Exploiting Hollywood 1980

"Ms. Campbell, thank you very much for your kindness. We in the American arts community need politicians like you. With someone like you who understands art leading the New York City Department of Cultural Affairs, our Hollywood artists will be better able to of creation.”

Ronald held the hand of a young, good-looking black woman and began complimenting her.

Mary Schmidt Campbell is the new director of the New York City Department of Cultural Affairs.

Her previous job was managing the Black Museum in Harlem. In the late 1970s, when New York City was on the verge of financial bankruptcy, she relied on her extraordinary fundraising and business skills to build a simple museum on an apartment building into an independent building covering an area of ​​60,000 square feet. The annual operating expenses generated from fundraising and ticket sales amount to two million U.S. dollars.

Mayor Koch took a fancy to her level of cultural undertakings and appointed her as the director of the New York City Department of Cultural Affairs last year, responsible for all cultural and artistic undertakings in the city.

The next scene that Ronald will shoot is when Tess and Jack sneak into the wedding of the daughter of the owner of Teske's company, and promote their plan to the founder, Mr. Teske, and get Teske's approval.

For this scene, we need to find a famous big house to shoot. Art director Polly Platt took a fancy to the Carnegie Manor, the old house of steel magnate Andrew Carnegie located next to Fifth Avenue.

This was one of the earliest wealthy residences on the Upper East Side, and the nearby hill was named Carnegie Hill. Because this house is a masterpiece of neoclassical architecture in the early 20th century, it was listed on the National Register of Historic Places in the 1960s and is protected by law from changing its appearance. It is now managed by the Cultural Affairs Bureau.

Using a historical heritage building as a filming location, Ronald also had to flatter Director Campbell. When she is happy, she can give the crew the greatest convenience.

"My friends all call me Mary, and I also want to see Harrison Ford in real life." Director Campbell has maintained a good figure. Unlike the black aunts at the bottom who have started to gain weight, she is actually closer to white people in terms of personal qualities. upper layer.

"Of course, I'll introduce it to you. But when we start shooting, I want you to be behind the camera..."

Ronald believed that big stars were more attractive, so he introduced Chief Campbell to Harrison Ford and asked her to take a photo with his idol.

During the filming process, whenever he encountered bureaucratic airs from government departments, Ronald would always play the "Harrison Ford" card, and then he would be unfavorable.

"Ms. Campbell...Mary...can film here,

I'm really happy. "Harrison Ford shows off his star charm, coaxing Director Campbell into playing Mary at her request.

The subsequent filming went smoothly. The crew added a lot of scenery to the scene and built a Hawaiian-themed wedding scene based on straw, flowers, and fake palm trees.

Tess and Jack came here to see Teske without any reservation. When Jack Traynor knew this, he knew that he had been deceived by Tess. It is a very risky move for the two of them to break into a rich man's wedding as strangers and then chat with the bride's father, Teske himself.

If Teske didn't talk to them, it wouldn't just be the failure this time. The billionaires would have a bad feeling about them, and it would be impossible for Teske Enterprises to do business in the future.

But now that we're here, and Jack Traynor has invested a lot of resources into this project, we have no choice but to force it.

When the two entered the door, they were greeted by Mr. and Mrs. Teske who personally greeted them at the door. They asked them whether they were friends of the bride or the groom so that they could arrange their seats. Tess and Jack had a tacit understanding. Tess used the excuse of going to the bathroom, and Jack said she wanted to have a drink, so the two tried to find a way to get there. But the two were separated because of this.

Harrison Ford's Jack Traynor, just like himself in life, attracts women wherever he goes. After grabbing two drinks and drinking while waiting for Tess, the female guests around him were all attracted to him like magnets and kept whispering how handsome he was.

"cut!"

Ronald was not satisfied with the intensity of their nymphomaniacs, "eon, this is Harrison Ford, show a little more emotion that you want to dance with him, and the American audience will understand you."

"Hahaha..." The group of performers, all composed of beauties, laughed so hard that they couldn't stand upright. They were a little reserved at first, but they became much bolder in the second part, and started discussing loudly in front of Harrison Ford.

