Exploiting Hollywood 1980

Exploiting Hollywood 1980 Text Volume Chapter 40 Choosing Women's Clothes Ronald and Norio Ohga chatted about the art of opera for a while, and Ohga said he even wanted to sponsor Franco Zeffirelli to make more opera films, even if the box office was not good.

Ronald promised to tell Zeffirelli in Italy that he was also a director in the opera industry and had deep connections. He would be very happy if someone was willing to provide financial support.

Seeing that Norio Ohga's tone of voice had a particularly excited energy, Ronald knew that the other party had already thought of a way to deal with the Columbia acquisition project. So he also said goodbye. It was already a luxury for such a president of a multinational company to take time to chat with him.

Before leaving, Ronald suddenly remembered something... If he didn't explain it clearly, the Japanese character might cause misunderstanding.

Norio Ohga was stunned for a moment, then smiled. In Japanese culture, it is indeed rude to mobilize funds to take advantage, but when Ronald said it directly, he still showed respect for himself, Sony, and the country behind him.

He waved his hand, saying that he didn't mind Ronald taking this opportunity to make some money, and regarded it as a reward for Ronald.

Ronald smiled too,

Norio Ohga was even more satisfied with Ronald's statement.

…

The breeze was blowing on the ferry from Staten Island to Manhattan, and the winter wind was a bit cold on the face. Ann Ross, the costume designer of the crew, poked her head out of the cabin and shrank her neck from the cold. On the deck were director Ronald, director of photography Michael Ballhaus, and editing director Walter Murch, discussing the framing. The three men were wearing thick leather jackets, and there were streaks of white air when they exhaled.

Ann Ross hurried back and chatted with her friend Polly Platt, who was the art director in the warmer cabin.

Polly Pratt pulled Ann. Although it was the New Year's holiday, there were still many secretaries in the cabin who went to work on Wall Street, wearing running shoes and puffing away one after another.

The three of them, Ronald, walked back to the cabin from the deck. He was explaining his shot ideas to the director of photography and editor.

Walter Murch drew a frame with his finger and told Luo his idea.

This method of using a black screen to connect long shots was invented by Hitchcock. His is a so-called one-shot film. The whole film looks like there is only one long shot, like a drama.

But the technology at that time,

A box of film can only capture more than nine minutes of length, so the so-called one shot to the end is actually false. A nine-minute long shot was designed, and then a black screen was used to connect it. But the audience didn't understand it at the time. It was quite refreshing to watch this kind of movie for the first time.

The director of photography, Michael Ballhaus, is a German. He pointed to the sky in thickly accented English and told Ronald about his design.

The helicopter first circled the Statue of Liberty a few times, and then took a bird's-eye view of the ferry. When the sun is right in the morning, the Manhattan sea surface will reflect very beautiful golden ripples. Then it swooped down from a high altitude and followed the ferry for tracking shots...

"This design is very good. I hired the most professional NYPD to assist with the aerial photography, which is from Tom Cruise's new movie "Chicken"

You don’t have to worry about their technical level as aerial photographers. Ronald reassured Ballhaus and asked Fox to apply to New York City Hall for filming assistance in advance.

After Ronald finished chatting with the camera crew, he looked back at the two female generals.

That way, prepare a Hollywood version of these office girl outfits, or you can follow the New York movie tradition and just shoot these authentic outfits. "

Ann Rose is very familiar with costumes. Although she was surprised by the secretary wearing running shoes to work on the ferry, seeing the costumes of so many female characters in the script made her excited and accepted the challenge.

Generally speaking, starting from the golden age of Hollywood, movies will upgrade the costumes of real-life characters. Make the costumes a level above their real-life counterparts.

For example, in this movie, the secretary Tess is an ordinary blue-collar working class person who dresses very distinctively. She doesn't pay attention to colors and fabrics, but she still has a unique style.

If it were Jane Fonda's career woman movie from a few years ago, it would be upgraded to the clothing of ordinary college graduates and white-collar workers. It is not expensive, but it conforms to the dress code of white-collar women, with conservative color matching and attention to fabrics.

Ronald felt that there was a transformation plot for Tess in the script, and the audience must understand the different costumes she wore across different social classes.

Ronald looked back at his old friend, Theresa Kate, the shareholder of the leg warmers, who had come to teach actors how to be Wall Street secretaries.

Theresa Kate replied to Ronald.

Several people dressed like secretaries came over to interrupt. They asked Ronald,

Ronald talked nonsense to fool them. If they knew it was a Harrison Ford movie, they might attract onlookers again.

Ann Roth took note of Ronald's request to restore the truth, not to raise or lower the level.

Ronald described Catherine's background.

After landing on the shore, Little Bud, who was already waiting, drove a van and pulled several key people who were preparing the movie to Wall Street and began to inspect the scene.

Polly Platt took several Polaroid photos in several high-rise offices, and after viewing them, she was dissatisfied with the color tone.

