Hollywood Hunter

Fox Studios.

It was already at the end of July. Catherine Bigelow entered a studio in the studio, greeted people she knew, and quickly found someone who was speaking to Robert De Niro and Janet Johnston. Simon.

Today is an interactive scene between Butch Coolidge and the female taxi driver Esmeralda Villalobos.

In order to allow the actors to perform without distraction, apart from the beginning and the end, the plot was shot in the studio. The street scene outside the car window in the original film was obviously projected on the big screen.

Simon gave Janet her role as a female taxi driver that she really likes, and women are also very careful these days. When Catherine learned of this, she agreed to come to visit the class today, by the way, to see how her best friend who had never appeared before the camera performed.

Seeing that Simon and the others were busy, Catherine didn't step up to interrupt her. She just nodded to Jenny, who noticed her characteristics. She sat down in the rest area and chatted casually with the film producer Laura Zekins.

Ron Macmillan, the producer who worked with Simon in "Lola Run", was sent to serve as the producer of "Death Is Coming". For this "Pulp Fiction", Orion Pictures recommended Laura Zekins over.

Laura Zekins is a blond woman in her thirties. She just helped Orion complete the "Spy of the Navy" starring Kevin Costner and Sean Young. This movie will not be released until next month. .

The two chatted a few words, and Simon and Janet walked over together.

Hug with Catherine affectionately, Janet raised her arms and turned around in front of her: "Kate, how is it?"

Catherine looked at Janet's loose red robe with flower and bird print like pajamas and the fluffy and lazy brown hair, and said, "It feels a little weird."

Janet shook her body again with a grin, revealing a pair of bare feet with nail polish under the moon-white wide-leg pants, and said: "I think so too, but if the **** thinks it is good, then it must be right ."

Simon saw Catherine staring intently at herself, and explained: "Actually, I thought about using pure red. Red represents danger, and in the spiritual stories of the East, women in red at night are usually not humans. She is a very dangerous female ghost."

Catherine felt the look in Simon's eyes, and subconsciously avoided slightly, and said, "Why not use it then?"

Simon smiled and said: "Because this is a black comedy, adding surreal elements will interfere with the style of the whole movie."

Laura Zekins, who had just been standing next to the three and listening quietly, heard Simon say this, and interjected: "Simon, in this case, what about the contents of the suitcase? You have never explained it in the script. What is the golden thing, it feels as if it contains something that shouldn't exist in reality."

"This is just an egg left for the audience to guess," Simon shook his head: "Since no one knows what is in the box, it will naturally not affect the plot of the movie."

Several people were chatting, the assistant director came over and said that they could start shooting again, and everyone walked towards a car model not far away in front of the projection screen. De Niro and Janet entered the car and began to bury their positions. Simon checked again, then gestured OK to the assistant director, and then personally operated the camera.

This film naturally hired a full-time photographer, but when it came to Janet's scenes, Simon decided to come in person with little consideration.

When Simon is ready, the projection on the big screen and the car model will operate at the same time, simulating the state of the taxi moving.

"The whole audience is ready."

"Pulp Fiction, scene 26, third time."

"Action!"

The clapperboard lay down.

Inside the carriage, Robert De Niro began to tear off his boxing gloves. Janet in the front row put one hand on the steering wheel, her expression showing a little alert and curiosity, her eyes squinted from time to time to the rearview mirror.

After a while, Janet spoke with a soft accent that had been practiced for several weeks.

"Sir...hey, sir?"

"Why?"

"You were in that boxing match just now, were you right? In the boxing match mentioned on the radio, were you the boxer?"

"Why do you think so?"

"You are him, I know you are him. Tell me, you are him!"

Behind the camera.

At this point in the performance, Simon raised his head and gestured to everyone: "Ka."

Everyone paused.

Simon leaned in front of the open carriage, gave De Niro a okay look, and said to Janet: "Jenny,'Tell me, you are him' line, I hope to see your excitement, one A tightness that suppresses the madness of the heart."

