The soundstage had been fully prepped. There were no grand structures, only a green screen serving as the background. The rest of the area had been set up to look like a dark, oppressive alleyway, reflecting the film's themes. Even without the camera's lens, the set exuded a heavy sense of oppression, making it hard for anyone to breathe easily.
Murphy wanted to convey a simple idea through the background: the protagonist and his allies believed their actions were just, but they also knew their deeds couldn't withstand the light of day. Thus, like all creatures that shun the light, they could only meet in the darkest corners.
This was the final scene to be shot. Nearing the end, the crew inevitably relaxed a bit. Murphy made rounds to check each department, directing David Robbie and Helena Espora to adjust the lighting and background setup. He then gave a few quick instructions to Henry Cavill and Christoph Waltz before announcing the start of filming.
"City of Chaos, Scene 415, Take 2, Action!"
With the clapperboard's snap, the crew switched to high-speed operation, and filming began.
Philip Lassell personally handled a camera on a dolly track, moving to face Henry Cavill, while another assistant captured Christoph Waltz from an unobtrusive angle, ensuring they didn't interfere with each other's shots.
"It's all over."
In the darkest corner, Henry Cavill stood like a statue, staring at Christoph Waltz. "The city is at peace again, and I can disappear."
"Why?" Christoph Waltz asked. "Aren't you doing great right now? New York's criminals know of your existence and fear you. They're terrified because of you."
Henry Cavill's voice grew somber, "Because there's no one to restrain me. One more step, and I'll fall into the abyss."
Christoph Waltz remained silent, seemingly understanding the pain and helplessness in those words.
After a moment of hesitation, he slowly pulled a magic ball from his pocket, speaking to himself rather than Henry Cavill, "During the chaos, a very dangerous man escaped from the asylum. He has a destructive urge."
Henry Cavill stepped forward, enveloped in darkness, and took the colorful magic ball from Christoph Waltz's hand, asking, "Who is he?"
"No one knows his real name," Christoph Waltz replied, looking up slightly. "Before he went mad, he was a magician. Many call him the Magician."
Looking at the brightly colored magic ball in the darkness, Henry Cavill solemnly put it away, turned around, and walked towards the alley's exit, leaving only a black silhouette for the camera.
"Cut!"
Murphy's voice rang out immediately, but everyone stayed alert, knowing the shoot wasn't over.
Indeed, Murphy then shouted, "All departments reset! Philip, switch to the IMAX camera for a full long shot."
For the film's conclusion, he wanted to leave the audience with enough to speculate and discuss, setting the stage for the sequel. Using the camera to craft this effect was the best method.
A full shot captures the character's entire body from head to toe, presenting the film's content and space, showcasing scale, distance, and spatial perception.
Once the heavy IMAX camera was set up and adjusted, filming resumed.
The shots captured by the IMAX camera were transmitted directly to Murphy's monitor. In the dimly lit scene, characters stood backlit, their features indistinct, yet their personalities shone through. This was exactly the effect Murphy wanted.
In post-production, he could use silhouette techniques to blur the character's face, making viewers focus more on actions and dialogue rather than facial expressions, highlighting the character's tragic and complex nature while setting up for the sequel.
Just like the first take, the shot was completed smoothly. However, Murphy didn't call it a wrap as expected. Instead, he sat behind the director's monitor, repeatedly reviewing Henry Cavill's final departure shot. The more he watched, the more he felt that having the protagonist gradually disappear before ending wasn't ideal—it felt incomplete. He paused the video, crossed his arms, and pondered.
Darkness pervaded this film from start to finish. Why not give darkness a special focus at the end?
"Philip! David! Helena!"
Murphy immediately called over his three key assistants. "I want to end with a freeze-frame on the darkness!"
Philip Lassell thought for a moment and said, "Sure, I'll set it up right away."
Murphy then gave David Robbie and Helena Espora a few instructions before they hurried off to make the necessary adjustments. Nearly an hour later, they resumed filming.
Perhaps due to the lengthy break, Henry Cavill's performance wavered. After three consecutive takes, Murphy finally got the freeze-frame he wanted, and the shoot was concluded.
After announcing the wrap, Murphy didn't join the rest of the crew in celebration. Instead, he replayed the final shot, repeatedly watching the freeze-frame ending in the eerie, faintly illuminated darkness.
Murphy's use of a freeze-frame could instantly halt the motion picture, freezing the image at a specific moment, capturing a static beauty akin to a sculpture, enhancing or highlighting a particular scene, expression, or detail.
This technique wasn't uncommon in Hollywood films. Freeze-frames in specific narrative contexts add self-referential elements to a scene, leaving a stronger impression on the viewer. The shift from motion to stillness invites contemplation.
Freeze-frames could be achieved through post-production editing software, but the effect was inferior to direct filming, especially with IMAX cameras using film. The best results were achieved through direct shooting.
Murphy decided to use a freeze-frame at the film's end, inspired by the lasting impact of *Thelma & Louise*. The film's ending, where the protagonists drive off a cliff, freeze-framed the moment before they fell, leaving viewers with an impression of them flying toward freedom rather than facing a grim death, suggesting female liberation against a patriarchal world.
Similar freeze-frame techniques appeared in many classic films. Another notable example Murphy recalled was *Butch Cassidy and the Sundance Kid*. The film ended with the protagonists bravely facing their fate amid a hail of bullets, freeze-framing their final charge, avoiding a gruesome death scene while emphasizing their fearless personas.
This final shot would be placed at the film's end, creating an open ending. It would provoke thought and imagination about the protagonist's actions, setting the stage for a sequel.
Since this was the first film in a series, a completely closed ending was out of the question.
Even though the film might not succeed, Murphy wouldn't neglect setting up for a sequel. However, the setup was minimal—just the ending and James Franco's brief appearance, seen through Margot Robbie's eyes.
At some point, Gal Gadot approached.
Murphy glanced at her and said, "Gal, send all the IMAX film stock to the bank vault for safekeeping. The digital footage, apart from what 20th Century Fox holds, should be personally kept by you."
Leaks were rare in Hollywood, but Murphy never took security lightly. His crew's security measures were always among the strictest.
Gal Gadot left to handle the storage of film and digital footage. Murphy then turned to Michelle Williams, "Michelle, contact 20th Century Fox and Carla Faith. Get the post-production facilities ready. I'll start post-production next week."
"I'm on it." Michelle Williams grabbed the phone to contact 20th Century Fox.
Murphy downed the cold coffee on the table, leaned back in his chair, and let out a long sigh of relief. The intensive filming phase was finally over.
From early preparation at the beginning of the year to the completion of filming, it had taken a full year. Even someone with Murphy's stamina couldn't avoid feeling exhausted.
But Murphy knew it wasn't time to relax yet. The film was scheduled for release on the first weekend of May, kicking off the summer blockbuster season. The time left for post-production wasn't ample. He needed to push through to avoid another schedule change, which would be a significant hassle.
The next day, Murphy took a few days off, completely secluding himself in Wave Manor to rest, ignoring the outside world. Once he felt somewhat rejuvenated, he dove straight into post-production.
_________________________
[Check out my Patreon for +200 additional chapters in all my fanfics! $5 for all!!]
[w w w . p a t r e o n .com / INNIT]
[+50 PowerStones = +1 Chapter]