"Cut!" This time Ronald was satisfied. Jack, played by Harrison Ford, is such a walking hormone seeder that anyone can become infatuated.

Just like Director Campbell of the New York City Department of Cultural Affairs, he looked here for a long time and was reluctant to leave despite being urged to leave by his subordinates.

"Campbell, I think you saw that the big star couldn't walk. We have to go to a meeting with the mayor." A middle-aged white man who looked like a bureaucrat couldn't help but walked in and showed Director Campbell his watch. .

"Oh, 'Interstellar', I was about to report on the strategy of cooperation with Hollywood." Director Campbell frowned, "By the way, let me introduce to you, this is director Ronald, and this is from New York Commissioner of the New York City Department of Parks and Recreation—Mr. Henry Stern.”

"Hello, Mr. Stern." Ronald heard that he was a bureaucrat on the same level as Campbell and stepped forward to shake hands.

"Call me 'Interstellar.'" Henry Stern had a quirk. Employees in all departments had to have a fancy name. His own was "Interstellar." The old white man shook Ronald's hand impatiently and began to urge Campbell.

Ronald politely accompanied them out, and Campbell shook hands with him and said goodbye, "I'm glad to see the film you shot that reflects female independence."

"Oh, I hope the chicks in the movie won't be late every day like you." Henry Stern didn't give his colleague Campbell much face, and he still complained after getting in the car.

"This is a work that reflects social reality. It has a female protagonist, and Harrison Ford is a foil." Director Campbell is very used to this kind of sexist old white man, and she takes the plot out of Come out and piss him off.

"This is really, what the hell are directors making these days? I never watch them. Why don't you make more movies like those of the past? Billy Wilder's kind of... What's the name of that young and over-the-top director? Luo Nader Lee? New Yorker?"

Henry Stern was a little angry with Ronald, and kept saying that in today's movies, there are no more female characters like Monroe in the past - responsible for being the foil of men.

Ronald saw off the bureaucrats and went back to continue filming. Jack and Tess were very anxious because they had not found a chance to talk to Mr. Teske alone.

Finally seeing Teske dancing with an ugly fat girl, the daughter of his business partner, Jack Traynor brings out Pepsi's unhappy masculine charm to create opportunities for Tess.

Harrison Ford performed all the performances in his true colors. He first found out from the beautiful guest that the fat girl was called Lisa White, and then continued to trick her into getting her nickname. It was not the usual Lisa or Bess, but Bessie.

As long as the handsome guy tells the ugly girl what he wants to know, the other party will obediently give her the answer.

Harrison Ford seemed to be happy to call Bessie's name, and together with Tess, he stepped forward to stop Bessie who was dancing with Teske. "Bessie, don't say you have forgotten me, I will be sad."

"Oh...hahaha...of course not." That fat girl Bessie didn't know Jack. It was her first time meeting her today, but she was "very smart" and immediately pretended not to realize that Jack had "mistakenly recognized the wrong person." , happily hugged him and danced together.

"cut!"

Ronald was very satisfied with the actress named Marceline Hugo. Her appearance was not good-looking. The makeup artist made her look ugly, making her chin protrude and she looked like a nymphomaniac. With a few expressions and movements, she very vividly portrays the state that a girl should have when she sees a handsome guy acting clever.

After a few shots, Ronald saw that she must have the skills to perform on stage. When I asked after the filming, it turned out that he was a rookie on Broadway. He was currently starring in the revival of Eugene O'Neill's "The Moon". This time, he was roped in by Julia Taylor for a fun guest role.

Seeing that Marceline Hugo, who played a famous drama, could only play a small clown in the movie, Ronald felt a little sorry and apologized to her, "I hope you won't be angry because of today's scene. That's how movies are. An impressive supporting role will be remembered by film critics."

"It's okay, director, I understand that I always start with this kind of role when making movies. I heard Alec Baldwin and others say that you are the director they have ever encountered who respects actors the most." Marceline Hugo It was the first time she had the opportunity to make a movie, and she was a genuine theater actor and didn't care about destroying her image. "And those girls were jealous of me because I could dance with Harrison Ford."

