A_nobody
patreon
Chapter 151: Surface Friends
🕑 Added 2024-12-24 18:03:38 +0000 UTC"Duer, get ready. I need a wide-angle shot that creates the effect of thousands of landing craft rushing toward the shore," Gilbert shouted.
After completing some dialogue scenes, Gilbert led the crew into shooting the opening battle sequence.
In terms of cinematography, Gilbert adopted the filming techniques from "Saving Private Ryan" from his previous life.
He discussed with cinematographers Duer Randolph and John Schwartzman about adopting a documentary-style approach to shoot the first 25 minutes of the landing scene.
Before shooting, the crew didn't focus on the storyline but instead used handheld cameras most of the time to closely follow the soldiers landing on the beach.
To stay true to the story and authentically reflect the era it is set in, Duer Randolph and John Schwartzman treated the film negatives in a special way, desaturating the colors to achieve Gilbert's desired effect.
Another special cinematographic technique used in the film was employing a 90° shutter (DIN) or 45° shutter (DIN) to capture the landing scene, showing the actors' constant movement and the intense crossfire.
Of course, Gilbert also made some innovations by referencing the game "Call of Duty: WWII" from decades later, incorporating many first-person perspectives into the shots.
At this point, digital cameras couldn't achieve the same effects as film and were not suitable for the big screen. So, equipping actors with shooting gear for first-person shots posed some challenges.
However, the cinematography team and technical department collaborated to develop a compact wireless camera system.
Although still somewhat bulky and challenging for high-difficulty scenes, it sufficed for simpler actions like running or holding objects.
The crew first shot a wide-angle scene of landing crafts charging forward. Over ten crafts were used to simulate a massive invasion force.
However, during post-production, special effects would be needed to add more landing crafts.
Given the film's overall cool tone, and the general preference for warmer tones in special effects, this posed a significant challenge for Industrial Light & Magic.
After shooting the wide-angle scene, it was time for close-up shots of the lead actors in the landing crafts.
Gilbert sat by the monitor onshore, giving commands through a walkie-talkie, while Duer Randolph handled the actual filming.
"Duer, shoot through John Miller's hand, tell the captain his hand should tremble, then he'll cover it up by drinking water. Finally, focus on his face, and slowly pull the camera back," Gilbert instructed.
After some arrangements on the other end of the walkie-talkie, Duer Randolph responded, "Director, received..."
Once preparations were in place, the landing crafts charged again.
A close-up focused on Tom Hanks's hand, trembling non-stop. He tried to cover it up by taking a sip from his water bottle. Then Duer Randolph moved the camera backward, other actors entered the frame, reacting as pre-planned.
This scene wasn't particularly challenging and passed the trial shoot perfectly.
The next scenes, however, were slightly more difficult. On a rocking landing craft, enduring the impact of waves, Tom Hanks felt nauseous and wanted to vomit.
But he held on and completed his performance.
"Don't block the ramp; disembark in 30 seconds. May God be with you."
"Left column, right column, move quickly, avoid those craters..."
In these tense moments, to maintain the pre-landing anxiety, Gilbert used continuous shots to emphasize the tension.
The camera gave close-ups to each character, capturing detailed expressions of fear and nervousness.
The next shot featured Gilbert's first-person perspective design. This perspective, shot mainly by Vin Diesel, showcased his stamina.
Through his first-person view, you saw the ramp opening, soldiers inside becoming live targets, and many getting shot even before stepping out of the craft.
This shot had an immersive feeling, a damned intense tension. The exploding blood packs created scenes so gruesome that even Sophia, watching by the monitor, held her breath nervously.
After the shot, Gilbert asked Sophia, "How do you feel about this shot?"
Sophia gave a thumbs up and said, "Gilbert, you truly excel in shot design."
"Does that mean I'm not exceptional in other areas?" Gilbert teased.
Sophia was silent for a long time before saying, "Maybe. But you're still much better than me."
