Exploiting Hollywood 1980

Ronald returned home, not too sleepy yet, so he took out the "footloose" script and began to read it.

The original author, Dean Pitchford, wrote a copy of the writing story attached to the front of the script.

Screenwriter Pitchford deserves to be a top student who graduated from Yale. He explained the ins and outs of script creation in a few words.

In 1980, Pitchford saw a piece of news that in the small town of Elmore, Oklahoma, dancing had been banned since 1900, and the town had been for eighty years. There has never been a dance party.

The last high school 11th grader challenged and overturned the law, and in the 1980 graduation season, Elmore Public High School held its first high school prom.

The entire movie is based on reality. The three protagonists, Lun who proposed to repeal the legal ban, Ariel, the priest's daughter who maintained the ban, and Ariel's best friend Rusty, all have character prototypes.

Pitchford, himself a lyricist, also wrote the lyrics for all the episodes expected in the film and attached them to the script.

For example, the opening is an episode of the same name "footloose", and the opening lyrics are

footloose, footloose, kick off your weekend leather shoes.

please, Louise, help me take off my boots.

The lyrics are rhythmic and rhythmic. The footloose of the title actually has a pun intended.

On the one hand, footloose is a description of rhythmic footsteps, which refers to the rhythm of dance. On the other hand, it said that it would loosen the footsteps and abolish the ban on dancing.

Ronald admires the literary quality of Yale's top students' lyrics.

However, it seems that Pitchford has never made a movie. Many parts of the script are written in a non-standard manner, and some plots cannot be photographed, so they must be re-processed.

For example, there is a plot that Ronald obviously thinks cannot be considered a script, and he plans to start revising it from this section.

The male protagonist, Lun, who was transferred from the big city of Chicago, had a conflict with Ariel's boyfriend, and the two agreed to use a tractor for a cowardly duel.

The two drove the tractor toward each other, and whoever was finally afraid to steer before hitting, whoever lost.

"Lun's shoe accidentally got stuck in the clutch,

He tried to jump out of the car, but was unsuccessful. Ariel's boyfriend Chuck saw Lun trying to escape, and smugly stepped on the gas to move on. Lun, who had no way out, had to step on the accelerator, but instead scared Chuck into jumping out of the car. "

The score is divided into multiple filmable scenes, and Ronald sets out to plan the entire scene. The text on the script must be able to be filmed. How do I get a close-up shot of a stuck clutch? How about trying to jump out of a car?

The audience needs to understand why Lun can't jump out of the car, Ronald thinks for a while here, picks up the pen to get the shoe stuck, and changes the shoelace to tangled. In this way, when you lift your foot and jump from the car, you can get close to a close-up of the shoelace being tangled in the clutch, and the audience can also understand why the protagonist Lun can't jump off.

As for the emotional description of "smugly", it is acceptable to open one eye and close one eye. When the time comes, the director will guide on the spot and the actors will perform.

After writing for about half an hour, Ronald began to feel sleepy. Today I went to Paramount first, then to Beverly Hills. After returning home, I took Demi to the hospital. Ronald's eyes were a little hard to open.

"Take a rest and write again tomorrow." Ronald struggled to get up and went to the bed to lie down, pulling a blanket to cover it.

"Bang rub, hop... hop, hop." A drum beat, Ronald seemed to see a picture with a dark background appear in front of him.

There are no detailed backgrounds, no faces of any characters, just close-ups of two feet, dancing to the rhythm.

Men's feet, women's feet, feet in high-heeled sandals, feet in leather shoes, feet in boots, feet in dirty sneakers, and two feet in leg warmers.

A background voice sings fast-paced lyrics

footloose, footloose, kick off your weekend shoes.

please, Louise, help me take off my boots.

"This editing is good." Ronald understood that he was dreaming "full of energy".

The dance at the beginning ends with the episode, and the screen goes black and then lights up again.

A middle-aged pastor preaching in the church.

