Exploiting Hollywood 1980

  Chapter 925 Another wedding scene in Carnegie Manor

"Ms. Campbell, thank you so much for your generosity. Our American art community needs a politician like you. With someone like you who understands art, leading the New York City Bureau of Cultural Affairs, our Hollywood artists can create better. .”

  Ronald shook the hand of a young black woman with a good temperament, and began to compliment each other.

  This person named Mary Schmidt Campbell is the new director of the New York City Bureau of Cultural Affairs in New York.

   Her previous job was managing the Black Museum in Harlem. In the late 1970s when New York City was on the verge of bankruptcy, relying on her extraordinary fundraising and business skills, she turned a humble museum on an apartment building into an independent building covering an area of ​​60,000 square feet. The annual operating expenses brought by fundraising and tickets are two million US dollars.

  Mayor Koch took a fancy to her level of cultural undertakings, and appointed her as the director of the New York City Cultural Affairs Bureau last year, responsible for all cultural and artistic undertakings in the city.

  The next scene that Ronald will shoot is that Tess and Jack sneak into the wedding of the daughter of the boss of Teske, and sell their plan with the founder Mr. Tesker, which is approved by Tesker.

   For this scene, we need to find a famous big house to shoot. Art director Polly Pratt took a fancy to the steel magnate Andrew Carnegie's old house next to Fifth Avenue - Carnegie Manor.

  This is one of the earliest residences of the rich in the Upper East Side, and the nearby hill is named Carnegie Hill. Because this house is a masterpiece of neoclassical architecture in the early twentieth century, it was included in the National Register of Historic Places in the 1960s and is protected by law from changing its appearance. It is now managed by the Cultural Affairs Bureau.

  Taking historical heritage buildings as filming locations, Ronald also had to flatter Director Campbell. When she is happy, she can give the crew the greatest convenience.

"My friends call me Mary, and I really want to see Harrison Ford in real life." Commissioner Campbell maintains a very good figure, unlike the black aunts at the bottom who start to gain weight, she is actually closer to white people in terms of personal quality upper layer.

   "Of course, I'll introduce you. But when we start shooting, I want you to be behind the camera..."

  Ronald thought that big stars were more attractive, so he introduced Director Campbell to Harrison Ford and asked her to take a photo with her idol.

  During filming, whenever the government department put on bureaucratic airs, Ronald would always play the "Harrison Ford" card, and then everything would go against him.

   "Ms. Campbell...Mary...I'm really happy to be here." Harrison Ford showed his star charm, calling her Mary at the request of Director Campbell, and coaxed her to be very happy.

  The subsequent shooting went smoothly. The crew added a lot of scenery on the scene, and built a Hawaiian-themed wedding scene with straw, flowers, and fake palm trees.

   Tess and Jack came here to see Tusk without any appointment. Knowing this, Jack Trainor knew he had been tricked by Tess. It is a very risky move for the two to break into the rich man's wedding as strangers, and then chat with the bride's father, Tusk himself.

   If Tusk doesn’t talk to them, it’s not just a matter of this failure. The billionaire has a bad feeling for them, and it’s impossible to do business with Tusk Enterprise in the future.

  But it's here, and Jack Trainor has invested a lot of resources in this project, so he has no choice but to force it.

   When the two entered the door, they were greeted by the Tusk couple who personally greeted them at the door. They had to ask whether they were friends of the bride or the groom so that they could arrange seats. Tess and Jack had a good understanding, Tess used the bathroom as an excuse, Jack said he was going to have some drinks, and the two tried to fool them. But the two also separated because of this.

  Harrison Ford's Jack Trainor, like him in real life, is surrounded by women wherever he goes. While waiting for Tess while drinking two glasses of drinks, the female guests around were all attracted to him like a magnet, and they kept whispering how handsome he was.

   "Cut!"

  Ronald is still not satisfied with the intensity of their nympho, "Comeon, this is Harrison Ford, show a little more emotion that you want to dance with him, and the audience in America will understand you."

   "Hahaha..." They were all performed by a group of beauties, laughing so hard that they couldn't straighten up. They were a bit reserved at first, but they were much bolder in the second article, and they discussed loudly in front of Harrison Ford.

