Director of Photography Department of Huayu

Chapter 137 God helps Wu Chen, Hurricane Katrina
It's still hot in Los Angeles in late summer.

The sun was scorching outside the set, while the lights and air conditioning were roaring alternately inside the set, just like the film itself's fierce collision in visuals and rhythm - "Now You See Me" officially started shooting.

This is a pure commercial blockbuster, with magic, crime, action, suspense, and all the genre elements that the audience wants to see.

The visual spectacles of high-density editing, car chases, and transition magic, coupled with the sparkling interactions between several star actors, make the entire film look like a precisely operated mechanism, with every frame serving the ultimate combination of entertainment and narrative.

But for Wu Chen, this is not an easy game.

"The more formulaic the genre, the more it requires extreme rhythm control and unified details." He whispered behind the technical monitor. His tone was not strong, but the production team all listened attentively.

The biggest challenge for the director of this film is not the emotional arrangement or the invention of camera language, but how to surprise the audience through a highly industrialized process.

Each magic trick requires advance design and repeated rehearsals by the actors. The special effects team and the camera crew must work together precisely to create a "illusion" that is both real and incredible in the lens.
The arrangement of the plot rhythm is even more complicated - how to make the audience maintain a "sense of trust" in the constantly aroused climax and not lose logic is the theme of Wu Chen's brainstorming with the editor and script consultant every night.

Fortunately, the filming went more smoothly than expected in the few days after it started.

The actors were in good shape, the production team cooperated efficiently, and with sufficient advance preparation, this large-scale production project, which should have been stressful, was unexpectedly calm under Wu Chen's coordination.

But just as the crew was immersed in the orderly progress, a sudden natural disaster interrupted the tranquility on the set.

On August 29, the day Wu Chen started filming, a hurricane named Katrina hit the southern United States, especially New Orleans, causing serious damage and casualties.

I thought it was just a simple hurricane, but in the next few days, the TV kept playing pictures of floating roofs, black people wailing, the slow response of the national emergency system, the plight of the slums, and the unfair distribution of resources.
All this quickly became the focus of public opinion across the United States.

This disaster also directly led to the deepening of racial conflicts in the United States.

In New Orleans, 70% of blacks are extremely dissatisfied with the state and federal governments, and even 61% believe that the government is indifferent to them.

The media continues to exaggerate racial conflicts, calling black people looters and white people "survivors" and "victims."

The arrival of a hurricane completely tore apart the racial and class divisions in New Orleans, exposing the "two Americas".

At this time, Jason Blum was looking at the movie "Get Out" that he was preparing, and then took a look at the riots of black people in the video. He looked up and down and was stunned.

"What the fuck!"

Jason Blum couldn't imagine what the scene would be like if "Get Out" was filmed at this juncture.

That was definitely a critical hit. Putting aside the awards, it was definitely a critical hit that could trigger a box office bomb.

For a moment, Jason Blum couldn't hide his excitement and hurriedly drove to the set.

In the rest area, Wu Chen called together James McAvoy, Woody Harrelson, Dave Franco and Scarlett Johansson.

He did not stand in a high position, but sat in a circle with the four people, his tone gentle but precise.

Compared with Chinese actors, Wu Chen is very clear that Hollywood's acting system is more pragmatic - they pay more attention to the logical unity of action goals, emotional motivations, and psychological details.

This makes their characters' behavior very consistent, but sometimes they may fall into the trap of being "too technical" and lacking some spirit.

This is where Wu Chen needs to make adjustments.

This is also a point that many Chinese directors feel uncomfortable with after coming here, because the actors' performance styles are different, so the way they direct the actors to act will also be different.

Wu Chen was not surprised by Jason Blum's arrival. After explaining everything to the others, he asked curiously, "What's wrong? You seem a little excited."

"Wu, have you heard any news about Hurricane Katrina these days?" Jason Blum asked anxiously.

"Of course, your TV is on all day and night, and many people on the set are discussing it." "Wu, you are so lucky, it's like you have God's help.

This hurricane exposed many problems, not just institutional problems, but deeper and unaddressed cracks.

Your script for "Get Out" was a racial satire wrapped in a thriller shell.
It seems like a response specifically created for this purpose - black identity, white culture, and seemingly friendly white family, but in fact it is a conspiracy to exploit black bodies.

This setting echoes the systemic injustice exposed by Katrina - in a society that appears to be equal on the surface, the lower-class black people are structurally abandoned.

I can guarantee that this movie of ours will be a hit, and it will be popular all over the United States next year."

Wu Chen was stunned for a moment when he heard this, but then he was swayed by the excited Jason Blum.

Wu Chen quickly stopped talking: "Stop, stop, I feel a little dizzy."

If he shook it again, he felt like he was going to fall apart.

Jason Blum paused and said excitedly, "If this is made, it will become the 'Voice of the Times'.

When the time comes, we will go to Warner or Universal, and they will beg to distribute our film."

Thinking of this, Jason Blum couldn't stop laughing, and glanced at the set again: "How long will it take to shoot here?"

"?"

Wu Chen couldn't help laughing.

"Now You See Me" had only just started filming a few days ago, but he still agreed and said, "It will take about two months."

"It's still going to take so long!"

Jason Blum slumped in his chair, he couldn't wait to start filming "Get Out" as it was a godsend.

"Don't worry!" Wu Chen smiled and stood up, directing the large crew.

Scarlett Johansson had been paying attention to Wu Chen. Seeing Jason Blum's excited dance, she couldn't help but move closer to Wu Chen:
"Director, do you have a new project? You can ask me to be the leading actress."

Wu Chen took a deep look at her. She had a nice figure, but he still shook his head: "You're too expensive!"

"expensive?"

Scarlett Johansson looked at Wu Chen's back as he walked away. Was her salary of two or three million still too expensive?
Could it be a low-budget art film?

Scarlett Johansson speculated silently.

Jessica Biel was watching this scene silently not far away, and she was very unhappy with Scarlett Johansson.

She originally went to audition for the female lead, but it was obvious that the other party took the spot. Although she ended up playing the second female lead, her role was far inferior.

Moreover, this drama is an A-level project with a production cost of 50 million.

"Bitch!" Jessica Biel cursed in a low voice. Although her voice was low, Mark Ruffalo, who played the FBI agent, still heard some of it and then shrugged.

In Hollywood, it is common for actresses to dislike each other. As long as no problems arise, producers and directors generally won't say anything.

He naturally didn't care.
(End of this chapter)