Exploiting Hollywood 1980

"Director Parker, this is what I wrote these days..."

After getting a few snippets that Ronald had written in just a few days, Alan Parker opened it suspiciously and read it.

At lunchtime in the cafeteria, someone beat the beat on the table with drumsticks, and then someone played the piano. Then students spontaneously joined the ensemble playing various instruments.

Then the students of the dance department also joined in. Ballet, jazz, and various dances were integrated and danced on the table in the cafeteria.

Allen's eyes lit up. This is very suitable for the title of the film "Hot Lunch" and can be used as the theme song scene for the title.

Then look on...

The shy mixing genius is reluctant to publish the produced music. The father drives a taxi and uses the loudspeaker to broadcast his son's creation, which attracts the whole school students to run to the street and dance to the music?

"They rushed down the stairs, rushed out of the school gate, stopped the car, climbed on top of the car, and started dancing there..."

Another genius scene, giving shy Bruno a chance to change.

"Crack..." Allen closed the script and stopped reading.

It took me a few days to write a script outline of this level, which was far beyond my expectations.

"Tell me, Ronald, how did you come up with these two scenes?"

It seems that the effect of copying the original version is very good, Ronald secretly delighted.

"When I came back from Los Angeles, I met a father who was driving a taxi at the airport. He loved his daughter so much that he shut down his business and waited at the airport for her daughter to return to New York."

Ronald started to make up.

"Bruno, the shy mixing genius in the play, needed an opportunity to break through himself, so I wanted to use my father's love to help him break through. Taxi can't drive into the school, and I wanted to use a loudspeaker to play what my son didn't want to publish on the street. Music, and getting students to dance is also good.”

The fools are getting more and more proficient.

"As for the hot lunch scene, when I was in high school, I saw the school band and cheerleaders eating in the cafeteria. When they were interested, they would improvise in the cafeteria for a while. I was very envious. I think the audience should also like this. kind of improvisational performance."

In order to find a suitable reason for plagiarizing the plot in the dream, Ronald even exposed the incident of peeking at the cheerleaders in high school.

The plot is well-founded, and there are good writing ideas, and Alan Parker no longer suspects that Ronald is copying someone else's script.

"These two scenes are great, I can imagine the picture after the filming, the teens will love them. Keep it at this level, you can think more about the ending of each protagonist."

"I don't have much inspiration for this part. I was on the wrestling team in high school, and I'm not familiar with the literary and art club. Without the details, it's hard for me to write anything."

"It doesn't matter, you can observe slowly, and if necessary, you can sneak into the Academy of Performing Arts to observe undercover." Allen affirmed Ronald's script and asked him to continue writing.

Without the revelation in the dream, Ronald turned back into a novice scriptwriting novice, slowly trying. He looked around for opportunities to observe some details of the lives of art school students.

Like Meg's sleeping position?

People who practice ballet all year round will involuntarily straighten their toes when they lie down. This is a very different characteristic from ordinary people.

I couldn't help but test it out to see if I could keep it straight even if I was disturbed by external forces. Slap, opened by Meg's slap.

Inexperienced Ronald, his writing progress began to slow down. For two weeks, I could only type a page or two a day, then rub it away and start over.

During the day as a driver and assistant to the director. In contrast, writing every night has become a distressing thing.

Fortunately, meeting with Meg every day can relieve some anxiety. This has slowed his writing progress, but it has not completely come to a standstill.

Meg's acting learning is very smooth.

According to Meg, Lee Strasbourg is a Ukrainian acting master who first learned from Stanislavsky and learned a whole set of experiential acting skills (The System) of drama performances.

Later, it was developed, and the method of acting (The Method) suitable for film shooting was developed. He has also coached Marlon Brando and Marilyn Monroe.

When the first lesson of the school started, Lee Strasbourg came to the classroom in person and taught them the two magic weapons of the Method School: emotional memory method and improvisation.

What Meg was about to learn was emotional memory.

"After I learned it, I can instantly mobilize my emotions and cry for one second. It's really amazing. Lee Strasbourg also gave us a live demonstration." Meg said.

"Really? Then his acting skills are really good."

Director Parker flew to Los Angeles to audition, and Ronald simply wrote the script full-time at home.

The apartment is full of artists, Ronald brought food and drinks, and had a conversation with almost everyone, hoping to learn more about the details of the life of the art students.

However, the results were few and far between, and most of those living in the artist's apartment were the youngest over 25 years old. Most of the memories of art school have been smoothed out by life, and I can no longer remember the dreams of the year.

Or there are people who have dreams, who also bury her deep in their hearts. It is not easy to show people.

