trash, restoring the road to normal traffic flow before the evening rush hour.

On the way back, Martin rode in the same van as Chad and the others.

Marcus, looking at the behind-the-scenes photos taken by the photographer, said, "These can't be released directly, can they?"

Chad said, "It needs to be paired with appropriate news."

Martin leaned over to take a look and said, "That's easy to say. Aren't people outside saying I've gone crazy because of the Joker? These corpses all over the ground are a perfect match for my state."

Jessica, the PR manager standing nearby, said, "I've got it."

He took out his laptop, turned it on, and started working.

When the group arrived at the hotel, Jessica not only uploaded the news to the production team's official website, but her team also reposted it on a series of entertainment websites.

The news photos were all from the set of a gunfight in the streets of Manhattan, and each photo showed multiple bodies lying in the ground.

The scene was one of carnage, with corpses strewn everywhere and rivers of blood flowing.

Jessica herself wrote the headline: "John Wick: Chapter 3 – Parabellum has just started filming, and Martin Davis is already going crazy on set!"

Upon arriving at the hotel, Jessica and her team filmed a news video with the film crew's psychologist.

The psychiatrist, who was paid to work, warned in the video: "Martin must reduce his workload to avoid a relapse of his old illness due to excessively violent scenes."

This statement not only highlights Martin's situation and uses him to draw the audience in, but also points out a major characteristic of the film: violence!

Violence is one of the biggest selling points of commercial films.

After dinner, Martin returned to his room. Alexandra was home tonight, so he had some free time.

Bruce took out a bottle of essential oil and asked deliberately, "Would you like me to give you a massage?"

Martin gave him the middle finger: "Save your energy for Kim and Kohler."

"It's Kohler!" Bruce emphasized. "It has nothing to do with Kim."

Martin scorned this scoundrel: "You're a complete scumbag. You took advantage of me and then ignored me."

Bruce quickly changed the subject: "Be careful of Alexandra's sister, the way she's looking at you isn't right."

Martin remained resolute: "How could a good person like me possibly touch Catherine? I'd rather avoid her than let her get away with it."

Bruce put away the essential oils, grabbed a book, tossed it to Martin, and said, "You slacker, you took someone else's book, aren't you going to read it?"

"I've been so busy these past few days, filming during the day," Martin said, picking up the copy of "Prince of Thieves" Chuck Hogan had given him. "And the nights are even worse; I've been living through a magnitude 9 earthquake these past few days."

When the two of them were alone, Alexandra wouldn't let him be idle; even when he was tired, there would be an oil massage.

Martin stretched and made himself a cup of tea. He had some time tonight, so he could calmly watch it at his own pace.

He opened the novel's cover and began to read it intently.

Graham King has been Scorsese's producer for a long time and is a very reliable person; the writers he recommends are at least not bad.

This is a crime novel set in Charleston, an old town in Boston with a long history of crime.

Charleston is a true reflection of the original Boston. The residents are predominantly Irish and mostly work as ordinary laborers. This town has a very distinctive feature: it has the highest rate of armored truck and bank robberies in the United States, and the number of bank robbers in the community monitored by the Massachusetts State Police and the FBI is also the highest in the country.

The main characters are four close-knit young men in town who are all cunning bank robbers with sophisticated weapons and unique, daring methods. Their fate is changed by a bank robbery that leads to a series of entanglements between the male protagonist and the female bank manager.

Martin was a terrible student, but he had enough patience to endure reading for a while and gradually became immersed in the novel's plot.

Chuck Hogan's novel is very well written. In terms of crime plot alone, it is more exciting than Alan Grylls's "Dark Areas" and is not obscure at all. It is very entertaining, especially the protagonists' several robberies, which are written in a thrilling way.

Having read the first part, Martin quickly browsed through it, and by late at night, he had flipped through nearly half of it.

Bruce returned from outside and was somewhat surprised to see Martin still reading a novel: "This novel is very well written, does it have elements of the Sacred Valley?"

Martin said, "This crime realism novel, although set in Boston, reminded me of our life in Atlanta."

Bruce took the novel, flipped through the beginning, and said, "We're lucky we managed to escape from that quagmire. If we had stayed in that place for too long, we might have ended up on the same path anyway, since it's a quick way to make money."

Martin laughed. "I'm an American hero, the kind who's caught Russian spies."

Bruce knew Martin well enough to pick up the novel and wave it around: "You've got your eye on it? You want to buy the film and television adaptation rights?"

"You know me so well." Martin didn't need to hide anything from Old Brooks and said directly, "Say hello to Jessica tomorrow and have her... no, we should make time to go there ourselves."

He was quite thoughtful: "Chuck Hogan is a friend of director Scorsese and was personally introduced to me by Graham King. Now that I've taken a liking to his novel, I should show him the respect he deserves."

Martin has always been good at interpersonal relationships in this regard.

Bruce took Chuck Hogan's business card and wrote down the address and contact information.

Martin was about to take a shower.

As for the plot of the novel, it reminded him of a movie, Ben Affleck's "The Town".

What a coincidence, Ben!

(End of this chapter)