The Best Actor in the Vase of Meiyu

Chapter 1002 Combination of Virtual and Real
Logically speaking, villains also need uniforms, which is the characteristic of superhero comics.

Although people have been complaining about Superman's tights, they also have to admit that Superman's look has long been deeply rooted in people's hearts. Even though the uniform was later redesigned in "Man of Steel", the traditional underwear-outerwear look is still deeply imprinted in popular culture, so that the superhero uniform has become a vital part.

However, tights are not for everyone.

Alfred's body shape is not suitable for him. Not only is he pear-shaped, but his 50-50 body proportions also look particularly strange in a tight suit.

In the end, Doctor Octopus's look was not matched with a special tights. Instead, the crew's styling team designed a windbreaker for him, using long lines to cover up his soft, chubby and loose body shape, which was able to show the villain's demeanor.

At least, from a plot perspective, Doctor Octopus' mutation was an accident, and he himself was not prepared to become an evil villain, so he did not prepare and did not need to prepare a special tights uniform.

Alfred, with a simple and honest face, raised his hands and made a gesture of surrender. "Thank God, otherwise, I don't know if I can work happily; but I am 100% sure that you probably can't."

The laughter became more cheerful.

James, the funny guy, immediately covered his eyes with his hands and shouted like Phoebe in "Friends", "My eyes, my eyes?"

The atmosphere is particularly harmonious.

Until the staff showed up and interrupted the after-dinner chat, "Anson, sorry to bother you, we may need to confirm the route and location, as well as the movement trajectory of the camera."

Anson nodded crisply, "No problem."

Work started again.

In a New Jersey studio, the "Spider-Man 2" crew prepared to shoot the most exciting fight in the entire movie, which was also carefully designed by Sam Raimi:
Train Battle,
Generally speaking, the final battle at the end of the third act of a movie is the climax. "Spider-Man 2" also needs to conceive such a scene, but at the same time it needs to be slightly different from the previous work, presenting a different style and texture.

For now, sequels to Hollywood genre films still have their own "shackles". Sequels must be more grand and larger, so superhero movies often save the city in the first one, save the earth in the second one, and save the universe in the third one, until the story can't go on.

Sony Columbia naturally expects this, and the sequel is intended to go a step further.

But Sam had a slightly different opinion.

The special thing about Spider-Man is that he is an urban hero with a deep New York imprint and also has the image of a good city neighbor. If he simply continues to expand the scene, he will lose his own characteristics.

So, after careful consideration, and weighing the ambitions of Sony Columbia and the director's positioning, Sam decided that the final battle should focus on visual effects, that is, the big explosion that is popular in today's commercial genre movies, to save a potential city from destruction and satisfy the film company's obsession with big scenes.

At the same time, Sam puts the close combat between superheroes and villains in advance, in the name of warming up for the ultimate showdown, and sets it on the most ordinary city train in New York, designing a peak showdown between two people.

In Sam's opinion, those explosions, gunfights and high-tech confrontations are indeed dazzling and wonderful, but they are always cold, lacking in reality and blood. After all, there is no way to mobilize emotions. Maybe a heavy bombardment can press the audience to their seats and make them unable to move, but it will never make the audience excited like close combat.

At least, this is what Sam insisted on, and the horror film director still couldn't give up his love for blood plasma. For this reason, Sam was particularly excited. He not only designed the entire story framework, but also designed the split shots and many details of the fight confrontation.

It's no exaggeration to say that this is Sam's biggest motivation for filming the sequel.

For him, this was the real climax.

It is for this reason that Sam decided to complete the filming of this scene shortly after the start of filming, so that the actors and crew could maintain their creative energy and concentrate on completing the core climax of the sequel before the crew inside and outside were tortured by the long filming.

So, ten days after the start of filming, the crew arrived at the New Jersey studio to shoot the second to last key plot of the film -

That's the movie.

In this plot, in order to continue his research, the obsessed Doctor Octopus needs to obtain tritium from the group company controlled by Harry; Harry asks Doctor Octopus to bring Spider-Man in exchange.

Because Spider-Man is nowhere to be found, Peter, who has been taking pictures of Spider-Man, becomes a target. Doctor Octopus captures Mary Jane, who is about to confess her love to Peter, and demands that Peter summon Spider-Man to complete the exchange.

Then, Spider-Man appeared.

Spider-Man and Doctor Octopus started fighting, from the sky above the skyscrapers in New York to the high-speed train, and dragged in ordinary people in the train carriages.

Furious, Doctor Octopus recklessly attacks ordinary passengers as weapons, but Spider-Man cannot stand by and watch them die, which puts him in a difficult situation.

The shooting of this scene was undoubtedly difficult, from virtual to real and from real to virtual, breaking the boundaries between the real and the virtual. It required real martial arts movements as well as a large number of computer special effects. It required the actors to take part in the action themselves as well as the professionalism of the stuntmen. The difficulty was extremely high.

In the movie, Doctor Octopus has a total of four mechanical arms fixed behind his back. Such a powerful arm puts Spider-Man at a disadvantage in the confrontation.

In the actual filming, it was obvious that the crew had no way to create four flexible and powerful mechanical arms; nor was it possible to rely entirely on computer special effects to complete the post-production work, because the mechanical arms needed to contact, control, and even attack Spider-Man, and it was difficult for the actors to complete the performance out of thin air without any contact.

Although Anson said, "I can try, but I don't think I can fool anybody."

Moreover, in Hollywood in 2003, computer special effects had been fully developed and had the ability to create realistic images on the big screen, but they were still not fully mature and there was room for further growth and development.

Ten years later, looking back at the special effects of "Spider-Man 2", you can clearly see the flaws in the joints and details, and the overall plastic feel is lingering, which is obviously different from the truly superb computer special effects that came later.

In other words, current computer special effects are still unable to create images 100% out of nothing and then bring perfect viewing effects to the audience.

Therefore, how to combine the real and the virtual to complete the shooting, and perfectly combine the on-site shooting and computer special effects, has also become a challenge for the film production industry.

(End of this chapter)