"You know, people in the arts are very sensitive. If you tell others about your dreams, even your family and friends, you will be hit. When your dreams haven't come true, if they say a word or two unintentionally, you will feel them I'm targeting you, and I'll be uncomfortable for two or three days."

"Thank you for talking to me about this, I know it's going to be difficult, and I'm going to script some of your shared experiences, and of course, remain anonymous."

Ronald stood up and shook hands, handed him a bottle of red wine and a pack of sausages, and walked away from the painter who was interviewing.

On the typewriter, chapping out the summary of today's conversation, then tore off the typed paper, took up the pencil again, and corrected it on it.

In this way, after finishing the changes, and after finishing the changes, the sky gradually darkened.

"Hey, why hasn't Meg been back yet?" Ronald called Meg's apartment roommate and found that she hadn't returned to his apartment either.

Worrying in his heart, Ronald hurried downstairs and drove to the Lee Strasbourg Drama Training School.

"Ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh..."

When I entered the door, I heard a bunch of actors crying loudly in the teaching hall. Ronald thought something unfortunate had happened.

Some were sobbing, tears streaming down their cheeks. Some are hugging each other and crying, pitting each other. Some simply lay on the ground, rolling and crying freely.

What's going on here? Is there a collective neurosis?

Ronald looked around anxiously for Meg, and finally found her in a corner.

Meg cried so badly that her eyes were swollen and her throat was silent, but she was weeping silently and incessantly. She hugged her knees and hid in the corner, covering herself with the shadow of the wall.

No wonder it took a long time to find it.

"Meg, what's the matter with you? Are you okay?" Ronald asked softly, taking out his handkerchief and carefully wiping away her tears. No sooner had she wiped than Meg burst into tears, and her handkerchief was soaking wet.

"Meg, Meg?" Ronald shook Meg's shoulders slightly, but she seemed to be so engrossed in sadness that she didn't respond.

"Hey, who are you, please go away. Don't interfere with the students' retrieval of emotional memory." A teacher-like person approached with a twisted pace, raised an orchid finger, pointed at Ronald, and criticized.

Ronald turned around impatiently, stretched out his hand and pushed the bitch and staggered: "Fxck you, don't come close to me, you devils, this is how you train actors?"

Ronald crouched down and whispered in Meg's ear:

"Meg, I'm Ronnie, you look me in the eyes, I'm your Ronnie, do you recognize me?"

Meg seemed to react a little, and her dull eyes found focus and nodded slightly.

"I'll take you home, okay?"

Meg nodded again.

Ronald wrapped Meg's arms around his neck, grabbed Meg in his arms, and walked towards the door of the drama school in his arms.

The girl didn't dare to stop him, but was still scolding Ronald for destroying the performing arts. Ronald stared at him with a look, causing him to step back with a fright.

Open the back door and let Meg lie down in the back seat. Ronald began to wonder who could help him. Looking for a psychiatrist? However, Meg's situation is caused by learning acting skills, and ordinary psychiatrists may not know what is going on.

By the way, last time Julia Taylor of the casting studio talked about an acting coaching expert at NYU, Stella Adler. Maybe she knows the situation better.

Finding a payphone, Ronald dialed Julia Taylor.

"Julia? I'm Ronald, and I need your help with an urgent matter."

Briefly explained the situation to Julia Taylor, who was surprised:

"Didn't I tell you to go to Stella Adler? Why does this still happen? Stella doesn't teach emotional memory, only that old bastard Lee Strasbourg..."

"What? Your Meg just went to his class? Why did he take his acting class?"

"It's Meg's decision. She listens to her sister."

"Take Meg out of that place at once, and come to the casting studio first, and I'll ask an expert to help." Julia hung up the phone.

Ronald carried Meg into the front seat and buckled up. Drive to the casting studio, and Julia is already waiting for them at the door.

Ronald carried Meg to the inner sofa again, and Julia hugged Meg and whispered comfort in her ear.

Soon a middle-aged woman came to the studio, she was Stella's apprentice, named Irene. Stella is 78 years old, it is inconvenient to trouble her.

Erin walked over and took Meg's hand, and asked Julia to take a towel and wipe it lightly on Meg's forehead.

Ronald also stepped forward and took the time to ask Erin:

"Excuse Meg, is she all right?"

Irene stood up and glared at Ronald, "You haven't gone out yet, you are here, is the girl still better?" After she finished speaking, she pointed to the door, signaling him to get out quickly.

Ronald didn't know why, looked at Meg, and seemed to regain some sense of sanity, so he turned around and walked out of the room to wait.

"is it him?"

"No, it won't be him. Ronald is a gentle man, he wouldn't treat women like this," Julia shook her head, denying Erin's guess.