Exploiting Hollywood 1980

  Chapter 905 Meet one love one

  John McTiernan was very angry. He felt that the two producers, Ronald and Joel Silver, were deliberately against him. Little things like this kind of character speaking random German will interfere with the director's arrangement, and maybe there will be some problems in the final editing.

  Ronald did not expect that his opinions for the international box office would be misunderstood as interfering with the director's work. As the crew continued to watch the filming, he clearly felt McTiernan's anger at himself.

  The position is different, and Ronald's thinking is also different. He might feel the same way about his "working girl" if he had a producer come and talk badly about his director. Of course, with Ronald's box office performance, no one at 20th Century Fox would be stupid to say anything, and Ronald is one of the producers.

  McTiernan’s angry expression is that he deliberately didn’t shoot the main shot that explained the whole scene, but used a lot of close-up reaction shots, and the pros and cons of the middle shot to show the dialogue and interaction between the characters. In this way, in the editing room, the producers can do much less.

   Ronald, who knew it well, just watched behind the camera and said nothing. His purpose is not to point fingers and replace the other party's director work.

   Today is another thrilling action stunt shot. A close-up of Alan Rickman's final fall from the building.

  Like the first shot, the Bruce Willis shot, the roof on the top floor was emptied again by the crew. Alan Rickman was hanging from the outside of the railing by a safety rope. The camera fixed on the bracket at the top was changed to a close-up shot, facing Rickman's face from top to bottom, and the photographer hung on it, manipulating this big machine, which looked very funny.

  A stuntman grabbed Rickman's hand with his hand, and McTiernan was talking to him next to him. "I'm going to count one, two, three. When it's three, Mike lets go and you make a surprised face. Then it's OK."

   "Okay, no problem." Alan Rickman wiped his hands on his body, and it was the first time he filmed this kind of action scene, which made his heart beat a little faster as an actor playing Shakespeare.

  The stuntman named Mike also explained their protection to Rickman. "Don't worry, this safety rope can withstand impacts ten times your body weight, and there is an airbag insurance underneath. Bruce Willis didn't have a safety rope to protect the lens on the first day, and there is no problem with the airbag alone.

  Don't use your hands too hard, I will pull you hard. When the director counts to three and sends the signal, I will let go, so the fall is more natural. We have been doing this simple stunt for many years, many actors have tried it, it is very simple. "

   Alan Rickman was relieved by what he said, and signaled to the director that he was ready.

  For this kind of shot, the most important thing is whether the actor is ready. If there is no psychological fear, it can often succeed in one shot. But if the psychological fear is not ready, the actors may be pressured to perform unnaturally every time they dance, and the filming will be endless.

   "Attention all departments, we are starting to shoot.

  Action! "

  Director John McTiernan gave the order from the side of the camera.

   "One, two..."

   Before counting to three, McTiernan secretly sent a signal to the stuntman, and Mike who grabbed Rickman's hand immediately let go.

"what…"

   Alan Rickman, who was shaken unexpectedly, his face was full of panic and fear caused by subconscious conditioned reflex, and he fell from above with a loud cry.

   "Got it?" McTiernan asked DP John de Bont.

  De Bont scratched his hair and nodded in confirmation. This close-up works really well. There's a look of horror on Rickman's face that no performance of any genre can achieve. This is entirely a human instinct.

   "Fuck...damn the director, I want to complain." Alan Rickman's scolding came down. This time he was frightened enough, he waited with all his attention, and suddenly let go early, scaring him into a cold sweat.

   "Forget it, it's all for shooting..." Alan Rickman saw Ronald who came down to see him, and suddenly lost the intention of complaining to the actors union. Although he is a member of the British Screen Actors Guild, he automatically enjoys all the powers of the American Film Actors Guild.

  There are still many differences between movie performances and theater performances. Although this method is detrimental, the final effect must be good.

  …

   After watching the more dangerous shots, Ronald flew back to New York after finishing his stay in Los Angeles. The actors have already gathered for script readings and rehearsals.

   "Working Girl" is a movie that relies on plot and performance to advance the plot, with a high level of drama. So before shooting, the actors read through all the scenes according to their characters, so that they can understand the emotional intensity of each scene.

  Everyone is an actor from the theater background, Alec Baldwin, and Joan Cusack are very familiar with this form. Melanie Griffiths is a child star who has acted since she was a child and came from an acting family. After reading it for two days in a row, I already have my own understanding of where and how much effort should be made in the plot.

   However, the absence of Harrison Ford and Sigourney Weaver prevented the actors from doing the final overall script reading. That is to say, each character rehearses his lines continuously from beginning to end according to the plot.

