Exploiting Hollywood 1980

Director Alan Parker, after filming in the movie theater, also came to Harlan Middle School to check the preparations for the most important dance scene in the entire film.

"Louis, how's this dance going?" director Alan Parker asked choreographer Luis Falco.

"I divided the dancers into two teams, a mix of ballet and jazz. The two teams separated after rushing out of the school gate, and one team went to intercept the Cadillac, jumped on the roof and continued the ballet.

Another team goes to the taxis on the other side of the road, revolving around the taxis..."

Choreographer Luis Falcao explains his choreography to director Alan Parker.

"Show me your work, Louis. Don't just describe it in words." Alan Parker interrupted the choreographer, Louis, and offered to watch the dance directly.

The "OK" choreographer turned around his earrings and gestured to his assistant, signaling the group dancers to start performing again.

"I need something hot, baby, just tonight."

Donna Summer's "Hot Stuff" sounded, dancers gracefully ran out of the school gates, danced across the street, danced around the car, and then the crowd lifted the dancer to the roof of the car, on the roof and under the car Dance neatly together.

The theme song hasn't been written yet, so for the time being, I'll use this disco with a similar rhythm to make up the numbers.

"No, no, no, no, this is too deliberate, I can't use one, I want these children to rush out of the school gate and start jumping." Alan Parker shook his head when he saw this.

"It has to be redone. Before the actual shooting tomorrow, you have to come up with a plan, Louis." The director looked serious.

Choreographer Luis Falco was stunned, wondering what was going on. He did not understand why the director rejected the results of his three-day rehearsal.

And as a choreographer, he couldn't tell other dancers that he didn't understand what the director meant. Otherwise, his unprofessional reputation will spread to the crew the next day.

"I want to see a new choreography before shooting starts tomorrow morning." After the director gave the order, he went to discuss with the producer the arrangement of tomorrow's live shooting.

"Gene, what do you mean by jumping out and starting to dance?" Choreographer Luis Falco took Gene's arm and asked himself.

"How do I know? You're the choreographer, Louis." Gene pulled his arm out of the choreographer impatiently.

Louis Falco looked disappointed when he saw Gene's reluctance to make physical contact. He withdrew his hand and began to play with his ear studs.

"What, Gene, are you not on our side anymore?"

"No, I just don't want to show it in public," Gene said. "I don't want what those people in Harlem think of me, and that happens on set."

"I understand, I understand."

"No, you don't understand. The producer, Mr. Da Silva, approached me and said that he would make another TV series based on the film and invited me to continue to play Leroy."

"Oh, Gene, you're going to be red."

"So the producer told me not to come out of the closet." Gene whispered.

"If you really have no idea, you can ask Ronald, he always has a way." Gene gave another suggestion.

"Oh?", the choreographer replied, "He is...?"

"No, he's just very clever. He picked me into the crew. I've seen a musical he made in Hollywood, and there are subtitles at the end to thank him."

"Okay, then I'll try him."

...

"Lift, get on the roof, dance..." Luis Falco showed Ronald the dance moves he had choreographed for three days.

"Then Ellen said that the dance I choreographed was too deliberate, and he started dancing when he wanted to rush out."

Ronald, who was pulled by Gene to come up with ideas, stared at the movements of the group dance, comparing the dance segments in his dream.

"Why do they seem to be dancing as planned?" Ronald asked, pointing to the two dancers on the roof.

"That's the job of the choreographer, finding the right dance moves for each of them, to play with each person's characteristics."

"No, I mean, this episode is about them hearing the music downstairs and rushing out of the school gate to start dancing, right?"

"That's it." Choreographer Luis Falco still didn't understand.

"Then why do they still dance according to pre-designed movements? In this case, they should rush into the crowd and dance as they want?" Ronald said affirmatively.

The dance in the dream is like this, everyone dances their own way, everyone dances according to their own feelings.

"But doesn't that mean there is no choreography?"

"No, this is not a Broadway musical. Allen wants to make him a movie that reflects the reality of American society." Ronald said, combining his own feelings.

"Look at the plot, there are even plots of deceiving people into making adult movies, abortion, and coming out of the closet. He definitely won't let this dance be made in the style of a Broadway musical like 'Grease'."

"The director said rush out and dance, which is probably the literal meaning. Louis, you are a professional choreographer, and you should know more about how to meet the director's requirements."

"You're right." Choreographer Luis Falco mused, "I can choose a dance style for each dancer, but the scene lets them play freely on that basis."

...

"Antonia, I have a whole set of plans to be famous all over the world. After the movie is released, there will be a TV series. Would you like to continue to play Hillary in the TV series?"

Producer David Da Silva started talking to the stars to find out what they wanted.

"My dream is to dance ballet, and acting in movies is just a means for me to make money." Antonia decisively rejected the producer's temptation.

"Don't decide so early, Antonia, you'll have plenty of opportunities when the movie comes out."

"Thank you for your kindness, Mr. Da Silva, but I've been invited by the City Ballet of New York, Mr. Balanchine, to graduate from ballet school next year, and I'll join the City Ballet of New York."

"Then, congratulations?" David Da Silva crossed Antonia off the list of starring roles in the spin-off TV series in his heart.

...

"I want something hot, baby, just tonight."

Luis Barco turned on the tape recorder, and more than 60 dancers screamed and rushed into the street. Complete freedom to dance what you want to dance with, with whom you want to dance.

A few daring ones jumped on the roof of the prop car and stepped on the roof of the car with a bouncing sound.

There were also a few dancers who were already superior in dance skills, and even started a one-on-one dance fight.

"Clap clap clap", the director applauded, "This is what I want, Louis, this is the scene I want."

"How did you get them to improve so much in such a short period of time?"

"Speaking of it, Ronald told me your plan. This is a realistic movie, not a Broadway musical. The songs and dances in this movie should conform to the logic of reality. It is not a Broadway musical for the audience to watch. Dance for a dance."

"I just let them rush out and play freely with the style I gave them."

"Very good, Louis, very good." Alan Parker patted the choreographer on the shoulder. "Is Ronald one of you too? I heard he has a good relationship with Gene?"

"I don't know about them. We also have privacy between us, which is no different from heterosexuality."

The choreographer replied while turning her earrings.

...

"Alan, what do you think? I sincerely invite you to join the production of the TV series. After all, you make these characters come alive." Producer David Da Silva talked with the director about the TV series.

"The movie is going to be R-rated, and the TV series must maintain a PG rating. How do you deal with these R-rated content in your TV series?" Alan Parker asked.

"I'm going to change the characters so that Montgomery is no longer a base, and there are no teenage pregnancies and abortions."

"Aren't you castrated? I'm not interested in PG-rated TV dramas."

"Okay, but at least you don't mess with me, Alan."

...

"Alan Parker, ask me if you're with Ronald...you have to watch out for him...I heard that there is a plot of Montgomery's character coming out of the closet in the script." Choreographer Louis Parker approached Gene and whispered.