Chapter 198 Value for Money

"I've known Matt since we were very young."

In the actor's temporary rest area, Ben Affleck said to Ronan: "Strictly speaking, we are actually distant uncles and nephews."

Ronan was a little surprised: "I always thought you were good brothers."

Leonardo DiCaprio and Tobey Maguire, Matt Damon and Ben Affleck, these are two of the most famous gay couples in Hollywood.

Ben Affleck said with a smile: "We are actually brothers."

Ronan knew that Lao Mei was not as particular about the other side of the Pacific, and said, "You are also a good story in Hollywood."

Ben Affleck is not as dragging as the character he plays. As an actor who climbed from the bottom, he knows very well who can't offend and who needs to befriend.

Ronan was classified by him into the ranks that must be friends.

"The last time I received your invitation, I was very happy." Ben Affleck was very talkative: "But this time the shooting conflicted with my schedule. I took the "Pearl Harbor" directed by Michael Bay."

Ronan asked, "Pearl Harbor has started filming?"

Ben Affleck said: "It's filming in Hawaii, I have a week off, just came to see Matt."

"I remembered." Ronan seemed to have just thought of it: "I read the news a while ago, Michael Bay directly blew up a retired warship during filming?"

Ben Affleck seemed to think of something terrible: "Yeah, it's crazy! At that time, the flames of the explosion rose hundreds of meters high."

Ronan was also quite speechless. Michael Bay is indeed an explosion lunatic, and he doesn't seem to know how to make movies without explosions.

I remember someone in the previous life said that this is a man who was born when a meteorite hit the earth.

As many people hate bombshells, there are as many people who like bombshells.

It's hard to imagine that in his previous life, Christopher Nolan, a major commercial director whose style is completely opposite to Bang Bei, was a fan of Michael Bay.

This is what Nolan's royal photographer Wally Pfister said.

According to him,

Christopher Nolan can see something very special in Michael Bay's explosion-filled films.

A first-line commercial director like Michael Bay, no matter how hard professional film critics scold him, definitely has his merits, and there are more than one points.

A makeup trailer opened, and Jennifer Garner got out of the car, came to the temporary rest area, and greeted Ronan first: "Good afternoon, Mr. Anderson."

"Good afternoon." Ronan nodded 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."

Seeing George Clint introducing the two, Ronan didn't say much.

Ben Affleck and Jennifer Garner shook hands and said hello, after the two exchanged pleasantries, they chatted for a while.

Soon, Matt Damon finished filming this scene and returned to the temporary resting place. The three got together and chatted enthusiastically.

Ronan beckoned George Clint to director Paul Greengrass.

"Paul, you did a great job." Ronan has seen the shots that have been shot. "Your grasp of the characters and the plot is far beyond the spectacle of special effects in the film. This is even better than I imagined."

The selling point of the "Bourne Shadow" trilogy has never been special effects.

Paul Greengrass said: "I just tried to shape the character's tough and resolute character and rough and handsome appearance as much as possible."

Ronan gave appropriate encouragement: "You did very well."

This will be a thrilling film with brains and emotions, and it will subvert traditional spy films and even action films.

In fact, one of the important reasons for the success of the two sequels after Paul Greengrass took over in the previous life is that they continue the unique style of the first work, including the delicate polishing of character creation. and excellent handling of detail elements.

Filming resumed, Ronan stepped aside and the crew continued filming under Paul Greengrass.

Matt Damon entered the set again, and Jennifer Garner and Ben Affleck, who had no part to play for the time being, stayed in the temporary rest area, still chatting passionately.

"Won't these two see each other again?" George Clint said next to Ronan: "That would be too messy, Jennifer Garner has a fiancé, and she visited the crew some time ago, it is said that in October this year going to get married."

Ronan was not surprised: "Hollywood has always been chaotic." He took the initiative to change the subject and asked, "Has no advertiser contacted the crew?"

George Clint replied: "We have contacted Mini, and wanted to introduce Mini's advertising sponsorship in the form of the heroine's vehicle as a Mini, but Mini finally declined."

Ronan frowned and said, "I remember BMW bought Mini, right?"

