Chapter 198: Value for money

? "I met Matt since we were young."
In the actor's temporary rest area, Ben Affleck said to Ronan: "Strictly speaking, we are actually a distant nephew and uncle."
Ronan was a little surprised: "I always thought you were good brothers."
Leonardo DiCaprio and Toby Maguire, Matt Damon and Ben Affleck are the two most famous pairs of good friends in Hollywood.
Ben Affleck said with a smile: "We are actually brothers."
Ronan knew that the United States was not as particular as the other side of the Pacific, and said, "You are also a good story in Hollywood."
Ben Affleck is not as dragging as the role he played. As an actor who climbs up from the bottom, he knows who can't offend and who needs to be good.
Ronan was classified by him into the ranks that must be met.
"Last time I received your invitation, I was very happy." Ben Affleck was very good at talking: "But this shooting conflicted with my schedule. I picked up "Pearl Harbor" directed by Michael Bay."
Ronan asked, "Is "Pearl Harbor" filmed?"
Ben Affleck said: "I was filming in Hawaii, I have a week off, so I happened to come to see Matt."
"I remember." Ronan seemed to have just thought: "I watched the news some time ago. Michael Bay directly bombed a retired warship during filming?"
Ben Affleck seemed to think of something terrible: "Yeah, it's crazy! The explosion flames rose hundreds of meters."
Ronan is also quite speechless. Michael Bay is indeed an explosive maniac, and it seems that he would not be able to make a film without an explosion.
I remember someone said in a previous life that this was a man born when a meteorite hit the earth.
How many people hate bombshells, so many people like bombshells.
It’s hard to imagine that Christopher Nolan in his previous life, a commercial director whose style line is completely opposite to Bombshell, is a fan of Michael Bay.
This is what Nolan's queen photographer Vale Pfister said.
According to him, Christopher Nolan can see something very special from Michael Bay’s explosive film.
First-line commercial directors like Michael Bay, no matter how harsh the professional film critics are, they definitely have merits, and more than one point.
A make-up trailer opened, Jennifer Garner got out of the car and went to the temporary rest area to greet Ronan first: "Good afternoon, Mr. Anderson."
"Good afternoon." Ronan nodded in greeting to her.
Ben Affleck's eyes immediately turned to Jennifer Garner.
George Clint also came over and took the initiative to introduce them: "Ben, this is Jennifer Garner. Jane, this is Ben Affleck."
When George Clint introduced the two, Ronan didn't say much.
Ben Affleck shook hands with Jennifer Garner and greeted them. After the two exchanged greetings, they talked for a while.
Soon, Matt Damon finished filming the scene and returned to the temporary rest place. The three people got together and chatted in full swing.
Ronan greeted George Clint to go to director Paul Greengrass.
"Paul, you did a very good job." Ronan has seen the shots that have been taken, "Your grasp of the characters and plot is far beyond the spectacle of special effects of the film, which is even better than I thought.
The selling point of the "Bourage" trilogy has never been special effects.
Paul Greengrass said: "I just try to build the character's tough and tough character and rough and handsome appearance."
Ronan appropriate encouragement: "Done very well."
This will be a thriller with brains and emotions, and it will subvert traditional spy films and even action movies.
In fact, one of the important reasons for the success of the two sequels after Paul Greengrass took over from the previous life is that they continue the unique style of the first work, including the delicate and polished characterization. And the excellent processing on the detail elements.
The filming restarted, Ronan took the initiative to step aside, and the crew continued to shoot under the leadership of Paul Greengrass.
Matt Damon entered the set again, and Jennifer Garner and Ben Affleck, who had no role at the moment, stayed in the temporary rest area, still chatting hotly.
"Don't these two look at each other again?" George Clint said next to Ronan: "That's too messy. Jennifer Garner has a fiance. Some time ago, I visited the crew to visit the crew. It is said that this October Will get married."
Ronan was not surprised: "Hollywood has always been chaotic." He took the initiative to change the subject and asked: "Have no advertisers contacted the crew?"
George Clint replied: "We have contacted Mini and wanted to introduce mini advertising sponsorship in the form of the heroine's vehicle, but Mini finally refused."
Ronan frowned and said, "I remember BMW bought mini?"
In the previous life, it is said that this is another iconic small three-car after the Volkswagen Beetle and Audi TT.
"They think our film is not well-known." George Clint shook his head and said: "The British guys I met are very arrogant, as if the British cars are amazing."
