Exploiting Hollywood 1980

"Ronald, I have your phone number..." The assistant of the crew knocked on the door and shouted loudly from outside.

"Who the hell...?" Ronald, who was immersed in revising the script, was interrupted by various chores. "Didn't you say you don't bother me if you don't have anything important to do?"

All screenwriters in the United States, whether they are writing movies, TV series, talk show scripts, or Broadway plays, are all no longer accepting jobs. The various unions in Hollywood are powerful unions across the country and have the power to enforce pickets. Even if you are writing advertising scripts, you cannot write a word after the union orders it.

Ronald, who was so angry with several British screenwriters, had to take matters into his own hands and revise Harrison Ford's plot. But those union inspectors were still hanging around. Every time Ronald picked up a pen to write on the script, they would come over in good faith and remind Ronald that as a union member, he needed to communicate with 9,600 people. Fellow members stand together.

With no other choice, Ronald had no choice but to hide in a small room, lock the door, and ask an assistant from the production crew to stand at the door to block him.

But the director has too many things to do. Sometimes it’s the art director asking Ronald to decide the tone of the film, and sometimes it’s the costume thing. He takes the costumes of the supporting actors and lets Ronald see which one is better. Thank you for this. I just got some inspiration. , and are often interrupted, which is extremely inefficient.

"Who is it this time?" Ronald raised his hand and took the phone receiver specially designed for long lines.

"It's your agent, Mr. Niceta."

"It's me, Rick." Ronald waved his assistant to hold the door so that no one from the Writers Guild could see it, and he started chatting with Niceta.

"Nowadays, screenwriters in English-speaking countries such as Britain and Australia are being snatched up like crazy. It's not just a question of money, but also a lot of conditions. If you have friends you know well, you'd better ask them for help. I've already researched them in Hollywood. In the cooperation model, the screenwriter will book a room in a hotel not far away and then contact them by phone.”

"Okay, let me ask if any of the screenwriters I have worked with before are willing. How should I talk about this kind of thing so that no one will get caught?" Ronald thought to himself, not only did this kind of thing not have a signature, There is no reward yet (if you pay, the union will find out), and there is no other good way except for a trusted friend to compensate you later.

"Let Richard contact you and don't show up. He will take care of it. You just need to give me a few lists of screenwriters you can trust, plus Paula and I's direct clients, and try your luck, otherwise you will be the director. It’s already messy enough.”

"It makes sense, please." Ronald put down the phone, went back to the small room and wrote a list of screenwriters he had worked with before, faxed it to Niceta's office, and then lit a fire and burned the paper.

"Tuk tuk...Ronald,

Someone looking for you. "The assistant started knocking on the door again.

"Who is it?" Ronald threw the pen away angrily, and the inspiration he just thought of was interrupted again.

"It's me, Walter..."

It was Walter Murch, the film's editor. He opened the door and came in, "Did I find the time wrong? Are you busy? How about I come back later?"

"No, no..." Ronald quickly waved him away. "I'm waiting for you to come. Let's go take a look at the opening scenes. You told me to capture those materials." I rented a helicopter today. Flights will not wait after the scheduled time.

….

Ronald put on his coat and walked out of the door with Walter Murch. When he passed the assistant, he gestured to the assistant to tell her to watch the door.

The two then met up with director of photography Michael Ballhaus, who was waiting for them, and the three of them walked outside together.

"This opening shot of yours is very ambitious. I have never seen an example of shooting like this. Have you rented a helicopter?" Walter Murch looked at the storyboards in his hand and asked Ronald.

"Yes, let's rent it for half an hour today and then rent it for half a day during the shooting. The shooting time will be two hours. Let's go to the Statue of Liberty first." Ronald raised his wrist. There was not much time left before the appointment time. Turning around to look around, Little Bud saw it and immediately got in the car to drive the Mercedes-Benz over.

"Ronald, Ronald, is that you? Thank you, thank you... I called last night and today they

Just let me audition. "

Suddenly among a large group of actors lining up to audition for supporting roles, the waiter Sandra saw Ronald and immediately came over to say hello to him.

"Is it you? Sandy. Audition carefully, I'm just giving you a chance. If you are selected, you can join the Screen Actors Guild."

