Exploiting Hollywood 1980

"a!"

Ronald climbed onto the swing arm again. He wanted to see that the lighting atmosphere was in line with his preset ideas.

A wooden bridge leads to a platform extending out of the Mountain Lake Villa, where you can see the lake from the mountain.

Ronald had seen it through the viewfinder in advance, and the lighting arrangement was designed in advance. The red, yellow, and green paper lanterns emitted a misty light on a drizzly night, as if each lamp All covered with a halo.

The boom rises from the ground, and a vista opens up.

The lights in other places around him were deliberately turned off, making them all dark. Only the viewing platform opposite the wooden bridge is brightly lit, making people want to go there and join the lively dance there.

"cut!"

The technique of using lighting invented by Francis Coppola in his blockbuster film "A New Love" is indeed very good and can easily create an intoxicating atmosphere.

Another street-level film that followed, "Streets of Rage," also used this kind of red and warm-colored lighting throughout the film to create an atmosphere on the actors' faces. And setting lights on the wet ground to let the ground reflect colorful lights are all very useful techniques for creating an atmosphere.

Although these directors were not successful at the box office, they allowed subsequent directors to explore a new audiovisual language.

No wonder Coppola is always called the director's director. Other directors in the industry can always get more inspiration from his films than ordinary audiences.

"Move the camera to the viewing platform." Ronald ordered the camera crew.

Jennifer Gray and Patrick Thwaites will be dancing together soon, and I hope that what I have prepared can ease their feelings.

"Should I clear the place?" Ronald asked the dressed-up assistant choreographer Miranda Garrison when he arrived at the viewing platform.

Today is a scene where she seduces Johnny, played by Sweets. All the dancers come to see their choreographer perform.

"No need, let them see my strength."

Miranda wore a black backless evening gown with an expensive white fur shawl around her shoulders.

Ronald smiled and reached out to hold Miranda's hand.

Let her step into the center of the viewing platform.

"Oh oh..." the extras started to cheer.

Patrick Thwaites also smiled and took Miranda's hand.

Both of them are professional dancers. Ronald motioned for the camera to turn on and began recording footage as they rehearsed.

Miranda reached for Sweets' neck and the shawl slipped off. She simply took off the shawl with her other hand and threw it to the ground next to her.

I felt really bad when I saw the props. They were borrowed by the crew from the store. If they hit the ground or get wet, they would have to lose money.

Ronald grabbed him and glared. Miranda's improvisational performance is very good. She is a middle-aged housewife who wants to eat her dance teacher in one bite when she sees her very good figure. Her performance is very good.

How could a little shawl be such a bad thing? If it's interrupted, what if it's not in this state when it's officially shot?

Experienced actors often take the first step to create the fullest and most realistic emotional response. Later, with experience, it will become cliche.

"Hi, Max? Are my dance lessons starting to pay off?" Vivian, the noble lady played by Miranda, asked the hotel owner Max with a smile.

"Very good, first-class!" Of course Max knew what Vivian was doing, but as long as she could continue to stay in the resort hotel, he would usually turn a blind eye to such things. Besides, Vivian's husband had to pay the fee.

Vivian turned around calmly and traced Johnny's face with one finger.

"cut!"

"Bravo!" Ronald was the first to applaud, leading the cast to applaud Miranda's lovely acting skills.

"Really? When we actually shoot, I'm afraid the performance will be even worse." Miranda quickly picked up the fur shawl and patted the dust on her hand.

"It doesn't matter, I've recorded everything." Ronald made a questioning gesture towards the photographer, who made an OK gesture and then gave a thumbs up to show appreciation.

The camera rewinds again to film the boss Max greeting Dr. Hausman and his family. Max hopes that his youngest son will pursue the doctor's youngest daughter Osman. So I take good care of them.

His son was admitted to Cornell, and the baby was going to Mount Holyoke College in Massachusetts. It happens to be a good traditional school for marriage.

"Doctor, aren't you going to dance?"

The camera focuses on the Hausman family, except Lisa who is out for a tryst.

"We're waiting for a waltz."

The doctor's wife answered for her husband. The waltz is a more orthodox social dance. Compared with today's music, the meaning of male and female flirting is not that strong.

"Vivian Pressman. She's what we call a woman who lives in Kellerman during the week. Her husband is a car dealer and comes in on the weekends."

The boss Max explains to the doctor the origin of this romantic woman.

Baby was held by Dr. Hausman's shoulders, as if he didn't want her to hear the dirty side of society.

Jennifer Gray looked helpless, as if to say, why wasn't I the one teasing Johnny?