In the previous life, it was said that this was another iconic car after the Volkswagen Beetle and Audi TT.

"They think our film is not well-known enough." George Clint shook his head and said, "The few British guys I met were very arrogant, as if British cars were great."

His words were not without contempt: "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 fine in the future. When we really make a name for Sand Sea 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 highly polarized. First-line blockbusters often have dozens, dozens, or even hundreds of sponsors, and it is very difficult for small productions to find a sponsor.

Think about the "Transformers" in the previous life, where the Autobots and the Decepticons were interspersed in commercials.

The cost of advertising sponsorship alone 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 still has a long way to go.

At present, the few blockbuster movies produced by Shahai Entertainment are all horror movies, and horror movies are notoriously difficult to get commercial sponsorship.

The killer raised a certain brand of fire ax high, and then chopped off the heroine's head with one ax...

The effect of this advertisement makes me feel sour after thinking about it.

The filming of the crew in Paris is drawing to a close. In addition to watching the filming every day, Ronan will also carefully review the shots taken by Paul Greengrass.

Ronan's confidence in Paul Greengrass grew as he saw more footage.

Maybe it was a failure experience, knowing that the opportunity is rare, Paul Greengrass really worked very hard.

A middle-aged director who is nearly fifty years old, the enthusiasm for work that broke out during the filming process also made Ronan determine the director's remuneration, and every dollar is worthwhile.

In addition to dealing with filming-related work during the day, Paul Greengrass also took out time at night. He rented a temporary studio in the hotel where the crew stayed for preliminary editing of the shots.

The editing work of the crew of "The Bourne Shadow" was originally based on Paul Greengrass. When the two parties signed the director contract, it was clearly stipulated that Paul Greengrass' director work should be provided to the producer Ronan. Final cut versions of both films.

Ronan also participated in the preliminary editing of Paul Greengrass later. Before leaving Paris, he carefully watched and studied all the preliminary editing of Paul Greengrass.

From it, we can vaguely see what the future film will look like.

Even with the rough preliminary editing, the scene composed of some shots still made Ronan nod repeatedly.

For example, Bourne's counterattack against Conklin.

This is the climax of the whole film, which is cleverly designed by Paul Greengrass into two chapters.

In the first cut version, the first half is the moment when the CIA agent rushes up the spiral staircase with a submachine gun. Bourne, holding a pistol and using the dead body as a cover, jumps down from the top of the building and kills the killer who is rushing up the stairs in mid-air. One shot kills.

During the camera transition, he landed against the corpse as a buffer, so that his life would not be in danger.

Of course, the price for this is that Byrne himself suffered multiple injuries all over his body.

This realistic combat method is obviously completely different from 007 and Cruise's cool and cool style.

The second half of the clip is more compact, and it is set in the alley outside the building. The killer of Conklin's boss Albert has been loaded and ready to be in place.

Paul Greengrass footage kept showing Bourne staggering away from the alley, which made people nervous that Bourne might be in danger for his life.

As the camera turned, the staggered Conklin came out, and was shot three times by the gunman who had been waiting for a long time.

This relaxed narrative method can greatly mobilize the participation of the audience.

Ronan thinks the future effect will be very good.

The director of the first part of "The Bourne Shadow" was not Paul Greengrass, but Ronan roughly confirmed his own judgment through shooting and these preliminary edits, Paul Greengrass is more suitable for this series.

As long as this series is successful, it will definitely change the pattern of Hollywood action movies.

Not only spy action movies, but also sci-fi action movies will change accordingly.

Like Daniel Craig's James Bond later, he was obviously influenced by "The Bourne".

The filming of the crew in Paris ended, and they rushed to Switzerland to continue filming the exterior scenes. Ronan did not follow the crew. The daily work of the crew was in charge of George Clint, which was enough to make people feel at ease.

The rest, such as Indian financial supervision and third-party guarantees, did not cause trouble, after all, the crew was going according to the plan and regulations.

Ronan traveled to Germany and met Tony Koch in Berlin.

Probably the last time he introduced the "Resident Evil" project to Ronan, Tony Koch was also interested in finding a movie project, and he wanted to introduce another movie project to Ronan.

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