Exploiting Hollywood 1980

"What the hell are you doing, Ronald?" producer Da Silva warned.

Ronald ignored the Latino producer, walked straight to director Alan Parker, and stopped in front of him.

Ronald looked at the man in his 30s, his big nose looking especially comical from this angle. He tried his best to look at himself from behind his nose, as if asking, "What are you doing? Do you want to challenge my authority in the crew right now?"

Ronald asked, "What's going on, director? Why is the script I wrote with you, and it's being used for auditions."

"I see in your notebook, it's a good play and lines, and you'll be a successful playwright, Ronald. I don't see why you're not satisfied." Director Parker picked up the notebook and handed to Ronald.

"That's what Meg Tilly said to me, and I promised she'd take it out of the script. You should have told me before it was used for the audition." Lying on the crumpled paper that he threw in the trash can and picked up.

"Oh, Come On. Ronald, don't be silly about your two butts. All great plays come from life, and you have to learn to draw plays from life..."

Ronald got angry again by Parker's words, his face flushed red, and he scolded in a low voice, "Asshole!"

"Stop, Boy"

"Ronald, stop"

Margery and Joanna who came along hurriedly stepped forward to dissuade them.

Alan Parker looked bad. He adjusted his neckline and squinted at Ronald.

Meg Tilly, who had been watching, stepped forward and bypassed Ronald, and said to the director:

"Director, I think I am qualified to audition for this scene," Meg said calmly.

"Meg, listen to me, I didn't give this scene to the director on purpose, he took it from my notebook." Ronald quickly distinguished.

"But you didn't throw it away, you put it away, didn't you, Ronnie?" Meg's calm attitude made Ronald even more flustered. She seems to have decided something.

"Meg, I..." Ronald knotted, not knowing how to explain.

"Director, I said this conversation to Ronald, and he copied it into this scene. I think I am fully qualified to use this scene to audition for the role of Hillary, am I right?"

Meg spoke calmly to director Parker.

"Of course." The director agreed and glanced at Ronald again, as if to say, "Isn't your conversation also stolen?"

"I think it's next in line to audition."

"Give you 10 minutes to prepare."

"No, Meg, you can change the scene," Ronald tried to persuade Meg.

Meg opened his hand with a slap and went into the lounge to get ready.

Margery came up, dragged Ronald to the far corner of the door and sat down.

"Son, you shouldn't react so much. The director is right. Playwrights find inspiration in life. You don't see Meg being so angry. You take the opportunity to apologize to the director."

"No, you don't know Meg, she hates me for writing her words as lines for others to read, and the Francesky I recommended, who played it very well, probably won the role.

Now Meg is obsessed with winning the role and her lines. I am afraid that in order to win this audition, she will use emotional memory to act in this crying scene. "

"Hey, this..." Margery also heard that Meg's emotional memory method caused her to cry and collapse.

"This is a personal choice. You have done everything you can, and don't blame yourself for the child." Margery also stopped to persuade.

Antonia Francesky had already retreated to the door to leave,

But she was fascinated by the reality of the drama, so she simply sat down and waited to see what would happen in the second half.

She looked next to Ronald who was still twisting his fingers after taking his seat.

"It turns out that this confession was written by the young boy in front of me. It's really wonderful, and it fully expresses the dreams and sorrows of a ballerina girl."

Ronald clasped his hand tightly, and the joints were already white from the force. Self-blame and worry now replaced anger and took over his heart again.

The redness on his face that was bloodshot with anger had faded, and only two ears remained red.

Antonia looked at the two red ears and felt a little amused in her heart.

"Cough cough..." Because of his nervousness, Ronald's throat was itchy and he began to cough.

Someone handed a bottle of Arrow Hill mineral water, Ronald took it, opened the bottle cap, and took a few sips.

"Thank you", turned his head to thank, and saw that it was Antonia.

"Sorry, I interrupted your audition..." Ronald apologized, remembering that he almost interrupted her audition.

Antonia waved her hand, indicating that she didn't care. Then he pointed to Meg Tilly who came out of the lounge.

Ronald's heart hangs again.

Meg sat down on the bench, adjusted her position slowly, little by little, put her hands on her belly, and signaled to the director that she was ready.

Ellen Parker turns on the camera, motioning for Meg to start.

"Look, I got the San Francisco Ballet...

You see, my dream is to dance all over before the age of 21...

I want to hear the audience yelling Bravo at me on stages in New York, Leningrad, London, and Paris! There was even a ballet written just for me. "

Ronald's heart was half relieved, and Meg's learning from Stella Adler's training class was satisfactory. Although there is no Antonia's performance, it's natural, but the change of emotions is in place.

If you think about it, even if you don't get Hillary's leading role, a supporting role is stable.

"Look, in my dreams, there is no room for a baby..."

Meg has finally played without the support of her life experience.

The dream part in front is Meg's own idea, no need to act. The details of abortion here are the setting of the script, but Meg has not carefully analyzed the motives and details of Hillary's life.

Erin from the Stella Center asked her to try to challenge Hillary, but Meg didn't do it, and now she regrets it very much, but it's too late.

In a flash, Meg thought a lot. In order to win the role, the only way to use emotional memory...

In an instant, I remembered those memories from the past, and big tears couldn't stop flowing from my face.

Antonia Francesky was also watching Meg's performance, and the script says Hillary sobbing here. And Meg's cries were clearly more than choking.

"Is she all right?" Antonia asked, seeing that something was wrong.

"Hope it's all right." Ronald kept his eyes on Meg, his hands clasped together nervously again. His mouth opened involuntarily, his legs twisted and twisted on the stool.

Meg's cries got louder and louder, and she no longer cared about acting and interacting with her partner.

Joanna Merlin, who was on the scene with her, said the last line of the clinic nurse: "Do you pay with Mastercard, or American Express, Honey?"

Meg stopped sobbing abruptly, and let out a sharp roar, half-smiling but not laughing.

Then she couldn't take it any longer, slipped off the stool, sat on the ground, covered her face with her hands, and started crying again.

"Crack," the director closed the camera.

Ronald got up from the stool, jumped over the long table in front of the stool, and rushed in front of Meg in three steps and two steps.

Meg cried a little sadly, and a little ashamed, but unlike the time at the Lee Strasbourg drama school, she gradually stopped crying.

Ronald breathed a sigh of relief, took out the handkerchief, and wanted to help her dry her tears as he did last time, and asked with concern, "Meg, it's me Ronnie, you'll be fine."

"No, I have something to do." Meg snatched the handkerchief, wiped her tears, and blew her nose again, "You stole my lines and gave them to other actresses, and let her get the It's my character, speaking on the screen the lines that should belong to me."

"Ronald, we're done."