Ronald shook her hand as the car turned around and stopped, and Ronald and Walter Murch got in.

The actresses waiting over there all looked at Sandra with a bit of jealousy, and she was the only one who smiled without knowing it.

Under the rumbling helicopter, Ronald, Walter Murch, and Michael Ballhaus heard nothing. Ronald made a gesture, checked the list with the pilot, and signed it. , and got into the back seat of the helicopter.

That helicopter pilot was the aerial photography helicopter rented by Elizabeth Sue and Tom Cruise in "Cocktail". The pilot wearing sunglasses also knew Ronald and knew he was the director of "Top Gun", so he saluted him and motioned for Ronald and Walter to put on earmuffs.

"It would be great if we, the helicopter pilot, can film Top Gun sometime. Sit tight, we'll take off right away." There were headphones and microphones in the soundproof earmuffs. Ronald heard the pilot's teasing and fastened his seat belt. A strong force came from the seat, and the helicopter rose from the ground.

At high altitude, the helicopter flew directly toward the Statue of Liberty off Manhattan. At high altitude, the helicopter made no noise. The pilot pointed to the water below and said to Ronald:

"I'll fly around the Statue of Liberty twice, then lower my altitude to follow the ferry."

Ronald raised his thumb to indicate understanding. After a burst of acceleration, the helicopter flew near the Statue of Liberty, which was about the same height as the torch she was holding.

"I plan to let him fly a spiral, and then use the camera to capture one of New York's most iconic buildings." Ronald stuck his head out of the plane, pointed and expressed his thoughts.

"You have to use a zoom lens, right? There's not much space in the helicopter, and how do you plan to shoot? The door of this helicopter will block the camera's view." Walter Murch held the split lens and looked at the scene outside the cabin.

"After the actual flight, I will remove this door. Then I will have the photographer fixed on the seat and aim at the Statue of Liberty to take pictures. Ronald and I will give instructions behind him, but the wind will be very strong when flying, so it must be fixed Clothes and hair," director of photography Michael Ballhaus explained to Murch.

….

The camera will then be mechanically fixed to the floor of the helicopter. This kind of shooting with open doors was quite risky, so he found a tall and powerful photographer to control the camera.

Seeing that the two of them had seen each other, Ronald patted the pilot's back with his hand, and then made a gesture of descending altitude and moving forward.

A yellow ferry bound for Manhattan from Staten Island happened to be sailing below. The helicopter followed the ferry's path, slowly lowered its altitude and approached, and finally it was 45 degrees above the rear, maintaining a relatively stationary state with the ferry.

"We need to shoot enough material here, at least for more than one minute, twice." Walter Murch pointed to the ship in front of him and said to Ronald. "The editing will cut from here to the interior of the cabin, the extent of the ship's swing, and the helicopter. I have to find the point where I can edit the track, and I have to be given enough time.”

While circling, the three of them discussed how far each shot should be taken to be considered adequate, where the shot would be cut, how long the shot would be, and how many times each shot would be taken to be qualified. It's all recorded on the shot sheet.

Then, the helicopter flew towards Lower Manhattan and hovered above many skyscrapers.

"The old method is to use a zoom lens and hover here to take aerial shots. This lens is relatively simple because the helicopter can fix the position..."

Director of photography Michael Ballhaus and editor Walter Murch began discussing again. By the time they were done, it was almost time to rent the helicopter.

The pilot pushed the control stick and the plane flew back to the downtown airport, and then the propeller slowly stopped.

Come down.

"Be careful, the vertical propeller at the tail." This time the pilot learned his lesson and added a large yellow warning in front of the tail. He also jumped out of the cab. "I'm serious, Mr. Director, can you?" Make a movie like Top Gun for us, and now in the bar, those flying small planes are more impressive than us."

"Hahaha, I will do it if I have the chance..." Ronald liked the pilot very much and shook hands with him to say goodbye.

The three of them got into Bud's car, which was waiting at the spot. The two technical masters discussed many details along the way. When they finally returned to the hotel, Ronald already had a copy of the shooting that the two of them had discussed. In the guide, all the shots are arranged, the duration and scene separation are written. When it came time to actually shoot, Ronald asked the photographer to just shoot as usual, and he only had to sit back and control the scene.

