"Mart and I met at a very young age."

In the actor's temporary rest area, Ben Affleck said to Ronan: "Strictly speaking, we are actually a distant uncle and nephew."

Ronan was a little surprised: "I always thought you were good brothers."

Leonardo DiCaprio and Toby Maguire, Matt Damon and Ben Affleck are two of Hollywood's most famous pairs of good friends.

Ben Affleck smiled and said, "Actually we are brothers."

Ronan knew that the United States was not as particular as the other side of the Pacific Ocean, and said, "You are also a good story in Hollywood."

Ben Affleck is not as arrogant as the character he plays. As an actor who gets up from the bottom, he knows very well who can't offend and who needs to be good friends.

Ronan was classified by him as a rank of good friends.

"I was very happy last time I received your invitation." Ben Affleck was very good at speaking: "But this time the filming conflicted with my schedule, and I took on "Pearl Harbor" directed by Michael Bay."

Ronan asked, “Is Pearl Harbor filming started?”

Ben Affleck said: "I'm shooting in Hawaii, I'm having a week off and just come and see Matt."

"I remembered it." Ronan seemed to have just thought: "When I read the news some time ago, Michael Bay directly blew up a retired warship during the shooting?"

Ben Affleck seemed to have thought of something terrible: "Yes, it's so crazy! The explosion flames rose hundreds of meters high at that time."

Ronan was also quite speechless. Michael Beck is indeed a crazy person in the explosion. He didn't seem to be able to shoot a movie without the explosion.

I remember someone said in my previous life that this was a man born when a meteorite hit the earth.

As many people hate the explosion shell, they like the explosion shell.

It is hard to imagine that Christopher Nolan, a commercial director with a completely opposite style to Explosion Bay, is a fan of Michael Bay.

This is what Nolan's royal photographer Varre Fist said.

According to him, Christopher Nolan could see something very special from Michael Bay's explosion-filled film.

A first-line commercial director like Michael Bay, no matter how harshly a professional film critic scolds him, it definitely has its advantages, and more than just a little.

A makeup trailer opened, Jennifer Garner got out, came to the temporary rest area, and greeted Ronan first: "Good afternoon, Mr. Anderson."

"Good afternoon." Ronan nodded to her.

Ben Affleck's eyes immediately turned to Jennifer Garner.

George Clint also came over and took the initiative to introduce the two: "Ben, this is Jennifer Garner. Jane, this is Ben Affleck."

When Ronan saw George Clint introduce the two, he didn't say much.

Ben Affleck shook hands with Jennifer Garner and said hello. After the two of them exchanged greetings, they chatted for a while.

Soon, after Matt Damon finished filming the scene, he returned to the temporary resting place. The three of them got together and started chatting enthusiastically.

Ronan greeted George Clint to director Paul Greengrass.

"Paul, you did a great job." Ronan saw the footage that had been shot. "Your grasp of the characters and plot is far beyond the special effects wonders of the film, which is even better than I imagined."

The selling point of the "Spy Shadows" trilogy has never been a special effect.

Paul Greengrass said: "I just create the tough and tough character and the rough and handsome appearance of the character as much as possible."

Ronan appropriately encouraged: “It was done very well.”

This will be a thriller film with a brain and emotion, and it will also be a subversion of traditional spy films and even action films.

In fact, one of the important reasons why the two sequels that Paul Greengras took over in his previous life were successful is that they continue the unique style in the first work, including the delicate polishing of characters and the excellent treatment of detailed elements.

The filming started again, and Ronan took the initiative to make aside, and the crew continued to shoot under the leadership of Paul Greengrass.

Matt Damon enters the set again. Jennifer Garner and Ben Affleck, who have no scenes for the time being, stay in the temporary rest area, and are still having a hot chat.

"Don't these two meet again?" George Clint said next to Ronan: "That's too messy. Jennifer Garner has a fiancé. He came to the crew to visit the class some time ago. It is said that he will get married in October this year."

Ronan was not surprised: "Hollywood has always been very chaotic." He took the initiative to change the topic and asked: "Have you never had any advertisers contact the crew?"

George Clint replied: "We have contacted mini and wanted to introduce mini's advertising sponsorship in the form of the heroine's vehicle as a mini, but mini refused in the end."

Ronan frowned and said, "I remember BMW acquired the mini?"

In his previous life, it is said that this is another iconic small three-car after the Volkswagen Beetle and Audi TT.