"God could wipe these evils from the face of the earth with a wave of his great hand. But he didn't, he designed a test for us, a test!

If it weren't for this test, how would you explain the popularity of the wicked, obscene, depraved rock music that's going on right now? "

In the crowd listening to the sermon below, a boy covered his face with his hands.

"This is probably the actor Lun who was transferred from another school." Ronald guessed that the director's technique was good. After the theme was pointed out at the beginning, the first scene that appeared after the black screen was the conservative priest in the conservative town, doing Conservative preaching.

Coupled with the disdain of Lun, a white boy who transferred from the big city of Chicago, the opening dramatic conflict came out.

But Ronald was too tired today and started to sleep again.

"Ah..." After an unknown amount of time, a girl driving a car was screaming.

"Ah..." Then there was another car driving in parallel next to it, and the man driving was screaming.

"Dudu..." A whistle sounded, and the camera cut to the big truck on the opposite side.

It turned out that there was a girl, standing in the middle of the two cars, with her feet stepping on the doors of the two cars, as if she was doing stunts again. Regardless of the men and women in the two cars screaming for her to get off, she laughed wildly and continued to stand to greet the big car on the opposite side.

The boy driving the pickup seems to be the girl's boyfriend. The other three girls in the opposite car are her best friends.

A girl with a big nose sitting in the back seat slammed the car door desperately, so that the girl doing acrobatic movements would get down quickly. "

"Chuck, be careful. Ariel, Ariel... come back, there's a truck ahead" she yelled desperately.

"This is probably the protagonist Ariel's best friend Rusty. With such a big hump nose, she must be a Jew. She's so ugly to act in a movie?" Ronald thought to himself, and gave her a shot when it was a close call.

"Ahahaha..." The camera cuts to the girl who stepped on two doors and bravely faced the big truck.

"what!"

Ronald finds himself knowing the girl, Lori Singer, the cello actor from the TV version of "The Famous" from Helen Slater's last party?

"Is she the heroine of this movie?" Ronald was a little puzzled. There are only dance scenes in this movie script, and no cello playing? Why choose her? Possibly a father relationship?

Ronald had read the script and knew that Ariel was the protagonist, so he was not very worried that something would happen to her. However, the editing of the footage in this section is very level, and the audience who sees it for the first time will probably be brought into the mood of worrying about the girl.

In the nick of time, Ariel, played by Lori Singer, got into her boyfriend Chuck's car, narrowly avoided the truck, and the pickup was parked on the side of the road. The girl on the other side drove the car into the ditch.

"Well," Ronald fell asleep again.

"Uh...uu..." After an unknown period of time, Ronald woke up again with the sound of two engines starting.

On the two tractors, on one side is the protagonist Lun, and on the other side is Ariel's boyfriend Chuck.

Lun tried to run away several times, but his shoelaces got tangled in the clutch pedal and he couldn't jump out of the car. In the end, Chuck was forced to turn the steering wheel, and the tractor drove into a nearby canal, and fell into it himself.

"The editing of this section is not very good." Ronald thought to himself, "a bit too cumbersome, as if the audience could not understand the tension that Lun couldn't escape, and the close-up of the clutch pedal, shoelaces, and Lun's panicked expression came up. Cut back several times."

"Why is there such a big difference between the editing levels before and after?" Ronald didn't quite understand. "At the very beginning, the close-up dance of various shoes was very creative. Later, the thrilling scenes of driving and facing the big truck were also very creative. Okay, but this tractor showdown clip seems to be down a notch."

The feeling of drowsiness kept coming, and Ronald was awakened again in a daze.

"Hey...what are you doing? I heard it's a party, let's dance!"

In a gown, Lun stormed into a dance party dressed in sparkly streamers and stickers.

"Aoaoao..." The men and women began to shout to the strong rhythm of the theme song "footloose".

Couples of boys and girls, still inviting each other, rushed onto the dance floor and began to dance a dance that mixed disco moves and old-fashioned swing dance steps.