   "Cut!" Now Ronald is satisfied. Jack, played by Harrison Ford, is such a walking hormone planter that anyone can be crazy.

  It’s like Director Campbell of the New York City Bureau of Cultural Affairs. He looked here for a long time, and was urged to leave by his subordinates, but he was still reluctant to part.

"Campbell, I think you see that the big star can't walk, and we have to go to a meeting with the mayor." A middle-aged white man with a bureaucratic appearance couldn't help but walked in, and flashed his watch for Director Campbell .

"Oh, 'Interstellar Exploration', I'm about to report on the strategy of cooperating with Hollywood." Director Campbell frowned, "By the way, let me introduce you, this is the director Ronald, and this is New York City Commissioner of Parks and Recreation—Mr. Henry Stern."

   "Hello, Mr. Stern." When Ronald heard that he was a bureaucrat on the same level as Campbell, he stepped forward to shake hands.

   "Call me 'Star Quest'", Henry Stern has a quirk that employees in all departments must have a nickname, and his own is StarQuest. The old white man shook Ronald's hands impatiently, and began to urge Campbell.

  Ronald accompanied them out politely, and Campbell shook hands with him to say goodbye, "It's a pleasure to see this kind of film that reflects women's independence that you shot."

   "Oh, I hope the chicks in the movie won't be late every day like you." Henry Stern didn't give his colleague Campbell a lot of face, and he was still complaining when he got in the car.

"This is a work that reflects social reality. It is a work in which women are the protagonists, and Harrison Ford is a foil." Director Campbell is very used to this kind of sexist old white men. Come out and **** him off.

"It's really, what the **** are directors making these days, I never watch them, why don't they make more movies like they used to? Billy Wilder kind of... what's the name of that young over-the-top director? Rona De Li? New Yorker?"

  Henry Stern was a little angry at Ronald, and kept saying that in current movies, there is no longer a female character like Monroe in the past—responsible for becoming a foil for men.

   Ronald sent off the bureaucrats and went back to continue filming. Jack and Tess did not find an opportunity to speak alone with Mr. Tusk, and were very anxious.

  Finally seeing Tusker dance with a rather ugly fat girl, the daughter of his business partner, Jack Trainor pulls out his peppy masculinity to give Tess a chance.

  Harrison Ford performed all of his true colors. He first found out from the beautiful guests that the fat girl was called Elizabeth, and then continued to deceive her nickname, not the usual Lisa or Bess, but Bessie.

  As long as the handsome guy tells the ugly girl what he wants to know, she will obediently give her the answer.

  Harrison Ford seemed to be very happy to call out Bessie's name, and together with Tess stepped forward to stop Bessie who was dancing with Tusk. "Bessie, don't say you forget me, I will be sad."

"Oh...hahaha...Of course not." The fat girl Bessie didn't know Jack, and it was the first time seeing Jack today, but she was "very smart" and immediately pretended not to notice that Jack "admitted the wrong person" and was happy They hugged him and danced together.

   "Cut!"

  Ronald is very satisfied with this actress named Marceline Hugo. Her appearance is not good-looking. Under the makeup artist's deliberate ugliness, her chin protrudes and she looks like a nympho. With a few expressions and movements, he vividly played out the state that a girl should have when she sees a handsome guy playing tricks.

   After a few shots, Ronald saw that she must have the skills of stage performance. After the filming ended, I asked, and it turned out that it was a rookie on Broadway, who was playing Eugene O'Neill's revival drama "The Moon Doesn't Know How to Love You". This time, Julia Taylor cameo to play a fun role.

Seeing that Marceline Hugo, who acted in a famous play, could only play a small clown in the movie, Ronald felt a little sorry and apologized to her, "I hope you don't get angry because of today's scene, the movie is like this, An impressive supporting cast that will be remembered by film critics."

"It's okay, director, I understand that I always start with such a role when making movies. I heard Alec Baldwin and the others say about you. You are the most respectful director they have ever met." Marceline Hugo This is the first time she has the opportunity to make a movie, and she is a real drama actor, who doesn't care about self-destructive image, "And those girls are jealous of me, I can dance with Harrison Ford."