"Hahaha..." Ronald was very impressed by this actor with a sense of humor.

…

Next it’s Melanie Griffiths’ time. Tess smiled awkwardly and stepped forward to become a dance partner with Mr. Teske. She gave full play to the advantages of women and first said that she was working for Teske Enterprises. The mergers and acquisitions department of her company is indeed helping Teske Corporation propose mergers and acquisitions plans.

Then the homework Tess had done in advance came into play. She first complimented Mr. Teske for having the foresight to see the prospects of microwave transmission in 1971, and he made a bet on the microwave transmission technology for television signals.

Then she complimented the other party. In the 1970s, when most entrepreneurs in America kowtowed to the labor unions, she began to learn from the Japanese working methods and used the "shared good" model to partially solve the labor-capital conflict and make Tesk Enterprises large and public. , becoming one of the top media giants in the industry.

When people talk about his most proud success, Mr. Teske behaves like many successful entrepreneurs, and he no longer takes this beautiful professional woman lightly.

"I think that someone with such a long-term vision will not reject my proposal for Teske Corporation to acquire a radio station. They must be your subordinates. They only want to acquire the TV station, but they are not interested in the radio station when I say ”

"Of course not, it's the same for radio and TV stations. I won't give up any opportunity." Teske was obviously happy to be flattered by the serial flattery.

At this time the bride and her companions came over, and they evidently discovered that Jack Tess was not a friend of either party.

Tess saw Teske's daughter, the bride herself, approaching. She immediately disengaged, "I just realized that I have occupied the father of the bride for too long. Otherwise, I will contact you next Monday to discuss this plan. What do you think?"

"Great, my media consultant is Tim Draper..."

Jack received the signal from Tess, and the two escaped from the door before the person who came to expose them arrived.

"cut!"

A wonderful indoor group scene ended, and Ronald was very happy. The experience he learned from the previous filming of "Moonlight Sultry" really came into play here. The scheduling of multiple people and the movement of indoor cameras were not what was needed most. The design was meticulously planned in advance, and the photographer and the photographer followed the design exactly.

It’s about giving the actors some room to perform freely, so that their performances will look natural, rather than the sense of stage drama that the audience can feel at first glance, as if everyone walks, expresses, and speaks like a drama. Well, under a movie lens, such a performance would feel strange and out of place.

"Hehe...hehehe...", the camera crew moved outside the door of the Carnegie Manor. Harrison Ford's smile was contagious, and his joy could be felt even from a distance. Instead of walking down the steps, he added some childish jumps. This kind of star's natural charm is very popular.

"Just laugh, Teske said that the first thing on Monday is to meet with us. We will contact his media consultant Tim Draper first when we go back..." Tess followed and put on a mink coat - —also “borrowed” from Catherine’s wardrobe.

"Oren Teske? That guy said he wants to see us on Monday?" Harrison Ford ran in front of Melanie Griffiths excitedly. He turned to the camera and backed up to talk to Tess.

"You're upset, aren't you?" Melanie Griffith hit Jack with the "borrowed" Catherine's Hermès bag.

"Cut", Ronald looked at the photographer holding a camera stabilizer, capturing the content of the conversation between the two. Such an over-the-shoulder shot required a tall operator from the Steadicam company who rented the equipment along with it. Later, when the direction was changed, Tess's over-the-shoulder shot was also shot.

"No, I'm very happy. I think you did a great job. You are a genius." The camera changed direction and filmed Tess's reaction after hearing Jack's praise.

"Do you really think so?" From time to time, the face of Tess, played by Melanie Griffiths, appears childish and unbecoming of a professional manager, which actually makes Jack Traynor feel attracted to Tess.

Jack hugged Tess, who was wearing a fur coat, and Tess laughed happily. The handsome guy praised her from the bottom of her heart, which made her very happy that she had received both professional recognition and the favor of that handsome guy. .

"cut!"

Ronald yelled, and the scene was over. Two-thirds of the filming progress had passed, and it was about to enter the most exciting reversal of the third act.