Chapter 205: A Sincere Invitation

The post-production of this film, unlike Murphy's previous two, is not characterized by a significant increase in special effects shots but by the inclusion of a dedicated composer who crafted a unique score for "Sin City."

Murphy, not being well-versed in music, doesn't involve himself in the creation of the score. However, all music to be added to the film requires his approval.

Although Harvey Weinstein is the final decision-maker for post-production, the Jewish mogul is currently fully engaged in the Oscar PR campaign for "Chicago," only responsible for the final review. The specific work is completed by Murphy and Erica Stanberg.

Of course, there's also Frank Miller. After months of collaboration, Murphy and he have gradually developed an unspoken understanding.

Murphy keeps the film's shots in line with the comic's style, and Frank Miller turns a blind eye to the market-friendly elements Murphy incorporates.

While Miller is somewhat stubborn and suspicious, he's not entirely inflexible. His comics sell well across America, clearly understanding that what suits the market is what truly spreads.

Murphy and Miller have had their differences during shooting and production, but they've always kept them within a certain limit, never escalating into severe conflicts.

Moreover, Miller's most cared-about aspect, the visual style, is also something Murphy agrees with.

All the shots are initially in color. At Murphy's request, the first step for the production team is to remove the colors, turning them into pure black and white images, but colors can always be reintroduced into the scene.

Murphy uses color as a weapon, making it a powerful narrative tool. For example, in the film, Gail has her natural skin tone and blonde hair, while the Yellow Bastard's sickly yellow skin stands out sharply.

If Murphy wants to highlight a character's pain, he lets blood return to its vivid red, like a close-up of color.

Three special effects companies in Venice are responsible for creating the special effects backgrounds for the film, each handling a story. The studio under Digital Domain is in charge of "Sin City," while the other two handle "The Big Kill" and "The Yellow Bastard," with each story requiring over six hundred special effects shots, totaling over two thousand shots for the entire film.

The actual shooting didn't cost much, with most of the budget allocated for post-production special effects.

"Mitchell, the red isn't bright enough!"

In the special effects studio, Murphy stands in front of a large screen, arms crossed, chin in hand, reviewing a newly adjusted scene featuring Marv and Gail. This scene, meant to be one of the most intense color contrasts in the film, doesn't satisfy Murphy with its rendered red.

He tells the person in charge, Mitchell Williams, "The black and white here need to enhance the color. The color, against a rich black backdrop, must be striking!"

Murphy points at Marv and Gail on the screen, "For Marv, a brutish man who's like a killing machine and ugly to boot, who didn't know what love was, to fall deeply in love with Gail, a prostitute, seeing her as his goddess, Gail must use blinding colors, highlighting her golden hair, snow-white skin, and red silk dress, creating a stark contrast against the black background!"

"I'll take it back right away," Mitchell Williams quickly responds, "and make the adjustments."

Murphy looks at him, saying each word deliberately, "Make it fast!"

Williams assures, "I promise!"

The scene between Gail and Marv is arguably the film's scene with the most significant color difference. The camera serves as the language of the film, with color being one of its expressions.

During shooting, the bed where Gail and Marv consummate their love forms a giant red heart. Murphy used an overhead shot, making this symbol of love seem like a tiny boat in a black sea.

After Marv wakes to find Gail murdered, he plunges into a vendetta against both the police and the city's prostitutes, not for his safety but to avenge Gail's death.

Besides color, Murphy is also strict about the lighting and shadow design in post-production.

Murphy almost abandons color, using extreme black and white to depict scenes of violence and crime.

In such a scenario, the role of lighting and shadows becomes prominent. Without color differentiation, the audience's reliance on brightness and darkness increases.

Comics can create shadows for characters and objects through drawing techniques. In contrast, films, unlike comics, require meticulous lighting effects, as seen in Murphy's decision to forego real locations in favor of high-definition cameras combined with special effects for background and image processing.

Take the bar's lighting design, for example.