In the first half of Working Girl , Tess works in a secretarial office area with partitions in the middle of the floor, while her white-collar boss works in a separate office by the window on the periphery, where celebrities have better conditions. So the first half of the movie has a bit of a bluish-gray quality.

In short, it should show the feeling of a blue-collar worker on the assembly line.

Ronald turned to Theresa Kate and asked Theresa Kate. She had worked as a secretary on Wall Street for more than ten years and must be familiar with this kind of thing.

, everyone laughed at Theresa Kate's metaphor.

Everyone walked to Building 1 of the Twin Towers of the World Trade Center. There were not many visitors in the lobby. Looking up and looking around, Ronald made eye contact with everyone. This place is really nice.

The twin towers of the World Trade Center are barrel-shaped structures, with the information desk and elevator room in the middle of the lobby. It is surrounded by steel structure font supports, and the outside is wrapped in gray cement. The glass curtain wall is covered by cement walls on the ceiling and floor of each floor.

Although the sun is at its best near noon, most of the light is blocked by the walls. In addition, the color inside is monotonous, with gray cement and brown marble, giving people a depressing feeling.

Polly Platt was very satisfied, took out the Polaroid and started recording.

The elevator in the middle rang, and two arrived at the bottom at the same time.

Ronald invited the team to take a look at the elevator. The last scene where Tess turned defeat was filmed at the entrance of the elevator.

The tall Ronald walked over first, but was pushed by the flow of people rushing out of the elevator. Those employees who look like secretaries rush very quickly.

Ronald really believed Theresa Kate's metaphor. The public elevators are mainly used by secretaries and low-level white-collar workers. They have just arrived at meal time and have only one hour at noon. They have to squeeze into the elevator and rush to Chinatown a few blocks away to have some cheap lunch. I have to run back so I can squeeze into the elevator to go back to the office.

After finally squeezing into the elevator, several people from the crew looked up and down inside the elevator. The World Trade Center was built in 1973. The elevators were still old-fashioned and not as big as today. Everyone felt very crowded in the elevators.

After roughly understanding the situation at the World Trade Center, Ronald agreed to shoot here. The upper floors are mainly offices of financial companies. Not two months after the stock market crash, many companies have begun to go bankrupt and evacuate. You can also borrow cheaper offices for shooting.

In short, the impact of the stock market crash on the World Trade Center Towers is still there. The crew caught the cheapest rent when filming, and it is estimated that they can save a lot of money by then.

We all went to the Window of the World restaurant on the 107th floor of the North Tower for lunch. Then they split into two groups, director of photography Ballhaus and editing director Murch, and continued to look for suitable scenes in other World Trade Center buildings.

Ronald and the two heroines went to Fifth Avenue together to find white-collar clothing for the two heroines Catherine and Tess.

This is the most popular shopping mall with tourists. Clothing, jewelry, shoes, and all kinds of high-end women's clothing are all available.

Ann Rose found a boutique store that was not the most expensive or high-end, on the road that intersected with Fifth Avenue, and gave instructions to the manager,

Ronald looked into the store. The clothes were not very outstanding, and he asked Polly.

Polly explained to Ronald that custom couture was not something that working women could wear on a daily basis.

Ronald touched his chin. His understanding of women's clothing was still not deep enough.

Unlike customized fashion, most professional women still wear ready-made clothes in general business occasions. They are completely different styles from the Hollywood women that Ronald is familiar with.

Working girls are more low-key and conservative. The fashion trend starts from haute couture and then gradually spreads to haute couture. Business situations also need to be a little more conservative.

Ann Rose picked out some clothes and showed them to Ronald.

Luo

Nader looked at An's clothes and shoes and thought they looked pretty good.

Ann Ross smiled.

, Ronald also laughed. No wonder there are many scenes in Hollywood where the heroine changes her clothes and shows them to the hero. Women should look after those who please themselves.

…

Ronald went to a newsstand next to his apartment and asked the stall owner to find him fashion magazines from recent months.

The shopkeeper smiled like a man and handed him the books that Ronald had named. Then he opened the second layer of magazines on the stall and showed it to Ronald.

Ronald laughed. He really just wanted to see the clothes.

The shop owner pointed at Ronald a few times with his fingers. These young elites in leather jackets don't just care about their female companions' figures. They now like those who have temperament and have their own profession.

The shop owner took out a few from the other side and quickly handed them to Ronald.

. Ronald handed over the banknotes, put a roll of magazines, Sports Illustrated inside, and a Forbes outside for cover, and went upstairs.

Aha...

Ronald, who ordered takeout, opened a bottle of Coke and read a fashion magazine. There were a lot of professional attire in fashion magazines, and Ronald also saw catwalk photos of model Cindy Crawford, an old acquaintance.

He picked up the phone and called his agent.

Richard understood that Ronald wanted to meet.

Ronald thought that I didn't mean to see them specifically, but then he thought about it, good clothes must be worn on beautiful women to look good, just to see the effect.