Exploiting Hollywood 1980

  Chapter 96 I can find a new job in two weeks

  A section of 46th Street in Midtown Manhattan has been blocked by the police since the beginning of the morning to cooperate with the filming of the "Famous in the World" crew.

The    team moved from Harlan Middle School to the door of a stone building here to shoot the exterior of the theme song dance.

   This building was chosen as the gate of the school in the movie, for the simple reason that Alan Parker likes the gates of the high school, so he found a similar one on 46th Street.

   The road between the intersections on the left and right sides of this gate was blocked by the producer for three days for filming.

   One end of the crosswalk, which intersects 46th Street, was also requisitioned for parking prop vehicles.

   In order to film this highlight, the crew also hired 30 additional on-site assistants with Motorola's wireless walkie-talkies to assist with the on-site shooting.

  Ronald stands behind the camera, watching these field assistants in uniform white T-shirts with “Fame” emblazoned on their chests, taking orders from DP Michael Ceresin.

   "My child's father is an Oscar winner." The words on the back of the white T-shirt made Ronald, who was standing beside him, smile knowingly.

   "When the director announced the filming, you mainly maintained the order of vehicles entering the venue. After the actor playing Anglo drove a taxi with a horn into the venue, the team began to prepare..."

   After seeing a new choreography from last night, Alan Parker decided to add some more authenticity to the scene.

   All the vehicles are no longer parked on the road in advance, but queue up on the cross road that intersects 46th Street, and then drive into 46th Street at a slow speed. Try to make the scene where the dancer stops the vehicle as real as possible.

   "All vehicles, approach slowly by number, and the speed limit is not allowed to exceed 6 mph. I repeat, no more than 6 mph."

   "Prepare for a rehearsal." Seeing that everyone's assignments were completed, the director gave an order to the first assistant director.

   Ronald stepped back out of the director's sight and stood beside an apple crate.

  The assistant director picked up the walkie-talkie and ordered the car to come in. The camera operator commanded the team to slowly push the machine forward.

  The dancers burst out of the gates and danced the streets to the disco chants of the sound crew.

   At this time, according to the original plan, the car in the lead should brake, and the teams behind it brake in turn, and the drivers stick their heads out of the cab to observe the situation.

   But the driver at the beginning seemed to be joking with the dancers on purpose. First, he faked the brakes, and the front of the car was a little bit. When the dancer stopped to dance, he arched forward another half a foot.

This time annoyed the dancer in front of the car. He originally only showed his back in front of the camera, and he didn't get the shot of showing his face. Now he was shaken by the driver again. He was angry and slapped the hood of the car hard. What does the driver want to do?

  The driver is of Italian descent. As soon as he got out of the car, he started to say something in Italian. He raised his hand and pushed the dancer's chest.

   This move aroused the anger of the dancer and wanted to push the driver back. However, he is tall and thin, and fighting is not a physical movement that he is good at.

The unexpected reinforcements came from the camera crew. The camera operator handed the machine to the assistant, led the pushers and pullers to catch up, and pushed the driver all the way, "What the **** are you doing? I don't know you're shooting. If the scene does not follow the plan, will it kill everyone?"

   It turned out that the operator carried the camera on his shoulder and shot on the forward extension line of the car. If halfway through the shot, and the driver does another fake brake shake, the unlucky operator will be the operator behind the camera, staring at the frame.

  The Italian-American, backed by the Truck Drivers and Workers Union, did not expect an unexpected challenge from a strong man from the British Isles, and was temporarily at a disadvantage.

  Alan Parker asked DP Michael Seresin to stop his men. He walked up to the Italian-born driver and said:

   "I like your fake brakes very much, it makes the actors' performances very real, but you have to pay attention to safety during the actual shooting, and you can't use such dangerous tricks again, do you understand?"

   Of course, the driver understood the meaning of the director's words, knew that the director was standing on his side, and gestured to the director with his thumb.

   Then when Alan Parker turned his back and walked back, he quickly turned his thumb upside down and provoked the camera operator.

   The camera operator smiled contemptuously, pointed to his own eyes, and pointed **** to the Italian guy's eyes. It means "I'll keep an eye on you, don't let me catch you scumbag again."

  In the British studios, there have been class barriers for a long time. Directors, actors, etc. belong to the upper class, speaking with an orthodox upper-class accent, or Shakespeare's dramatic accent.

  Camera operators, editors, props, recordings, etc. are all working class, most of them speaking with a Cockney accent in East London. They were commanded by the first deputy director, like in the British army, only the sergeant-major commanded the big men.

  Although director Alan Parker claims to have been in the East End of London since he was a child, he does not speak a Cockney accent, and even the crew members with British nationality do not regard the director as his own.