  Many problems that were not found in the intermittent reading will often appear at this stage.

   "Director, do we have to do another reading after Harrison comes before filming starts?" Melanie Griffiths asked Ronald in a hoarse but very **** voice.

"No, you and Harrison, Sigourney's scenes are not pre-rehearsed, I need a sense of strangeness. You did Jonathan Demme's 'Shotgun Lulu', and you should be uncomfortable with this approach." strangeness."

   Ronald hadn't planned for them to rehearse in advance. For this movie to be successful, two key points are the feeling of a couple between Melanie's Tess and Harrison Ford's Jack Trainor. A battle scene between two fully-competing women, Tess and Catherine.

  The supporting roles in the movie are played by veterans. Harrison Ford and Sigourney Weaver are also stars with distinctive styles. If they are chosen as the protagonists, corresponding updates will be made in the script to make the characters closer to their star images.

   Such movies that everyone is familiar with often fall into a problem of perfunctory response. You have played similar roles dozens or hundreds of times, but when you start filming, you will fall into skill and inertia, and you will not be able to perform that natural reaction.

   Tess and Jack fell in love at first sight, well, isn’t it similar to Han Solo’s first meeting with Princess Leia in Star Wars? Tess and Catherine are robbing careers and men. Hasn't that Hollywood actress over thirty years old played ten or twenty similar roles? On the contrary, experience will hinder these veterans and stars from performing that kind of sincere emotion.

  Like having acted in hundreds of Shakespeare plays, Lawrence Oliver, who is known as the best actor in Britain, is always nervous before going on stage, for fear of encountering a problem of being too familiar and making the audience dissatisfied with his performance.

  Ronald has asked all familiar directors about this question. To solve this dilemma, Hollywood directors generally have three methods.

   The first method was taught by Peter Bogdanovich. It is to choose a novice who has just learned acting, and let her stimulate the rest of the veteran actors, and use fresh and unpredictable newbies to give the veterans a sense of freshness and stimulate their natural reactions.

   Bogdanovich’s recent directorial films are not very good, but he has rich experience and is familiar with all the stars and directors of the golden age. He has interviewed them and written several biographies.

   His own famous work "The Last Movie" also found Sybill Shepard who had just debuted, and then matched several old drama bones.

   But this method is also an old method from the golden age. At that time, the star was a permanent employee of the studio, and such an approach could be implemented. Today, movies need stars to sell tickets, and Ronald can't do that.

  The second method was taught by Martin Scorsese. Just like Stanislavski's drama theory, grind slowly.

  When the first piece was played, the veteran actors were very ingenious, and they continued to shoot if they couldn't meet the requirements. When the 10th and 20th articles were filmed, all the ingenious performances were performed more than once.

  Actors will get bored, get angry, and even break down, and start to wonder why they always refuse to let the director pass, whether their acting skills have deteriorated, or they are simply not suitable for this role.

  But as long as the director continues, when it comes to Article 25 and Article 30. All the shackles brought about by the actors' past acting experience will be wiped away. At this time, they are thinking about acting, and they have to come up with something different, something they haven't tried before, which brings the same sense of excitement as a novice actor.

   But this method is not suitable for this movie. Scorsese is facing Tom Cruise who has just become popular. Tom himself respects these famous directors and is willing to learn. And the other Paul Newman, who played against him, is the most humble and respectful of the director among many Hollywood stars, and he regards himself as an ordinary actor.

   Ronald faced Sigourney Weaver, who had a tight schedule, and Harrison Ford, who played big names before the filming started.

  So he decided to use the third method, which was taught by Jonathan Demme. The important scenes were never rehearsed, and the protagonists were not allowed to talk for the first time until the shooting started.

  Human is a kind of animal that is very sensitive to hypocrisy. Only when the actors cooperate for the first time, whether they are novices or veterans, their reactions are the most original, the most natural, and the audience’s favorite.

   Just like when Alan Rickman fell, the completely pure natural reaction cannot be performed by any acting genre.

  So during the pre-rehearsal, the most important thing is to keep the three most important protagonists from feeling familiar, and to maintain that sense of strangeness.

"Well, I'm still looking forward to filming with him..." Melanie Griffiths is indeed a **** actress. She is the same person in life as she is in filming, and she is the kind of person who is extremely emotional .

   "Alec, I still don't understand some lines very clearly, can you chat with me at night?"

   It's a pity that I couldn't meet the handsome Harrison Ford, who is full of male charm. Turning around, Melanie Griffiths felt that Alec Baldwin, who played her ex-boyfriend, was also very handsome. In particular, he has a broad jaw similar to Harrison Ford, and he is a man's man's man's man's man's man's eye.

