Chapter 424: The Town

On the bustling streets of New York, a sleek car equipped with a camera raced at high speed, overtaking a galloping Cadillac. From the lowered window, a high-speed camera expertly captured Martin's control of the car.

The relatively slow Cadillac came to a halt, and a photographer carrying a camera joined Martin in the passenger seat. Martin restarted the car, showcasing various dazzling maneuvers with ease.

As the pursuing vehicle caught up, Martin retrieved a pistol from his armpit and fired shots at the rear. Despite the moderate speed of the car, Martin handled it skillfully.

The pistol quickly ran out of bullets, resulting in a collision that overturned a car. Undeterred, Martin swiftly ejected the empty magazine, replaced it with a new one, and continued driving and shooting.

Chad's style of action shots differed from filmmakers like Michael Bay. Chad opted for long lenses to emphasize realism over the intense, ultra-short lens editing used by others.

After capturing the car's long shot, Martin stepped out, handed the pistol to Bruce, and rushed to Chad to assess the shooting's impact.

Chad's camera, always in motion, offered a smooth experience unlike the shaky handheld footage in "The Bourne Supremacy." Wide-angle lenses, soft lighting, and fluid camera movements defined Chad's unique style.

While "The Bourne Supremacy" delivered an immersive first-person perspective, Chad's shots observed from a high level.

With a background as a stuntman, Chad employed a narrative method using fight scenes to advance the plot, conveying the story through martial arts.

In contrast to the flashy quick editing of the of the original "John Wick," Chad chose wide-angle lenses and long shots for each thrilling fight, creating a realistic appearance despite the film being an action spectacle.

Martin, as the male protagonist, faced a daunting task of eliminating over 150 killers in the first film, embodying a character akin to a video game controlled by the audience.

Jonathan's progression through levels mirrored a video game, relying heavily on Martin's movements, with minimal use of stand-ins.

After prolonged filming, Martin endured bruises and minor injuries, finding solace in massage therapy provided by Alexandra Daddario.

On set, Alexandra used her hands to help Martin with massages, and off set, Martin guided her in using softness and heat to aid in his recovery.

Returning to the rest area, Martin rested while his stunt double, Buck, took the stage for flying car scenes.

The crew closed off a New York street for filming, benefiting from the city department's cooperation compared to past experiences.

Despite the physical toll, Martin considered the deal worthwhile, especially with Alexandra offering post-work relief.

"Would you like some water?" Alexandra placed a sippy cup on the small table next to Martin.

Martin nodded appreciatively, "Thank you."

Chad's urgent instructions echoed, prompting the crew to evacuate the street before the evening rush hour for a brief but intense shoot involving a series of car collisions.

With safety measures in place, the crew successfully executed the scenes without injuries. Martin, inquiring about Buck, donned the suit he had taken off and joined the team for the next phase of filming.

After Buck exited the scene, the true male protagonist, Martin, reentered the temporary set and engaged in a fierce gun battle with a group of killers.

The gunfire echoed continuously, with Martin resembling a video game protagonist, relentlessly eliminating his enemies and embodying the essence of a suited thug.

"Bodies" lay strewn across the streets of New York.

When Chad called for a halt in filming, the lifeless corpses remained on the ground. The cameraman hurried over, selected an appropriate location, and captured several photos of the set.

This was Martin's crew. While lacking Nolan's creative genius due to the demanding shooting schedule, Martin could infuse real highlights into movie scripts, helping the crew garner attention.

By 4 o'clock in the afternoon, the crew wrapped up work punctually. A cleaning company efficiently cleared the road of debris, restoring smooth flow before the evening rush hour.

On the way back, Martin, Chad, and others shared the same commercial car.

Reviewing set photos, Marcus questioned, "Can't these be released directly?"

Chad responded, "It must be paired with appropriate news."

Martin interjected, "That's easy. Rumors circulate that I'm depressed and erratic because of clowns. The bodies on the ground suit my state perfectly." Jessica, the publicity manager, added:

"I've thought about it."

She retrieved her laptop and got to work.

Upon reaching the hotel, Jessica not only uploaded the news to the crew's official website but also distributed it across various entertainment platforms.

