Echoes of Hollywood

Inside a soundstage at the Montage Film Studio in the suburbs of Paris, the bustling activity quieted down as everyone's attention turned to the camera lens.

The camera focused on a set designed to look like a farmhouse, where a scene was unfolding between an SS officer and a farmer.

Two cameras were capturing the action from different angles, and a photography assistant equipped with a Nikon camera crouched in a predetermined spot, ready to shoot on Murphy's command.

"If you were to compare Jews to an animal, it would be a rat," the SS officer explained, spreading his hands. "The Führer and Goebbels say much the same, but our conclusion differs. I think this comparison is disrespectful."

He pointed towards a scenic window, "For now, let's view the world through the eyes of a rat. It certainly is a hostile world."

This was a long take that relied on exceptional individual performance. Although it was just a rehearsal, Christoph Waltz's performance was remarkably compelling up to this point. He looked at the farmer and asked, "If a rat scurried away from your front door in panic, would you feel hostility towards it?"

The camera facing the farmer switched to a close-up shot. Hesitant, the farmer replied, "I suppose I would."

"What evil has the rat done?" Christoph Waltz asked with a smile. "To earn such hostility from you?"

The farmer, holding his pipe, answered, "Rats spread disease and bite."

"If a rat were to walk in right now..." Christoph Waltz gestured towards the set door, his smile fading into a sinister expression that briefly flickered across his face, "Would you still let your beautiful daughter pour it milk?"

Although Christoph Waltz's menacing look lasted less than a second on his face, it was distinctly captured by the camera lens. Murphy raised his hand and called out, "Cut!"

Not only was Christoph Waltz's performance an issue, but there was also a problem with the lighting. However, as this was a rehearsal, Murphy hadn't interrupted until the Austrian actor made a mistake.

Murphy didn't mince words, simply stating, "Chris, that was too forceful."

Christoph Waltz nodded in understanding, and Murphy emphasized, "Remember, in this scene, you must always portray elegance and grace."

Though both were Nazi killers, Colonel Hans Landa was entirely different from Amon Goeth in "Schindler's List." Landa was a man who appeared cultured and genteel.

Indeed, he might be considered the protagonist of the film, an epitome of elegance.

The stark contrast between his genteel appearance and demonic interior made the character fascinatingly complex.

The more gracefully Christoph Waltz performed, the stronger the suspense about whether the farmer would tell the truth and the fate of the Jews hiding under the floorboards, enhancing the tension for the audience.

If a brutal Nazi officer had interrogated the farmer, the scene would feel entirely different. Although an intense performance could generate more dramatic tension, it could sometimes be detrimental to the atmosphere of the story.

Endlessly adding layers of pain, panic, and conflict could suffocate the audience. A contrast was necessary to build suspense, gather pressure, release energy, and then gather and release energy again. This was the rhythm of a film.

The creation of tension and its resolution through conflict, followed by the emergence of new problems, was akin to playing Jenga. The tension of possibly toppling the tower causes nervousness, and everyone breathes a sigh of relief when it doesn't fall.

This movie's rhythm was a cycle of tension and relief.

Aside from the acting, there was also an issue with the lighting during the previous take, prompting Murphy to call over David Robbie.

"David, this is a long take," Murphy explained seriously. "During shooting, I can't just pause to adjust the lighting for you. You need to get it right in one go."

Long takes could create engaging scenes that fully immersed the audience in the drama, but they were also challenging to shoot, particularly regarding lighting.

Although Murphy had no interest in "one-shot" gimmicks that didn't fundamentally enhance the storytelling, he didn't shy away from filming long takes that lasted several minutes, especially now, as the conversation between Colonel Hans Landa and the farmer would benefit from the tension a long take could provide.

Executing a long take was indeed complex, testing the cinematography, acting, and lighting.

From a performance standpoint, the farmer was portrayed by a seasoned French actor, and Christoph Waltz, after several takes, had also found his rhythm, showcasing his considerable acting skills. Cinematography-wise, Murphy and Philip Lasher had prepared thoroughly, so that was not an issue...