There is no lack of contempt in his words: "The British can't even keep their own car brand. I really don't know where their arrogance comes from."
Ronan said calmly: "It will be better in the future. When we truly become famous for the production of Shahai Entertainment, there will be countless brands rushing to cooperate with us."
Advertising sponsorship is an important source of income for Hollywood commercial films, but the income in this area is very polarized. There are often dozens of dozens or even hundreds of sponsors for first-line blockbusters. It is very difficult for small producers to find a sponsor.
Think of the previous "Transformers", it was the Autobots vs. Decepticons in the commercial.
Only advertising sponsorship costs can account for a quarter or more of the production cost of "Transformers".
The wider the financing channels for a blockbuster film, the less financial pressure and risk the producer will take.
In this regard, Shahai Entertainment has a long way to go.
At present, the several big-selling films produced by Shahai Entertainment are all horror films, and horror films are notoriously difficult to get commercial sponsorship.
The murderer raised a certain brand of fire axe high, and then chopped off the heroine's head with an axe...
This advertising effect makes me feel sour after thinking about it.
The filming of the crew in Paris is gradually coming to an end. In addition to watching the filming every day, Ronan will carefully check the shots taken by Paul Greengrass.
As more and more shots were seen, Ronan became more confident in Paul Greengrass.
Maybe it was a failure experience, knowing that there is a rare opportunity, Paul Greengrass really worked very hard.
A middle-aged director who was nearly fifty years old, his enthusiasm for work exploded during the filming process, and Ronan confirmed that the director’s remuneration paid was worth every dollar.
In addition to handling the work related to shooting during the day, Paul Greengrass also took out the night time and rented a temporary working room in the hotel where the crew stayed to initially edit the shots.
The editing work of the film crew of "The Bourne" was originally based on Paul Greengrass. When the two parties signed the director contract, they clearly stipulated that Paul Greengrass' directorship should be provided to Ronan, the producer. Final edited versions of the two films.
Ronan also participated in the initial editing of Paul Greengrass. Before leaving Paris, he carefully watched and studied all the initial editing of Paul Greengrass.
You can faintly see the appearance of future films.
Even though it was a rough preliminary editing, Ronan nodded his head again and again with the scenes composed of some shots.
For example, Byrne's counterattack against Conklin.
This is the climax of the whole film, which was cleverly designed by Paul Greengrass into the upper and lower chapters.
In the first cut version, the first half was the moment the CIA agent rushed up the spiral staircase with a submachine gun. Bourne was holding a pistol and using a dead body as a cover. He jumped down from the top of the building and drove the killer up the stairs in midair. Killed with one shot.
During the camera transition, the dead body was used as a buffer to fall to the ground, so as not to endanger his life.
Of course, the price of doing this is that Byrne himself has suffered multiple injuries throughout his body.
This realistic approach is obviously quite different from 007 and Tom's cool-play style.
The second half of the clip is more compact, set in the alley outside the building, and Conklin’s boss Albert’s killer has been loaded and ready to be in place.
Paul Greengrass shots constantly showing Byrne staggering and leaving the alley, which makes people feel nervous, thinking that Byrne may have life concerns.
As the camera turned, Conklin stumbled out, and was shot out by the gunman who had been waiting for a long time.
This relaxed narrative method can greatly mobilize the audience's participation.
Ronan feels that the future effect will be very good.
Once the director of the first part of "The Bourne" was not Paul Greengrass, but Ronan, through shooting and these preliminary editing, roughly determined his own judgment, Paul Greengrass is more suitable for this series.
As long as this series succeeds ~EbookFREE.me~ it will definitely change the pattern of Hollywood action movies.
Not only special agent action movies, but also sci-fi action movies, will also change.
James Bond, like Daniel Craig, was obviously influenced by The Bourne.
After the filming in Paris ended, the crew rushed to Switzerland to continue filming location scenes. Ronan did not follow the crew anymore. George Clint was responsible for the daily work of the crew, which was reassuring enough.
The rest, like Indian financial supervision and third-party guarantees, did not cause any trouble. After all, the crew was following the plan and regulations.
Ronan rushed to Germany and met Tony Koch in Berlin.
Probably the last time Ronan was introduced to the project "Resident Evil", Tony Koch was also interested in finding a movie project, and he wanted to introduce Ronan to a movie project.
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