After all, Fox was very generous in selecting technical personnel, and the people who worked with Ronald this time were all industry giants. It makes people feel comfortable to work with capable people. They will do their best within their abilities, allowing the director to focus his energy on more important things, such as:

Coaching actors on their acting skills, and also working part-time to revise scripts...

Ronald looked at the progress of the crew. Sandra Bullock was selected by audition director Julia Taylor. She will play Tess's best friend and will appear in scenes such as celebrating her birthday. There is also a line "Yeah...".

Other progress was also smooth. Melanie Griffiths came to bother him several times. Under the guidance of the Wall Street investment banker, she became more like a professional woman who could truly gain a foothold on Wall Street. .

….

The two have become so close that they held hands together when showing Ronald the results of their studies on the set. Ronald didn't have any objection to the two of them disclosing this intimate state. Anyway, they had to film a lot of scenes in which she was passionately in love. This state would help her get into the mood when performing.

Various staff members came to Ronald for advice one after another, ranging from the matching of high heels and clothes worn by the supporting character Joan Cusack, to the weather forecast and historical precipitation probability for the same period in the day when the City Hall opened the sky for aerial photography.

Finally, it was around seven o'clock in the evening, and all the staff who had gathered in the hotel were getting off work one after another. The overtime pay in the preparation stage was already a bit overrun, and the production assistant on site came with a form for Ronald to sign.

After signing the last word, Ronald stretched and finally waited until everyone had left and he could quietly change the script. Oh, by the way, there is also the material Harrison Ford asked his manager to send today.

Harrison Ford's manager sent him a script he had read, with more than 20 red and blue post-it notes densely pasted on it. The red ones are scenes that he was particularly satisfied with, with his thoughts written in them. There were a few places where he wanted to add more scenes.

The ones in blue are scenes that Harrison Ford wasn't too happy with, and he politely asked Ronald to consider cutting them back, or simply deleting the entire scene.

With a long sigh, Ronald made a cup of instant coffee and drank it in several sips. After taking a short break, he began to revise the script.

When it's quiet at night, it's really a good time to revise the script. Writing a script is a very difficult thing, but changing it is relatively easy. It is always more efficient for people to make modifications than to create.

Ronald spent more time understanding the deep meaning behind the opinions Harrison Ford sent several times. Why would he want to make these changes.

After thinking about it, in fact, what Harrison Ford wanted to do was to maintain his positive star image and skip most of the transformation scenes.

For example, in the script, Jack Traynor and Tess go to the wedding of a client's daughter. The two of them didn't have an invitation, they went in completely as impersonations, trying to have a chance to chat with the client about their thoughts on the client's merger and acquisition project.

During the sales process, Jack Traynor, played by Harrison Ford, discovered the truth and was unwilling to continue crashing the wedding.

The risk of doing this is very high. If the customer is unhappy, he will never have the opportunity to communicate with the customer again. So here he is opposing Tess's brave ideas.

But this Jack

Harrison Ford didn't miss Trainor's line criticizing Tess. Celebrities always have to be on the right side, and celebrities cannot be afraid of such courageous risks. Even better, it was Traynor, played by Ford, who came up with the idea.

Ronald was actually very disgusted. At that time, this role was planned to be reserved for Alec Baldwin. As an actor with a background in Broadway dramas, he would not be averse to this kind of drama that reflects the character's growth in depth.

This change from opposition to approval, and his closer understanding of Tess, are good and potentially award-winning performance opportunities.

….

With Harrison Ford's acting style, everyone will still see another Han Solo and another Indiana Jones. Ford said he wanted to make a transition before he wanted to work with Ronald on this romantic comedy. But what happens when you act like this?

Ronald put down his pen. The result of such modification would create a ridiculous situation. Tess, Catherine, and even Tess's best friend Xin all play this complex role, and various scenes show their characteristics and character changes.

The character of Harrison Ford looks the same from beginning to end, flat and without any dimension.

"Pfft..." Ronald laughed when he thought of this. Isn't this a common vase in Hollywood movies? It's just that this time it's the other way around, with the actress playing the lead role and Harrison Ford turning into a big vase.

"Tuk tuk..." There was another knock on the door.