"cut!"

Ronald stopped. This part was performed very well, and Gray's state of mind exactly matched the baby's feeling in this part of the scene. She was also envious of Sweets' wife.

The so-called wrong in and out, this kind of mentality is very suitable at least before the filming of the baby and Johnny's official relationship.

"log……"

Ronald called over the recorder, and she began recording the location of each shot. Immediately the lighting team will need to change the lighting, and the scenery team will also need to change some props.

To save money, "Dirty Dancing" uses a jump shot. On this viewing platform, there are many scenes that will be filmed at the same time.

"Baby!" Sweets called Gray in an affectionate manner.

"Johnny, I..."

Jennifer Gray and Patrick Thwaites slowly hugged each other and then started dancing the mambo to the music.

"cut!"

This was the seventh time Ronald had taken this shot. The two of them were stiff and stood there without speaking, as if there was no communication at all.

During the audition, the feeling of being so harmonious that just dancing without speaking can make people blush and their heart beat is gone.

"That's it for today."

Ronald's attempt to use physical contact to bring the two leads back into shape also failed shamefully.

When you feel something, looking at each other and wanting to connect with your fingers is a thrill that makes people tremble.

When there is no feeling, even if you kiss passionately, there will be no waves in your eyes.

"Ronald, here are the theme song demos that are here to apply."

Back in the hotel room, Ronald could not stop and continued to select the theme song with the screenwriter Eleanor.

Musical director Danny Goldberg is incompetent. Although he has a lot of experience working in major studios, when he encountered a stingy crew like Ronald, many of his working methods could not be developed here, and he could not handle anything by himself.

For example, he handled the collection of theme songs very poorly. Originally, in major studios, all one had to do was make a request and make a few calls to friends at major record companies, and they would be able to provide good candidate songs.

But Ronald had no money, only fame. Major record companies are unwilling to give their trump songs to Ronald's small production at low prices.

In the end, he went to find independent songwriters and producers that he was unfamiliar with. It was already halfway through filming and he still hadn't found a suitable song.

Ronald, who was already impatient, called Jimmy Lehner, the music broker who had secured the rights to the old songs. A message was sent through him, extending an invitation to all interested independent producers.

Finally, after urgent solicitation, Reiner rushed to the Mountain Lake Villa with more than fifty demo tapes.

It was already late at night, and Ronald, dragging his exhausted body, was still listening to the play with screenwriter Eleanor.

Maybe the price offered was too cheap, or maybe director Goldberg’s idea made sense. Good songs would not be missed by big record companies and fall into the hands of independent producers.

I have listened to more than 40 sets and still am not satisfied.

"None of these will work. What we want is a song that has the basic structure of the music of the 1950s, but also has some new pop elements. It also needs to be in time with the dance at the end."

Eleanor whined.

"The quality is indeed a bit worse." Ronald also scratched his head.

"It really doesn't work. We can only play a mambo rhythm dance song when filming the final dance scene, and then collect new songs and record them on the post-production studio."

"But then the cast lacked the resonance of the scene and the appropriate theme song. And Jennifer and Patrick lacked chemistry."

"Forehead……"

Ronald was annoyed when he heard this. He turned on the last tape and put it in the recorder.

"Now I've found the time of my life

No, I've never felt like this before

Yes, I swear, it's true

I owe it all to you

Because I spent the best time of my life with you.”

"Huh?" Ronald and Eleanor sat up at the same time. Although the song was not fast at first, the melody and lyrics fit the atmosphere of the scene very well.

Then in the second section, the rhythm speeds up to the normal rhythm of Mambo, which can be used to make a fuss about editing, with cross-editing of close-ups of faces and close-ups of dances.

"Who sang this? The voice is so magnetic?" Ronald was overjoyed and made sure to let the two singers in the demo sing this song.

"It's Bill Medley and Jennifer Warnes," Jimmy Lehner replied.

Seeing that Ronald didn't quite understand, he added, "Bill Medley is the one with the long hair in the 'Righteous Brothers' group."

Ronald knew this group. Their most famous song, "You've Lost That Loving Feeling," was the song that the Lone Ranger sang acapella with a microphone in the bar in "Top Gun" to pick up Charlie. It was also the song that Charlie ordered on the jukebox after the two finally reunited in the bar.

Bill Medley is the powerful baritone at the beginning.

"Ah, it's him. I've decided on this one, and you can help me get their recording done."

Ronald immediately made up his mind.

"I'm going to do it right away and get a studio version sent to you."

"Don't send it here, we're going to North Carolina right now."

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