  Different from Europe, which has a feminine aesthetic, America’s aesthetics of men still remain in a relatively primitive and normal range. Here, the male star has a wide chin, which is very popular among female audiences.

  The two camps have been in a cold war for decades. Among the major countries, only America and East Asia’s Huaguo and Dongying still regard men’s aesthetics mainly based on masculine charm. The sharp-edged traditional man is still the mainstream aesthetic.

   But this situation is slowly changing. In big cities, gradually this kind of overflowing male hormones are labeled as blue-collar workers. The kind of men with thin chins and male stars who are mainly beautiful and feminine are gradually being sought after.

  Especially action stars like Stallone and Schwarzenegger can't play those smart men. This situation is more obvious in Europe and Japan. In the new generation of male stars, femininity is becoming more and more obvious.

   "Sorry, Melanie, I have something else to do." Alec Baldwin declined the invitation.

   "Don't get me wrong, Alec, I just want to chat with you about lines..." Melanie Griffiths is now dressed as the elite beauty, not the ugly secretary in the first half. She wears those red glasses and speaks softly, she is really a heart-stopping beauty.

   While speaking, Melanie Griffiths was still gently stroking the back of Baldwin's hand with her fingers.

   "Come On, Melanie." Alec Baldwin spread his hands, feeling very unimpressed by Melanie's blatant seduction. He actually looked down on Melanie Griffiths a bit. This woman's beauty is limited, and she is addicted to alcohol. She has just turned thirty, and her muscles are already sagging.

"I don't date actresses in the crew, it's not in line with professionalism. If we date, there will be some breakup and mutual disgust scenes, and we won't be able to act. Sorry, this is my principle." Alec Baldwin's The reason is that he just opened his mouth. He has done similar rejections countless times.

   "Oh, Alec, Alec, you are so cute. Are you sure we can't try intimacy first... This is also a kind of..." Melanie flipped her hands to touch Baldwin's face.

   "Sorry, I have other things..." The well-informed Baldwin also wanted to escape, this kind of **** really couldn't stand it.

   "Oh..." Melanie Griffiths covered her face with her hands, and it was really embarrassing to be directly rejected by a man like this.

   After sorting out her thoughts, Melanie Griffiths began to pack up her bits and pieces. Scripts, notebooks, glasses, lipstick, mouthwash, and some small plastic packages, slowly stuffed into the bag. She turned her head and saw that director Ronald was still sitting there, chatting with screenwriter Kevin Wade.

Yeah, Ronald is so handsome, with dark blonde hair that shines in the sun, a broad jaw with a cute little dimple, and a deep voice that speaks to the writers, so talented, it's mesmerizing .

   "Ronald, I still have some lines from Tess..." Melanie Griffiths approached.

   "Don't overdo it... Melanie. I need you to relax and bring out your talent while filming."

  Ronald looked back at her, whether he really didn't know, or pretended not to know Melanie's **** personality, he resolutely rejected her temptation.

   With a stretch of his finger, he tapped firmly on the cover of Melanie Griffith's script, "What I need now is a relaxed Melanie."

"Melanie, Ronald is right. Don't analyze the character too hard now. After the filming starts, we will slowly find out. I have seen your first few films. You are a talented actor. Don't worry about this. If If you want to talk to someone about Tess' psychology..."

   Screenwriter Kevin Wade looked at Melanie, and he immediately felt that this Hollywood actress was beautiful, and his gestures and gestures had the charm of a thirty-year-old professional woman, with some tenderness rarely seen in professional women. On the contrary, she coincidentally cooperates with Tess who is a secretary, and she also has a lot of experience in character analysis, which can be shared with her slowly at night.

"Thank you, Kevin, I still listen to Director Ronald, relax first, giggle..." Melanie Griffith looked at Kevin Wade, her jaw was not wide enough...not masculine enough to give I have a sense of security, and I don't have the natural charm that makes people thump and clamp their legs.

   Thinking about it, Melanie Griffiths took out a small notebook from her bag, called the Wall Street investment manager, and called Liam Dalton, the manager who taught M&A courses. He also has a wide jaw!

   "Liam, the law on mergers and acquisitions you mentioned last time, why does the acquisition of American media by foreign capital require congressional approval? ... Well, I still don't understand, can you come and talk to me at night?"

"She's not your type...Kevin, or not yet." Ronald patted screenwriter Kevin Wade on the back, "Focus on the script and change it to suit Harrison Ford, You'll soon have other stars coming to ask you to write scripts for them..."

  (end of this chapter)