Exploiting Hollywood 1980

With only one day to film the sex scene between Tom Cruise and Kelly McGillis, Ronald needed to be fully prepared.

The first problem I encountered was Tom Cruise’s hairstyle.

For the filming of "The Color of Money," Tom had to play Vincent, a pool master and apprentice to Eddie, played by Paul Newman. Not only did he grow his hair long, but his hairstylist also gave him relatively conservative long sideburns to match the image of Paul Newman in the original 1961 film "The Hustler" and the popular social atmosphere in the southern town.

But in "Top Gun", the "Lone Ranger" played by Tom Cruise has a typical short navy hair. The length of the hair and the sideburns are typical military style.

There's no way to cut the hair, to cut Cruise's hair short again for Ronald's day, to have him wear a wig in "The Color of Money," or to wait a few months to grow it out.

Ronald didn't think of any good solution for the time being, so he had to go back to Los Angeles to make long-term plans. See what the hair experts have to offer.

The second problem is that the rhythm of the romantic story between the two needs to be reorganized.

In the story originally shot by Ronald, the love story between the Lone Ranger and Charlie had its original rhythm. They got to know each other in a bar and had a crush on each other, and got to know each other's true identity in the airport class. Then the two broke out because of Charlie's criticism of the Lone Ranger's flying style, and then they chased each other in a car and kissed.

After that, the wife of the Lone Ranger's partner Goose (starring Meg Ryan) revealed in a bar that the Lone Ranger was truly attracted to Charlie. The remaining doubts and barriers between the two were broken. Make love after dinner.

Finally, after the Lone Ranger shot down three MiG-28s, he chose to return to Miramar Naval Base to be an instructor at the top gun school, and met Charlie again.

At one hour and forty-seven minutes in length, any shot has its own rhythm. It took a lot of brainpower for Ronald to add the passionate scene between the two without destroying the original rhythm.

Ronald has two options. One is to have sex after the two kiss for the first time. The second is that after the accidental death of Goose, Charlie came back to comfort the Lone Ranger, and the two of them did good things again.

However, both insertions have their own problems. The two people just kissed in the front, which lacked a little foreshadowing, and the emotional low point in the later part when the partner died was a bit abrupt.

"It's better to put it in the front, otherwise the audience's psychological ups and downs will be too great. It's understandable that Charlie comforts the Lone Ranger when he is sad about the death of his partner, but taking advantage of the situation would damage the Lone Ranger's image too much. Paula Wagner will definitely not let it. Shoot like this.

"

Ronald took the opportunity to look at Rick Niceta, who was working on his laptop in the next seat on the return plane.

"What? Is there any problem you need me to solve?" Niceta noticed Ronald's gaze. He closed his notebook and asked Ronald what he thought. Now in his mind, Ronald's ranking of importance has faintly surpassed that of Francis Coppola.

"I was thinking about how to add that passionate scene. It's like a seesaw. If I put it down here, other plots will rise again. It's difficult to balance the beginning and the end."

"I can't help you with that. Do you need a script doctor? I can find William Goldman for you. He has a lot of free time now."

"Not needed at the moment." Ronald knew this person's name. He was once the screenwriter of "Butch Cassidy and the Sundance Kid", "A Bridge Too Far" and other good movies. He was also a writer, but he faded out of Hollywood after the 1980s. , and now I occasionally take on some script consulting work.

If you have any difficult questions, just ask for help. The difficulty of inserting passionate scenes is really a joke for seniors.

"There is something you can do for me." Ronald remembered something and said to Niceta, "Orson Welles once asked me for something. He was the first person to do it when he returned to Hollywood in 1958. The movie 'Touch of Evil' was cut by Universal.

He wants to find the original film, re-edit it according to his opinion, and see if there is any chance of re-release, or release the video tape and sell it to TV stations for broadcast. Anyway, I want to make a movie based on my ideas back then and meet the audience.

I know that nearly thirty years have passed, and there is little hope of finding the negatives. He once wrote a letter to Universal’s executives, saying that he had read dozens of comments on the preliminary version. If this letter could be Now that the original copy has been found, I want to buy the rights to the screenplay of The Lost Lady and re-publish it with Welles's letters, so that at least film students can see the full extent of his genius. "

"No problem, I'll do it when I get back to Los Angeles."

…

"Movies are like a seesaw. If you put a shot here, it will tilt up elsewhere, so you need to add a weight here."

Ronald murmured to the wooden board on the wall in the study, and finally he added the passionate scene after the two were racing and chasing a passionate kiss.

But in this way, the relationship between the two seems to be progressing too fast. Ronald arranged another reunion for the two after the Lone Ranger visited Charlie's house.

Charlie asked the Lone Ranger to go home, and the Lone Ranger gave up competing with Iceman in beach volleyball to keep the date. But when he arrived at Charlie's house, he found that Charlie was only interested in his close contact with the MiG-28. Feeling hurt, the Lone Ranger left alone.