   The short, stocky camera operator doesn't look down on the thin, slender style of the Italian-born driver at all, just like on a football field, a British hero can hit seven pussies.

   The first assistant director picked up the radio and started calling the cart driver in the back row.

   One by one, the cars slowly fell out of 46th Street and returned to the starting position.

  Ronald watched the assistants direct the traffic like a traffic policeman and restore everything to its original state. The clerk inspected with props to ensure that everything was restored to its original position so as not to be crossed.

  The choreographer pointed out some questions to the dancers, and took everyone back to the building to wait for the official shooting.

   With a large crew of more than 100 people, it takes time to restore the original, not as easy as rewinding on a VCR.

   Waiting for everything to return to its original state, the official shooting can take place. Ronald looked at his watch, and more than half an hour had passed.

"No wonder I have to apply for three days of filming time. Shooting like this, I can't get a few shots in a day." Ronald nodded secretly. This is an experience that cannot be learned in textbooks. of.

   "Attention to all departments, the next one is officially shot!"

  The shooting instructions for big scenes were given by radio. In addition to the main camera on the guide rail in the middle of the road, there was also a second camera on the second floor of a facade on the side of the road.

   After careful scheduling, the director of photography can keep the two cameras from taking pictures of each other, so as not to interfere.

The    convoy was like a normal flow of traffic on the road, filing into 46th Street.

   "Give me something hot, baby, just tonight"

The    dance group burst into the street. The Italian-born driver at the head did not play tricks on the car, and a sudden brake stopped in front of the group performance.

  The second camera team on the second floor captured the serial impact of the sudden braking on the team. The series of sudden braking of the team is very beautiful. The driver at the beginning deserves to be often involved in filming, and he has a good grasp of the director's intentions.

   Next should be a group performance that climbs up the leading Cadillac and begins to dance on the roof of the car, and other dancers dance in the middle of the stopped traffic. Turn the entire 46th Street into a disco.

The Italian-born driver who started with    still remembered the director's suggestion to give the group some surprises and stimulate a real response.

   He shifted into neutral and stomped on the gas pedal.

   "Boom, boom"

   The dancer who was going to get on the roof of the car was frightened and quickly dispersed from the front of the car.

   "Cut!", the director stopped the filming, the actors did not perform as scheduled, and after being frightened, they did not follow the trend and stopped by the side.

Uncle   , the hot-tempered camera operator, put the camera on the ground and jumped forward a few steps, "Hey, what's the matter with you?", pointing at the Italian driver who was still in the car and scolding away.

  The driver shifted to the first gear, stepped on the accelerator, the car moved forward a foot, and stopped in front of the operator. The driver wanted to scare him, why is he so cowardly? Don't you know how powerful the Italian truckers' union is?

  The camera operator, who is a three-generation fan of West Ham United in the East End of London, couldn't help it. He punched the hood of the Cadillac, and the frame machine was a hole.

   The driver who got out of the car and yelled for trouble was pushed to the ground by the uncle of the operator.

   Now all the drivers in the convoy got out of the car and wanted justice for the driver in the lead, while the dancers on the other side rushed forward and stood firmly with the camera crew.

   Ronald watched with a cold eye, this fight should not be possible, both sides were more restrained, and it seemed that they would have to wait for the leading negotiation to resolve.

   Sure enough, after the first assistant director negotiated with the heads of the drivers, both parties agreed that the crew should compensate for the maintenance cost of the Cadillac's hood, and the driver promised to follow the director's instructions in future shootings and no surprise attacks.

   In addition, the driver asked the uncle, the camera operator, to verbally apologize to the driver who was pushed to the ground by him.

  Director Alan Parker pointed at the operator without speaking, and raised his hand to signal him to hurry up to apologize and not delay the shooting.

"You're a **** jerk, Alan. I won't apologize to that bitch." The operator scolded the director on the spot when he heard this strange request, "Whoever wins will apologize to the loser. of?"

   "Michael, take care of your people." The director does not speak directly to the operator.

   "Huke squid! I quit my job, I can't work for a softie." The photographer operator yelled in a Cockney accent in East London.

The    dance ensembles surrounded the uncle and fought for him. After all, the uncle had a conflict with the Italians because of them.

   "Don't worry!" The uncle comforted the young people in turn, "I have union protection and can get full salary and return air tickets."

   "With my qualifications, I can get a new job in two weeks. I'm glad I don't work for this **** who doesn't care about your safety and health."

   "I've seen it a lot. Don't watch that sissy Ellen Parker say every day that he wants to make movies that reflect human nature. I think he is the most inhumane. Children, you have to protect yourself, you know?"

   (end of this chapter)