"Wait a minute..." Ronald was startled. Isn't this another volunteer from the Writers Guild? I am also a member of the Writers Guild, and when they pestered me, I gave a very speechless lecture on how the Writers Guild worked hard to protect the rights of its members.

He quickly opened the drawer, dumped all the scripts inside, and locked it. Ronald let out a sigh of relief, "Who is it? I'll come."

"It's me, Helen. Isn't it the right time for me to come?" Helen Slater's voice came from outside the door.

"Oh, you scared me to death. I thought it was those guys from the Writers Guild." Ronald opened the door and let her in.

"Hehe, are you still hiding from them and fighting guerrillas? You must obey the union's orders..." Helen tapped Ronald's face with her hand.

"There is no official strike yet. I'm just afraid that they will try to reason with me. They have to start with the history of the Writers Guild and the history of fighting for the rights of its members..."

"Do you want to continue? I will accompany you?" Helen Slater seemed to be particularly proactive today. A red scarf set off her apple-like face, which was very attractive.

"That's it, I'm tired. It's too troublesome to change the script on the spot. I have to do it as soon as possible..."

"Hehe, I won't report you, Ronald. But you don't have to tell me." Helen came up and kissed Ronald, "I'm here to ask you on behalf of Katherine Bigelow, she The samples have been shipped back to New York. Do you want to take a look at the version that has just been synchronized with audio and video? If you think it’s okay, then it’s finalized.”

"Now? I believe in her ability." Ronald didn't expect Bigelow to be very quick. He had already finished shooting the part in Canada and was back in New York.

"She said my performance was good and she wanted to hear your opinion. If there is no problem, there will be no need to reshoot the New York part." Helen said while stroking Ronald's arm.

"Then let's go take a look."

Ronald understood. It turned out that Helen Slater felt that her performance had improved a lot and wanted to show it to Ronald as soon as possible.

Anyway, he had run out of inspiration today and couldn't think of a plot. Ronald put on his coat and let Helen take him to the editing studio where Bigelow was.

"How was it?" I watched the sample film for a while, mainly Helen's performance. Helen Slater was eager to ask Ronald what he thought.

….

"You seem to understand how to act in front of the camera. You can hold back." Ronald looked at Helen, and Bigelow trained her to look like a movie actress.

"She would act out any drama for me. I didn't understand many things..."

"Ah

Ha..." Ronald gave Kathryn Bigelow a gesture of thanks. This kind of directing would really help Helen understand.

She just had too many theories and didn't know what it was like to actually perform in front of the movie camera. When someone nudged her and learned to imitate the other person, she became enlightened.

Ronald felt Helen's body getting softer and softer. He hugged her and motioned to Bigelow to continue showing some samples. In this way, you can watch the scenes that should be watched at once, otherwise the progress of the movie will be affected.

Giving Helen a kiss to quiet her down, Ronald continued to watch.

Now is the scene at the beginning of the movie, where Helen and another heroine, holding violin boxes in their hands, are walking on the road in sync. The camera was filming them from a fixed position in front of them.

No matter how much you push, pull, or pan, the camera moves back at a fixed speed, and the image remains relatively static relative to their walking speed. This opening gives people a very refreshing feeling. It seemed as if the audience was right in front of the two beauties, constantly looking back at them while walking with them.

"What kind of camera was this shot with? I've never seen a shot like this. It's like the Steadicam was used upside down. It's not that the photographer is relatively motionless, but that the subject shot by the lens is relatively motionless." Ronald was very sure. It's not a photographer with good arm strength or endurance, but a lens device similar to a Steadicam.

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"That? That's a little invention of my director of photography." Kathryn Bigelow replied, "It's a mechanical device he made himself. It can basically synchronize with the subject and the image is very stable."

"I asked him to call me. I also want to use this device. It just so happens that my new film has an aerial lens. This kind of image quality is what I want. I wonder if his little invention can be used in aerial photography."

"Call him yourself." Kathryn Bigelow took out a business card and handed it to Ronald.

"Gary Tierchis," Ronald wrote down the name and phone number.

"Do you still want to work?" Helen Slater asked from the side.

"Let's talk tomorrow. What should we go to eat?"

Moscow fitter fruit juice