Janet paused, looked at the rearview mirror, changed her mood a little, and repeated the line just now: "Tell me, you are him!"

"Almost," Simon shook his head, thought for a moment, and said, "Hold your breath, hold your breath when you say this."

Janet took a breath, looked at the rearview mirror again, and repeated: "Tell me, you are him!"

"Don't take deep breaths in advance, so that the emotions are not coherent. Be natural, don't think of this as a performance. Remember, you are Esmeralda, some kind of crazy and dangerous female taxi driver. Then, suddenly Encountered a boxer who just killed his opponent with bare hands. The evil in your heart was inspired. You became very curious about the feeling after killing a person, so you asked Butch a bit," Simon slightly lowered Some voices described it bewitchingly for a moment, feeling that Janet gradually melted into certain emotions, and finally raised her finger to De Niro on the back seat, and said: "Look, Ais, he is the murderer."

With that said, Simon stepped back to the camera again.

"The whole audience is ready."

"Pulp Fiction, scene 26, fourth time."

"Action!"

Inside the carriage, De Niro, who was sprayed with'sweat' again, began to tear his gloves again.

Behind the crowd, Catherine watched the scene quietly.

The fourth time still failed, Simon stepped forward again and patiently pointed out how Janet should perform, and occasionally did not hesitate to learn from a woman's voice to personally demonstrate Esmeralda's way of speaking to Janet.

then.

Fifth, sixth, seventh, eighth...

Simon kept shouting ‘CUT’, and at the same time pointed to Janet again and again without impatiently, there was no other director’s mania after many mistakes. Janet also did not resist to make adjustments to Simon's requirements time and time again, appearing extremely obedient.

However, this obedience has unknowingly added a bit of madness.

After nearly two hours, Catherine also watched quietly for two hours. At a certain moment, Catherine suddenly felt that these two people were probably going crazy.

This set of shots, which started at one o'clock in the afternoon, still repeats dullly until the end of get off work. Feeling the input of a certain pair of men and women, none of them asked to leave work.

Until seven o'clock in the evening.

The projection on the big screen lights up again, and the car model starts to run at the same time.

Inside the carriage.

Perhaps due to exhaustion, the woman sitting in the driver's seat looked listless with her original fluffy brown hair, and her soft and drooping hair added a bit of coquettish and lazy air to the woman. Her eyes were still bright, with a look in her eyes. Curious, the whole person is like a dangerous cat that may pounce on its prey at any time.

at this time.

Everyone in the field felt that this was Esmeralda, a female taxi driver with the same name as the heroine of "Notre Dame de Paris".

Coquettish, charming, with an accent, and a soft tone, all over his body but suppressed a danger and madness that may burst out at any time, as if a sharp blade will be pulled out in a blink of an eye, and a few will be stabbed on a certain living person. A hole splattered with blood.

In the lens.

The woman raised her chin slightly, her eyes were not clever, but the state of being fully integrated into the role made her gather a certain mysterious attraction, even faintly pressing the two Oscar winners sitting in the back row.

"..."

"..."

"So, Esmeralda, what do you want to know?"

"I want to know what it's like to kill someone?"

"I can't tell you. If you don't tell, I don't know how he died, so how can I tell you how I feel. In short, I don't feel guilty at all."

"..."

The thirty-first performance is over.

The projection is still playing, the model is still running, and the two people in the carriage are all immersed in the role. Although they are silent, they each maintain their own state.

After a while.

Simon finally looked up and said loudly: "Good."

Everyone breathed a sigh of relief and finally got off work.

Everyone started to clean up the scene quickly. Robert De Niro got out of the car, took the towel handed by the staff and wiped his body, spraying ‘sweat’ repeatedly, and his boxer shorts were now soaked. Turning his head inadvertently, De Niro noticed that Janet was still sitting in the carriage, not moving at all.

Soon, everyone noticed Janet's strangeness, and Simon stepped forward the first time.