"They think our videos are not famous enough," George Clint said, shaking his head. "The British guys I contacted were arrogant, as if the British cars were amazing."

He said that he was contemptuous: "The British can't even keep their own car brands. I really don't know where their arrogance comes from."

Luo Nan said calmly: "It will be better in the future. When we truly become famous for Shahai Entertainment Production, countless brands will rush to cooperate with us."

Advertising sponsorship fees are an important source of income for Hollywood commercial films, but the income in this area is polarized. First-tier blockbusters often have more than a dozen or even hundreds of sponsors. It is difficult for small productions to find a sponsor.

Think about "Transformers" in my previous life, which was the advertisement of Autobots vs. Decepticons.

Advertising sponsorship alone can account for one-quarter or more of the production cost of "Transformers".

The wider the funding channels for a blockbuster film, the smaller the financial pressure and risks the producers will bear.

In this regard, Shahai Entertainment still has a very long way to go.

Currently, several of the biggest films produced by Shahai Entertainment are all horror films, and horror films are notoriously difficult to attract commercial sponsorship.

The murderer raised a fire axe from a certain brand, and then chopped off the heroine's head with an axe...

This advertising effect is so sour.

The crew's filming in Paris is getting closer. In addition to watching the filming, Ronan will also carefully examine the shots taken by Paul Greengrass every day.

As more and more shots were seen, Ronan became more confident in Paul Greengrass.

Perhaps it was because of a failure experience and knowing that the opportunity was rare, Paul Greengrass worked very hard.

A middle-aged director who is nearly fifty years old, the work enthusiasm that he exuded during the filming also made Ronan determine the director's pay, and every dollar is worth the money.

In addition to dealing with filming-related work during the day, Paul Greengrass also took out the time at night and rented a temporary workroom in a hotel where the crew checked in to initially edit the shots.

The editing work of the crew of "Spy Shadows" was originally mainly Paul Greengrass. When the two parties signed a director contract, it was clearly stipulated that Paul Greengrass' directorial work would provide Ronan, a producer with one or two final editing versions of the film.

Ronan later also participated in the preliminary editing of Paul Greengrass. Before leaving Paris, he carefully read and studied all the preliminary editing of Paul Greengrass.

From it you can vaguely see the appearance of future videos.

Even with the rough preliminary editing, the scenes composed of some shots still made Ronan nod continuously.

For example, Bourne's counterattack against Conklin.

This is the climax of the whole film, which was cleverly designed by Paul Greengras into two chapters.

In the first cut version, the first half is the moment when Agent Cia rushed up the spiral stairs with a submachine gun. Bourne held a pistol and used the dead body as a cover to jump down from the roof, shooting the killer who was rushing up the stairs in mid-air.

During the camera change, the corpse was used as a buffer to land, so that life was not in danger.

Of course, the price of doing so is that Bourne himself was injured in multiple parts of his body.

This realistic tactic is obviously completely different from the cool and cool styles of 007 and Tomco.

The second half of the editing is more compact, set in the alley outside the building, and Conklin's boss Albert's killer has been loaded and ready to be in place.

Paul Greengrass's shots keep giving Bourne staggering away from the alley, which makes people feel nervous, thinking that Bourne may have life worries.

As the camera turned, Conklin walked out, and was then shot three times by the gunman who had been waiting for a long time.

This moderate narrative method can greatly mobilize the audience's participation.

Ronan thinks the results will be very good in the future.

The director of the first film "Spy Shadows" was not Paul Greengrass, but Ronan roughly determined his judgment through filming and these preliminary editing, and Paul Greengrass was more suitable for this series.

As long as this series is successful, it will inevitably change the pattern of Hollywood action movies.

Not only agent action movies, but also science fiction action movies, will change.

Like Daniel Craig's James Bond behind, he was obviously influenced by "Spy Shadow".

After the crew's filming in Paris, they rushed to Switzerland to continue shooting the scene. Ronan did not follow the crew anymore. George Clint was responsible for the crew's daily work, which was reassuring enough.

The rest, like Indians' financial supervision and third-party guarantees, did not cause any trouble. After all, the crew is following the plan and regulations.

Ronan rushed to Germany and met Tony Koch in Berlin.

Perhaps the last time I introduced Ronan to the project "Resident Evil", Tony Koch also became a little interested in finding a film project, and wanted to introduce Ronan to another film project.
Chapter completed!