Accompanying the news were images of shootouts on the streets of Manhattan, depicting multiple bodies in each photo.

The headlines crafted by Jessica read, "John Wick" Commences Filming, Martin Davis Goes Wild on Set!

Upon arrival at the hotel, Jessica arranged for the crew's psychiatrist to shoot a news video.

In the video, the psychiatrist, paid to act naturally, warned, "Martin must reduce his workload to prevent a relapse of old illnesses due to excessively violent scenes." This not only highlighted Martin's condition, using him to attract attention but also expressed a major feature of the film: violence!

Violence stands as one of the biggest selling points in commercial movies.

After dinner, Martin returned to his room. Alexandra had gone home for the night, giving him a moment of respite.

Bruce offered a bottle of essential oil, asking, "Want me to give you a massage?"

Martin retorted with a middle finger, "Save your energy for Kim and Khloe."

"It's Khloe!" Bruce emphasized, "With Kim, it doesn't matter."

Martin scorned, "You're just a scumbag. We all flew together, and you refuse to admit it."

Bruce swiftly changed the subject, "Watch out for Alexandra's sister; the way she looks at you isn't normal."

Martin asserted, "How could a good person like me be involved with Catherine? I can't escape in time."

Bruce stowed away the essential oil, handed Martin a book, and said, "You scumbag, after accepting someone's gift, don't you want to read a book?"

"I'm too busy these days. Filming takes up my days, and even nights are spent in the chaos of a magnitude 9 earthquake," Martin replied, taking Chuck Hogan's "Prince of Thieves."

When alone, Alexandra never let Martin idle. Even when fatigued, she would provide him with an essential oil massage.

Martin stretched and prepared a cup of tea. With some free time tonight, he could leisurely delve into the novel.

Opening the cover, he read attentively.

Graham King, Scorsese's long-time producer, was reliable, and the writers he recommended were at least decent.

The crime novel was set in Charleston, an old town in Boston with a deep-rooted tradition of crime among its predominantly Irish-descendant residents, mainly ordinary workers. Charleston boasted the highest incidence of armored vehicle and bank robberies in the United States, with a notable number of monitored bank robbers.

The protagonists are four siblings in the town, all concealed bank robbers armed with well-equipped weapons and unique, daring methods of committing crimes. Their fate takes a turn with a bank heist that changes everything. The male protagonist finds himself entangled with the female bank manager.

Martin, despite being a subpar student, possesses remarkable patience. Initially reluctant to read, he gradually becomes engrossed in the novel's plot.

Chuck Hogan's novel is exceptionally well-crafted. The crime plot, more thrilling than Alan Greene's "Dark Fields," is not at all obscure and proves highly entertaining, particularly the thrilling depictions of several robberies.

Having quickly perused the preceding part, Martin, by late at night, had delved into nearly half of the novel.

Upon Bruce's return, finding Martin still immersed in the novel, he expressed surprise, "This novel is gripping. Does it have a plot set in the San Francisco Valley?"

Martin responded, "Although the crime-realistic novel unfolds in Boston, reading it made me contemplate our life in Atlanta."

Bruce, taking the novel, turned to the beginning, remarking, "We were fortunate to break free from the quagmire. If we linger in such a place, we might end up going down that road since the money comes quickly enough."

Martin laughed, "I'm an American hero, the kind who caught a Russian spy."

Bruce, knowing Martin well, picked up the novel and suggested, "Do you like it? Should we consider acquiring the film and television adaptation rights?"

"You truly understand me," Martin, candid as ever, replied, "Give my regards to Jessica tomorrow and inquire... No, better yet, let's personally visit."

Being considerate, he added, "Chuck Hogan is a friend of Director Scorsese, personally introduced by Graham King. I'm now interested in his novels. It's essential to show due attention."

In such matters, Martin consistently demonstrated his adeptness at being affable.

Bruce took Chuck Hogan's business card, noting down the address and contact information.

Martin prepared to take a shower.

Reflecting on the novel's plot, it reminded him of the movie "The Town," directed by Ben Affleck.

"Quite a coincidence, isn't it?"