   "Hahaha..." Ronald was very impressed with this actor with a sense of humor.

  …

   Next it was time for Melanie Griffiths to play. Tess smiled awkwardly, stepped forward and became a dance partner with Mr. Tusk. She gave full play to the advantages of women, first said that she was working for Tusk Enterprises. The mergers and acquisitions department of her company is indeed helping Tesco Enterprises to propose mergers and acquisitions.

   Then Tess’ homework in advance played a role. She first complimented Mr. Teske for having the foresight to see the prospect of microwave transmission in 1971, and made a bet on the microwave transmission technology of TV signals.

Then she complimented the other party. In the 1970s, when most entrepreneurs in America kowtowed to the trade unions, she began to learn the working methods of Dongying people, and used the "common good" model to partially solve labor-capital conflicts and make Tesco a big company. , becoming one of the top media giants in the industry.

  Being told about his proudest success, Mr. Tusk showed that, like many successful entrepreneurs, he no longer takes this beautiful professional woman lightly.

"I don't think anyone with such a long-term vision would reject my proposal to let Tesco Enterprises acquire a radio station. It must be your subordinates. They only want to acquire the TV station, and they are not interested in the radio station when I say it. gone."

   "Of course not. The radio station and the TV station are the same. I will not give up any chance." Tesker was obviously in a good mood to be flattered by the serial.

  At this moment the bride and her companions approached, and they evidently discovered that Jack Tess was not a friend of either party.

   Tess sees the bride herself, the daughter of Tusker, approaching. She immediately disengaged, "I just realized that I have occupied the bride's father for too long. Otherwise, next Monday, I will contact you again to discuss this plan. What do you think?"

   "Excellent, my media advisor is Tim Draper..."

  Jack received a signal from Tess, and the two slipped away from the door before the person who came to expose them arrived.

   "Cut!"

A wonderful indoor group scene ended, and Ronald was very happy. The experience he learned from filming "Moonlight Sultry" before really played a role here. The multi-person scheduling and the movement of the indoor camera, what is most needed is not The detailed design was done in advance, and the photographer followed the design closely.

It’s about giving the actors some room to play freely, so that their performances will look natural, rather than the sense of stage drama that the audience can feel at a glance, as if everyone walks, expresses, and speaks like a drama. Well, under a cinematic lens, such a performance would feel weird and out of character.

   "Hey...hey...", the film crew moved outside the gate of the Carnegie Manor, Harrison Ford smiled contagiously, and his joy could be felt from far away. Instead of walking down the doorstep, he added some boyish jumps, a natural charm of the star, which is very endearing.

"Laugh, Tusk said, meet us first thing on Monday, we go back and contact his media consultant Tim Draper first..." Tess followed, putting on a mink coat—also "Borrowed" from Catherine's wardrobe.

   "Oren Tesker? That person said he wanted to see us on Monday?" Harrison Ford ran up to Melanie Griffiths excitedly. He turned back to the camera and talked to Tess.

   "You're upset, aren't you?" Melanie Griffiths hit Jack with the "borrowed" Catherine's Hermes bag.

   "Cut", Ronald looked at the photographer holding the camera stabilizer, capturing the content of the conversation between the two. For such an over-the-shoulder shot, an operator rented from the Steadicam company with equipment is required to shoot. Later, we will change the direction and shoot Tess' over-the-shoulder shot.

   "No, I'm very happy, I think you've done a great job, you're a genius." The camera changes direction and captures Tess's reaction after hearing Jack's praise.

   "Do you really think so?" Tess, played by Melanie Griffiths, has the kind of childishness that is not commensurate with a professional manager from time to time, which makes Jack Trainor feel attracted to Tess.

Jack hugged Tess who was wearing a fur coat, and Tess laughed happily. The handsome man praised her from the bottom of his heart, which made her very happy that she was not only recognized professionally, but also favored by such a handsome man. .

   "Cut!"

   Ronald yelled, this scene is over, the shooting progress has passed two-thirds, and we are about to enter the most exciting and constantly reversed scene in the third act.

  (end of this chapter)