America Tycoon: The Wolf of Showbiz-Chapter 964 - 885 Walking through Fire with Complete
Chapter 964: Chapter 885: Walking through Fire with Complete Wickedness
Chapter 964 -885: Walking through Fire with Complete Wickedness
New York, Brooklyn Studio.
The largest Stage One was set up as the three main filming locations: a bar, a theater, and an old apartment.
First Assistant Director Steve Downton, following Martin’s instructions, was directing the set and props teams to modify several unsatisfactory areas.
Editor Joel Negron had joined the team early and was sitting in a quiet area flipping through Martin’s storyboarding, observing the shooting from start to finish for the ease of post-production editing.
The lighting crew was adjusting the lights.
Director of Photography Jeff Cronenweth stood in front of the laid-out camera track, discussing with Martin the shooting of the first scene.
Not only had Martin prepared storyboards, but he also clearly communicated the desired camera effects.
After a while, Steve Downton joined them, and the three huddled together for a lengthy communication.
In the afternoon, Martin, in full makeup, came in front of the blue screen on set, posing in various pre-designed styles for shooting promotional posters.
The crew soon officially began shooting, and a promotional campaign was launched on the first day of shooting, unveiling several concept posters.
Of course, the Joker was the main focus.
The first promotional poster was finalized and featured city flames as a backdrop for the Joker, with the Joker’s face blurred.
This “Joker” movie, in terms of promotions, is a prequel to “The Dark Knight,” and the Joker’s character design would be somewhat different.
After the promotional photos were taken, someone immediately took them for processing, soon to be released across America.
All the preparations for the crew were progressing methodically, and Martin had drawn a lot from David Fincher’s concepts and methods in shooting “Split.” The focus of “Joker” would be on the character’s experiences.
“This isn’t about shooting DC’s Joker!” Martin said to the heads of each department during the planning meeting, “It’s about filming how a person turns into the Joker, focusing on this person!”
He emphasized strongly, “Everyone, let go of your memories of the comic book Joker and the Joker from ‘The Dark Knight.’ This is a completely new character.”
Writer Bradt followed up, “When writing the script, I didn’t refer to any previous Joker.”
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The others were mostly listening.
Martin turned to actors like Robert De Niro and Silsa Ronan and said, “Every character and background is black, dark, oppressive, with not a single glimmer of light.”
Robert De Niro, who had previously discussed with Martin, said, “Villains are not born; they are cultivated or made by their experiences in life that make them give up on their belief in humanity.”
“Exactly,” Martin snapped his fingers and glanced at Bradt.
As the writer, Bradt further interpreted the Joker and the script to help the actors immerse themselves into their roles faster: “Before turning evil, the Joker’s life was down and out, somewhat neurotic, but not yet insane. It was the dark side of society continually seeping into the Joker’s soul that, after suffering discrimination, ridicule, and abuse, the most horrifying criminal Joker was born.”
Martin said, “In short, a brutal society created the Joker.”
In recent years, he had been influenced quite a bit by David Fincher and Christopher Nolan.
Nolan’s multitude of marketing tactics had been very beneficial to Martin; in this regard, the two of them influenced and improved each other.
But in terms of film style, Martin actually preferred David Fincher’s dark aesthetics.
Perhaps for personal reasons, he had a taste for characters who were insane yet evil.
This was neither a comic-adapted superhero movie nor a Hollywood business movie following the conventional formula.
Martin was likewise speculating, fully exploiting the current social situation.
As for whether the film was going to explore any themes or thoughts, Martin would say it did during promotions, but insiders understood what was really going on.
A few days later, in an interview with “The New Yorker,” Martin, looking profound, spoke deeply and thoughtfully.
Sitting in front of the first “Joker” poster that had just been made, “The New Yorker” star reporter Grant asked Martin, “Your last portrayal of the Joker was hailed as the most classic villain in film and television, how is this time different? There are multiple versions of the Joker in DC Comics, which one did your film primarily adopt?”
Martin thought for a moment and replied, “When writing the script, I, Daniel from Warner Bros., Louise from Pacific Pictures, along with writer Bradt, plus Nolan and Emma Thomas who participated in the early stages, after several discussions, we decided not to follow any comic content. We ultimately wrote a completely new version describing how the Joker became an agent of chaos.”
Grant continued, “Can you talk a bit about what kind of person this Joker is? Beyond the chaos, madness, and evil.”
“From the earliest stages of the project to the script creation and now as preparations are nearly complete, many have asked me this question,” Martin gravely made up stories, “What kind of person is the Joker? Why does he have such charm? Because he represents a kind of freedom!”
Grant was slightly surprised.
Martin, the bastard, always knew how to manipulate public opinion and mainstream social values.
Even in America today, where monsters and devils run rampant, organizations like LGBTQ go crazy under the banner of freedom.