Different shooting angles required different lighting, which posed a significant challenge.

When faced with challenges, Murphy was not one to rush; the film wouldn't be released until the next award season, giving him plenty of time for shooting and production.

Murphy brought Philip Lasher and

 David Robbie together to experiment with various effective solutions.

Within specific shooting lengths, Murphy could adjust the actor movements and scene arrangements on set, allowing David Robbie to properly set up and conceal the lighting equipment. However, during uninterrupted long takes, the actors might move across many positions, making it difficult to set up and hide lighting equipment in one go.

Murphy had solutions for these challenges in his hands.

He instructed Philip Lasher to pay attention to the camera framing, and the cinematographers needed to know where each shot would end and also be aware of the camera and main visual trajectory.

All cinematographers, under Murphy's directive, took notes on the set, documenting the framing and the entire shot's movement trajectory, planning, rehearsing, and positioning until everything was ready.

Then they began setting up the lighting equipment.

Among all the lighting equipment used by the lighting team, the first to be addressed were the movable light sources. Murphy instructed David Robbie to pass on that the lights could be moved as needed.

In a safe manner, if the camera moved, David Robbie was to move the set's main light sources accordingly. Sometimes, this involved shifting or tilting the main light sources, though at times portable or handheld LEDs could also be used to achieve this.

Moreover, Murphy had David Robbie conceal lighting equipment within the camera frame.

This was a common technique in long-take film shooting. By finding obstructions within the scene to hide the lighting equipment, the space utilization of the shooting location could be efficiently improved, especially in limited spaces like the farmhouse set, making this technique particularly useful.

Placing lighting equipment on the ground was a practical approach because the camera didn't necessarily have to capture the floor. However, if it needed to, furniture like chairs, cabinets, or other items could be used to conceal the lighting.

Beyond professional lighting, Murphy also required the use of any available light sources during shooting.

The scene included real light sources, such as lamps hanging above the farmhouse, which could also serve as minor techniques for creating shooting light.

During filming, Murphy had crew members place reflectors and had those nearby wear white shirts, allowing for optimal use of the set's light sources.

This approach not only reduced the number of lighting equipment on set but also achieved the effect of lighting without actual lights.

Murphy also adjusted the positions where the farmer and Christoph Waltz sat, as well as their movement paths, to better utilize the light sources set up on the floor and in the corners. This technique required the director to first clearly understand the set layout and actor movements.

If there were floors, corners, or similar features on set, the director could instruct the lighting team to use the camera's blind spots to conceal lighting equipment. The same principle applied to curtains, false walls, and other set constructions—any items that could sufficiently cover the lighting equipment could be utilized.

Additionally, hiding lights in the dark areas of the farmhouse set was another effective method. To prevent glare from the light stands, Murphy had them covered with dark-colored fabric.

The scenes designed by Murphy, relying on several long takes, took five full days to shoot, especially as Murphy had added a daughter to the farmer character to accommodate an actress pushed by the investors.

A French film fund had provided sponsorship of up to 3 million euros for the movie, and an actress named Léa Seydoux was part of the deal.

With such a significant amount of funding, Murphy, like anyone, wouldn't refuse. However, he wouldn't disrupt the balance of the cast, offering her a minor role as one of the farmer's daughters. She had only one frontal shot and no lines.

As the crew moved to an open-air set for filming, more actors, including Margot Robbie, joined the shooting.

When asked about his expectations for the actors, Murphy's response was simple: "I expect them to perform well!"

During shooting, Murphy preferred not to engage much with them, although some required what people refer to as "motivation."

What was the greatest motivator for an actor? Murphy's answer was straightforward: fame and compensation.

In Hollywood, nothing else could drive a person more, not even Murphy himself.

As the crew began shooting in the open-air set, it was also a media open day, part of the routine promotion. Since the upcoming scenes involved only the farmer chopping wood, Murphy didn't mind allowing the journalist connected by 20th Century Fox to watch.

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