In order to make the emotional scene turn smoothly, Ronald re-wrote a scene. The next day, Charlie and the Lone Ranger met in the elevator. Charlie told the Lone Ranger that although he mainly wanted to learn about MiG aircraft, he usually did not invite men. Go back to your home to discuss technical issues.

This provides a foreshadowing, which makes the subsequent passionate scenes seem more logical.

The script sequence was arranged and storyboards were drawn. Ronald nodded with satisfaction, leaving only the question of Tom Cruise's hair.

"Ronald, McGillis flew over from New York, come and talk to her." Two producers, Don Simpson and Jerry Bruckheimer, called Ronald.

"Okay." Ronald put down the script and drawings. "Just in time, I've written the new scene for you to take a look at."

"You'd better come first." Bruckheimer's tone on the phone was unkind.

"What's wrong?"

…

"Don? Jerry?" Ronald arrived at Paramount's production office, opened the door, and first saw a blonde girl inside, who was Kelly McGillis.

"What's wrong with you?" Ronald exclaimed. The two producers behind were also sitting on chairs talking on the phone.

McGillis turned around and smiled sweetly at Ronald, "Ronald, long time no see."

But this smile looked very scary in Ronald's eyes.

McGillis had not seen her for six months and actually cut her curly blond hair short.

It's not very short, but it is obviously different from the light blond, slightly curly, sexy hairstyle that she had during the filming of "Top Gun".

"Why did you cut your hair short, Kelly?"

Ronald understood where the two producers' dissatisfaction came from.

"Why do you all say that? I didn't know you would have to reshoot scenes six months later?" McGillis was a little unhappy. "I went back to New York to audition for a Broadway play, and they happened to need a character with short hair, so I cut it. short."

"It's not too short, right?"

McGillis said, leaning forward and tilting his head to show Ronald the length of his hair.

Her blond hair was a little darker than before and rested neatly above her ears. Ronald looked down from above. There was still a little bit of down on the neck. The snow-white neck and collarbone made him feel moved.

"Is there anything we can do?" Ronald looked away and asked Bruckheimer.

"Don has contacted the best hairstylists and special effects makeup artists he can find to see if there is a remedy.

…

Soon the hairstylist came and surrounded McGillis and began to use his tricks.

"I want to recover to this level, and I can't let the audience see the difference."

Ronald picked up the bust of McGillis on the set that was taken at that time, a photo that was originally going to be used as a promotional poster, and said to the two professionals.

"Oh...ok"

The hairstylist is a somewhat effeminate man wearing a baseball cap and has two beautiful assistants. He was stunned for a moment after hearing the request, then lifted up McGillis' hair with his hand and compared it with the photo.

"Look at Ramsay's magic."

After more than an hour, the hairstylist and his two assistants finally finished working on Kelly McGillis' hair.

"Dang!" the hairstylist moved the mirror away for Ronald and the two producers to watch.

"Well, the curl has been restored very well, but it's still a little too short."

"What can I do?" Don Simpson turned to the hairstylist.

"Two ways, either shave it shorter or wear a wig." The hairstylist suggested.

"Hmm..." McGillis shook his head at Ronald and everyone in opposition.

Ronald looked back at the hairstylist.

"Either you can find human hair of a similar color and texture and give her strands of extensions. This requires careful manipulation and fresh human hair. We have to go to the site to do it for her, which takes about five hours, and only a few seconds after it is done. It lasts a day.”

"Well, no." Now it was Ronald's turn to say nothing. He only had one day of filming and spent five hours styling his hair, so McGillis' condition was not guaranteed.

"Then there's nothing I can do to help. Ramsey's magic power is also limited." The hairstylist raised an orchid finger to express that he was helpless.

Ronald looked at him and then at McGillis. It's not okay to be half-assed like this. The audience will always see the flaws. If they are allowed to act here, they will be distracted for the next five minutes, which will greatly affect the box office and reputation.

"What if you put a baseball cap on her?"

Ronald had a sudden idea and took off the hairstylist's hat, walked over to McGillis and put it on for her.

"No one says Charlie can't wear a baseball cap, right?"

McGillis was stunned for a moment, then looked at Ronald, who was almost nose to nose with her, and said, "Indeed, Charlie can wear a baseball cap."

"Hahahaha... let's do it. Ronald, you are a genius." Don Simpson laughed happily. "Who is that? You can go to Chicago together and solve Tom Cruise's hair problem."

"When it comes to the passionate scene, McGillis is lying on the bed with his hair surrounded by pillows, and the camera will pass. It will not be easy to find out." Bruckheimer was more careful, he added.

"You are really a genius." McGillis looked at Ronald with a smile on his face.

"Would this so-called genius be honored to treat you to a drink?"

Ronald was in a good mood.

"Did you come here in your Ferrari?" McGillis flipped his hair coquettishly and combed it behind his ears.

"as you wish."

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