For someone as proud as Sophia Coppola to admit someone else was better, it showed her admiration for Gilbert's outstanding work.
While "Saving Private Ryan" was in full swing, North America also launched some pre-release publicity.
"Tom Hanks collaborates with Gilbert for the first time. Tom says he's always loved Gilbert's films."
"Gilbert stated that Tom Hanks is one of his most admired actors and that working with him is a dream come true."
"Reportedly, Gilbert's new film is a thrilling World War II blockbuster, with explosive scenes no less intense than 'The Rock.'"
In the promotional material, Gilbert and Tom Hanks were portrayed as mutual admirers, a model of cooperative relationships.
In reality, this was somewhat true. But Gilbert and Tom Hanks had only a normal working relationship, limited to collaboration.
Every crew promotes the idea that they are like family, working harmoniously together.
But in reality, it's never as imagined. For example, on the set of "Speed," Sandra Bullock was visibly annoyed by Naomi Watts.
Gilbert had given Naomi Watts many additional scenes, stealing the spotlight that originally belonged to Sandra Bullock.
Later, Naomi Watts even took a lead role in a film Sandra Bullock was supposed to star in—"Two if by Sea."
If the film had underperformed, it wouldn't have been a big deal. But unfortunately, this low-budget romantic comedy grossed $81 million in North America and over $100 million worldwide.
With this film, combined with a streak of successful Gilbert projects, Naomi Watts firmly established herself as an A-list actress.
But this film originally belonged to Sandra Bullock. Naturally, she harbored resentment toward Naomi Watts.
Unfortunately, Sandra Bullock didn't dare show it. Naomi Watts's rise to stardom was entirely orchestrated by Gilbert.
Everyone knew Gilbert even brought down Mel Gibson to boost Naomi Watts.
In such a scenario, Sandra Bullock had to suppress her dissatisfaction. She wasn't Mel Gibson, capable of mounting some resistance.
If Gilbert found out Sandra Bullock bore resentment toward Naomi Watts, who knows what methods he'd employ against her?
If Gilbert knew Sandra Bullock's thoughts, he'd find them amusing. "Is my image really that fearsome now?"
In fact, Gilbert rarely intervened in fair competition. But sometimes others, seeking to curry favor, would offer Naomi Watts or Cameron Diaz certain advantages.
Gilbert had repeatedly told the three women that unless it was a matter of career or personal safety, he wouldn't step in to help them.
If they grew under his protection, they'd lack the resilience to face challenges when his influence waned.
Other examples of disharmony in crews were numerous. Gilbert recalled witnessing Julia Roberts and Steven Spielberg arguing on the set of "Hook" when he was an assistant director.
But that was Julia Roberts high on her popularity, recognizing no one. Under normal circumstances, even as a leading star, she wouldn't dare offend Spielberg.
However, due to offending Spielberg, Julia Roberts's career had stalled in recent years. She was no longer considered for major commercial projects. Spielberg's subtle retaliation was evident.
Smartly, Julia Roberts soon brought gifts to Spielberg's house to apologize, even accompanying him on a two-week vacation to Europe.
What happened during that time? Those in the know would understand.
As for "Saving Private Ryan," the crew was far from harmonious. At the very least, Vin Diesel wasn't well-liked by his fellow cast members.
Except for Tom Hanks, who maintained a neutral stance due to his high status, other actors expressed strong dissatisfaction with Vin Diesel.
Even Leonardo DiCaprio jokingly complained to Gilbert, "I'm glad I don't have any scenes with him. Otherwise, I might aim my gun at him."
Gilbert could only shake his head helplessly. Personalities are hard to change. Even as the so-called "Son of God," not even Jesus or Hong Xiuquan could change Vin Diesel's temperament.
Fortunately, Vin Diesel respected Gilbert as the director. Otherwise, regardless of how highly Sheena Boone valued him, Gilbert wouldn't hesitate to kick him out of the crew.