In the plot, the bar is a crucial location, serving as the intersection for three independent stories.

In this inherently dark city, the bar is a place of ambiguity, frequented by police, thugs, drug dealers, and prostitutes, with most visitors drawn by Nancy's beauty. The righteous characters also come to the bar in search of people.

Thus, the lighting in the bar is ambiguous, creating a sense of oppression under the smoky haze.

In post-production, Murphy continually works to create a unique visual effect through the interplay and influence of film and comic languages.

While the film and comic share a stylistic lineage, comics and films are fundamentally different art forms. Although Murphy relies on the comic as a foundation and remains faithful to its visuals, this doesn't mean the film's color and lighting design can be neglected.

Art director Helena Espola plays a significant role in this aspect.

While perfecting the visual effects, Murphy also gathers all main actors for dubbing in post-production. There was no live sound recording during shooting; all dialogues and voice-overs are re-recorded and added to the film later.

This isn't like dubbing for animation; since all actors have embodied their roles, the dubbing process is relatively straightforward.

"Why do you think I kept writing letters?"

In the recording studio, Jessica Alba, watching Nancy on the screen, speaks into the microphone, "I've always loved you, Hartigan. All these years, I even tried dating other guys! But I couldn't... Sleep with me, Hartigan! Sleep with me! I've been in love with you for so long..."

Like all productions, these recordings are mostly done by individual actors, even for dialogues, with Jessica Alba alone in the studio, reciting her lines as if monologuing.

Compared to shooting, recording goes much smoother.

When Murphy leaves the special effects studio and enters the recording studio, Jessica Alba's required dubbing is completed.

Her role wasn't extensive to begin with, and her lines were relatively few.

"Hi, Murphy!"

Seeing Murphy enter, Jessica Alba immediately greets him with a sweet smile and waves.

"Hello, Jessie."

Murphy nods at Jessica Alba but doesn't approach. Instead, he goes to the sound engineer and inquires, "How is it?"

The sound engineer whispers, "Pretty good, her line delivery is much better than her acting."

After listening through headphones and nodding in approval, Murphy says, "Alright, that's it for today."

With Jessica Alba's dubbing completed, only a few minor actors' recordings remain. After nearly two months of hard work, post-production is nearing its end.

Murphy raises his voice, addressing everyone in the studio, "That's it for today. Time to clock out."

After a busy day, Murphy doesn't linger. He leaves the studio, grabs a briefcase from his temporary office, exits the Miramax building, and heads to his car.

As he's about to enter his car, the sound of high heels clicking on the pavement approaches, accompanied by a sweet female voice.

"Wait, Murphy."

Turning to the voice, Murphy sees Jessica Alba, dressed in tight jeans, hurrying towards him, waving as if afraid he'll leave.

Murphy closes the car door and waits for Jessica Alba to approach, asking, "What's up, Jessie?"

"My ride's running late," Jessica Alba says, drawing nearer and stopping near the Cadillac's hood, "Could you drop me off in North Hollywood?"

Heading back to Santa Monica, passing by North Hollywood is on the way. Murphy nods and gestures towards the passenger seat, "Get in."

"Thanks!" Jessica Alba opens the passenger door.

Murphy drives, maintaining a steady speed. Gone are the days of his reckless chases with criminals and police. Like all successful individuals, his past's wildness is no longer visible.

"Murphy," nearing North Hollywood, Jessica Alba breaks the silence, "What do you usually do after work?"

"Go home, rest, think about what wasn't done well at work today," Murphy replies, focusing on the road, "Plan what needs to be done tomorrow... That's about it."

Jessica Alba glances at him, finding his routine somewhat dull.

The Cadillac stops beside an apartment building. Murphy checks and asks, "Is this the place?"

"Yes, this is it," Jessica Alba smiles, "Thank you."

She steps out, about to close the door, then turns back, leaning in to ask, "Want to come up for a coffee?"

Murphy looks at Jessica Alba, her smile sweet, the invitation sounding sincere.

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