The boyfriend of the big-nosed Jewish girl, a big goofy guy, also made a debut with John Travolta's iconic one-arm slant in "Saturday Night Fever", which caused another burst of cheers from both men and women.

All kinds of sparkling powder fell from the sky, the boys lined up in a row, and the girls also patted in a row, jumping relative to each other.

The camera is again aimed at their shoes for close-up, and the high heels raise the glittering powder, and the picture is very delicate.

Ronald only curled his lips when he saw it, as if it looked like an old musical in the 1930s and 1940s. In those civil war, or period dramas of British aristocrats, there is often such a dance form in which men and women are filmed separately in two rows to invite each other.

How can such a dance exist in modern America? It's all about personal presentation.

The dance form is old, the steps are also a bit old, and the disco is also mixed with some old-fashioned tap dancing styles, which crack the floor.

Finally, the two rows of students began to step back, and the male protagonist Lun and Rusty's boyfriend began to dance alone in the middle of the dance floor. It's still the kind of dance that combines ancient dance and modern disco, but it's better than the previous one.

The girls also began to dance solo, tossing up their long hair and kicking their thighs, and finally had some professional dance moves.

Then the boys came off one by one, robot dance, noodle dance, and Thomas, who was doing gymnastics on the floor. Like the kind of black breakdance that Ronald would do.

"Huh?" Ronald began to feel incongruous again. The breakdance of these black people, which appeared in this movie, was jumped up by white people, which was indescribably strange.

These are all dance steps that require systematic training, and they are not very popular now. How could these students who were born in a small town that had not danced in eighty years dance?

Fortunately, Rusty's boyfriend, the dance steps are still relatively immature and clumsy, in line with the image of the character. Jumping silly. The expression on his face is also a bit like Sean Penn who is playing "Fast Pace", just a silly high school student.

In the end, Lun took the lead, followed by Ariel and Rusty. The male and female students formed a column and jumped towards the camera. The theme song stopped abruptly, and the picture in the dream became a black screen.

Ronald woke up immediately.

He looked out the window, it was not yet dawn. Only slept a few hours myself.

Ronald got up, took advantage of the heat of his memory and wrote down a few scenes he had dreamed of. As a director's evaluation, he wrote a large sheet on the paper.

"The footage was dragged and not suited to the rhythm of modern audiences in the 1980s.

There is a problem with the choreography, the choreography is very old-fashioned, and the dancers are either too bad or too good.

The camera is aimed at the shoes for close-up creativity, which is very creative.

The opening narrative is smooth, and the audience is brought into the plot at once..."

Ronald read it again after he had written it, feeling a little paradoxical.

It's a weird movie, and in some ways it's like a very seasoned director who's been making movies for decades. In some places, the filming is very jerky, like when I was filming "fast pace", a fledgling film director.

Also, is this a high-concept or low-concept movie?

In terms of actors, none of them are famous, and they should be considered as the configuration of high-concept movies. But the plot is not high concept at all, dancing is not allowed in the town, what is the age?

If he hadn't read the whole story written by the author Pitchford, Ronald would have thought it was a made-up story.

"Wait..." Ronald suddenly discovered his misunderstanding.

This is indeed a high-concept movie, but it is not for young people like myself who have settled in a big city, but for tens of millions of young people living in small towns.

They have a strong religion, conservative forces, and people's lives are not much different from decades ago. Going to church on weekends to listen to preachers, there are no disco bars, rock concerts these new things.

To dance those dance moves that combine ancient and modern, for them, it is very outrageous behavior.

That's why the director puts in some old-school editing techniques. Those young people in the small town, like their hometown in Staten Island, will have to wait a year or two before they can see such deviant movies as "et aliens" and "fast-paced Richmond High School".

They are familiar with the old, slow editing rhythms of the 1970s. Maybe some movie theaters are still playing "Singing in the Rain".

In the end, those black break dancers also gave them a little dessert to open their eyes, right?

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