Then again, filmmaking isn't a casual affair; it's demanding work with strict requirements and immense pressure.
Daily arguments about filming issues were common. Duer Randolph and John Schwartzman had clashed several times over their cinematographic approaches.
Without a producer or director capable of maintaining order, the crew could easily fall apart under such tension, let alone complete the film.
Fortunately, Gilbert had proven his abilities time and again, earning the respect and trust of the crew to function smoothly under his leadership.
However, recalling the disputes between the cinematographers, Gilbert felt a headache coming on. He asked Sophia, "How about you lead a crew independently? I'll assign one of the cinematographers to you."
Sophia thought for a moment and said, "If I get one, I want Duer."
"Oh? Why?" Gilbert was curious.
Sophia shrugged and said, "John and I have a relationship. If we argue, I can't bring myself to scold him."
Gilbert found her reasoning plausible. On the other hand, John Schwartzman was indeed more skilled than Duer Randolph.
Sophia's explanation was clever, attributing her preference to personal ties while leaving the more talented Schwartzman to Gilbert, demonstrating her savvy understanding of leadership dynamics.
Sophia then asked, "If I argue with Duer, who will you support?"
Gilbert thought for a moment and answered, "Emotionally, I should side with you, but rationally, I'll side with whoever is right."
This response made Sophia pout in dissatisfaction.
However, Gilbert added, "Don't worry. Duer is a reasonable person; he won't deliberately make things difficult for you.
You've been my assistant director for several years now, and your experience is quite rich. I believe, as long as it's nothing outrageous, Duer won't have any objections."
Sophia pouted and said, "You sure think highly of me. Didn't you see how I got criticized by film critics before?"
"Times are different now; you're not the same as before. You've stepped out of the shadow of the Golden Raspberry Award for Worst Supporting Actress. Who knows, in the future, you might become the first woman to win the Oscar for Best Director!" Gilbert painted a big picture for Sophia.
In fact, in his previous life, the first woman to win the Oscar for Best Director was Kathryn Bigelow. Whether Sophia ever won or not, Gilbert didn't know, but he did know that a Chinese female director, Chloé Zhao, had won the Oscar for Best Director.
This director also helmed the Marvel disaster "Eternals," a film so terrible it was infamous.
Gilbert, however, was deeply impressed by the scene in which a Black actor cried and repented at the Hiroshima Memorial, filled with irony.
Chloé Zhao's stepmother was the well-known Chinese actress Song Dandan, though Gilbert didn't know how they were connected.
The Oscars' bias against women wasn't a recent phenomenon, but trends always change, and Sophia had a good chance.
After "Saving Private Ryan," Sophia decided to independently direct a film, becoming the second director at Melon Studio with the ability to helm a movie on her own.
The project was already decided—it was the film "Good Will Hunting," written by Matt Damon.
Matt Damon had repeatedly suggested that Gilbert direct this film, but Gilbert's schedule was packed until 2020.
He simply had no time, so he proposed that Sophia direct it instead.
Of course, to ensure the film wouldn't deviate from its original vision, Gilbert would still act as the producer and supervisor to oversee Sophia's work.
Moreover, "Good Will Hunting" would be independently funded by Melon Studio. Once production was confirmed, they would see which of their partners would be willing to distribute the film.
To others, Gilbert might seem too kind to Matt Damon. Investing in an original screenplay film was quite a risky move.
But these people probably didn't know that as long as "Good Will Hunting" was as well-executed as in the previous life, there was no need to worry about its box office performance. It could even make a significant profit.
Gilbert also asked assistant director Annie Burton if she had any interest in directing a movie independently, but Annie Burton declined.
"I've seen your work, and the pressure you endure is too overwhelming for me. I can't handle it. I'd rather just stay as an assistant director," Annie Burton said.
Everyone has their own pursuits, and since Annie Burton said this, Gilbert didn't push her. Everyone has their own path!
