Exploiting Hollywood 1980.

Chapter 1382 Who is your father?
"This is Rick Schmidlin, an expert on the history of Hollywood's silent film era and a producer of short films and documentaries. He needs no introduction..."

"Hello, Mr. Rick Schmidlin, my name is Ronald."

Robert Stein was very motivated and found a top researcher of old movies as a consultant for the restoration of early Hollywood classics by Navigator. Ronald himself was also a fan of old Hollywood movies, so he invited him to his home for a chat.

"In your opinion, what is the main obstacle to the restoration and re-release of old Hollywood films?"

"You may not believe it, but the main obstacle is the chaotic management of the eight major studios and those old stubborn people who are still alive..."

Rick Schmidlin gave a very unexpected answer. He has been studying old films for a long time and has a part-time teaching position at Long Beach University in California. However, he has not produced any significant results in all these years. The biggest problem is that the studio is unwilling to give him the original negative and the right to re-edit.

Until the 1970s, the old Hollywood directors who were artists who could make good movies had a very strange habit: they would try to shoot as few main shots as possible, avoid panoramas, and try to use close-ups or close-ups.

The reason was that the producer at the time controlled the editing room and would often secretly work overtime on weekends to finish the director's unfinished editing and then release it on Tuesday.

This kind of fast editing, which extremely distorts or even reverses the director's creative intent, is more suitable for fast-food movies made to satisfy the audience, rather than for the creation of carefully crafted commercial films.

There are many cases where the directors themselves are very dissatisfied or even angry about the final editing of the films, and there are also many examples where the directors themselves refuse to have their credit put on the films.

If a restoration and research expert were to re-edit the film according to the director's original editing intention, then the audience would definitely ask why the version they saw back then was like that?
Many old producers don’t like their decisions being overturned, and no one wants to become a villain again decades later.

As long as this point is overcome, the remaining issues such as remaking the negative, re-adjusting the light, etc., will not be a big problem.

Ronald liked this person's idea very much. He could give these studios an expectation of making money. Money-related issues were not a problem. The problem with this kind of person was the key. There had to be a Hollywood movie that did well after being re-released, and no one would go back to the old accounts, so that everyone would feel at ease to hand over the restoration of the old film to Ronald's newly acquired Navigator.

"Well, I actually have a film here that could very well change the studio's mind. I also have the original director's manuscript explaining in detail how the original editing should have been done. Unfortunately, the original negative copy of the film has been lost, so it's impossible to re-edit it."

Ronald thought of the manuscript that Orson Welles had given him, which contained his suggestions for revision after he watched the film "Touch of Evil" that was privately edited by Universal's producers.

This film genius has an extraordinary memory. After watching the edited movie only once, he can remember all the contents. He can also write down what parts should be modified based on his memory and explain his creative ideas.

"What? That manuscript is real and it's still there?" As an expert in film history research, Rick Schmidlin was extremely excited. He asked Ronald to show him Orson Welles' manuscript.

"Of course," Ronald found the manuscript and let Rick Schmidlin feast his eyes on it.

"My God, the legend is actually true. Orson actually read it once and was able to write so many revision suggestions..."

"Yeah, unfortunately these opinions need to be revised..." Ronald explained. For example, at the beginning, the audience saw a time bomb placed in the trunk of a car, so the audience always kept in suspense as to when the bomb would explode.

However, Universal's editing only followed the industry's rules and added regular subtitles and opening music. In this way, when the subtitles came out and the music ended, the audience could anticipate that the bomb was about to explode. In this way, all the suspense was completely eliminated.

"We don't have the technology to remove the subtitles and separate the theme song from the sound. Because Universal only keeps the finished copy of the film after editing, the intermediate soundtracks and the original copy are gone."

Ronald said regretfully that he got the manuscript and went to practice at Globe, but unfortunately he only got a lost result.

"Who said the original copy was lost? I know for sure it's in Universal's warehouse."

"Huh?" Ronald immediately became interested. Wouldn't this kill two birds with one stone? Not only would he make a good start after acquiring the "Standard Collection", but he would also be able to fulfill the trust that Orson Welles had entrusted to him.

……

"Why didn't I tell you that there was an original copy? That's for sure. The producer back then, Albert Zugsmith, is still alive..."

A few days later, at an Oscar-campaign held by Universal for Al Pacino, the lead actor in "Scent of a Woman", Ronald happened to find Charlton Heston, the lead actor in "Touch of Evil", to chat with him. He was still very angry with the producer.

Charlton Heston played a key role in Orson Welles' first directorial work after his return to Hollywood. He had just finished filming Moses in "The Ten Commandments" and was about to star in his Oscar-winning "Ben-Hur". At this time, he had a lot of bargaining chips with the studio. He personally guaranteed Welles to Universal that as long as Orson was the director, he would play the leading actor.

But the producer, Albert Zugsmith, secretly edited the film after the filming was finished, and then kicked Orson Welles out. He made a bad edit, which did not perform well in the test screening, and was subsequently fired by Universal.

Charlton Heston had to reshoot the film before it could be edited into a version that could be released.

But at this time, in order to prevent his scandal from being publicized and hinder his career as an executive producer at MGM, Albert Zugsmith spoke ill of Orson Welles everywhere, which made Welles' dream of returning to Hollywood shattered. No one dared to hire a director who messed up his first movie after returning.

However, Welles had a very high prestige among the actors. The leading actor Charlton Heston, the leading actress Janet Leigh, and Marlene Dietrich who played a supporting role all supported Orson Welles.

It’s just that the stars at that time didn’t have such a great box office influence to force the studios to bow their heads. In the end, the movie didn’t do well at the box office, which was a tragedy for everyone.

"No way, how old is he? If Albert Zugsmith were still alive today, he would be over 80 years old..."

The person who heard the discussion and came over to join in the discussion was none other than the film's heroine, Janet Leigh. She was more familiar as the heroine in Hitchcock's "Psycho", which was filmed a year after "Touch of Evil".

"It's absolutely true, he's still alive..." Charlton Heston hugged his old partner and shrugged, indicating that good people don't live long...

Ronald went up to greet Janet Leigh and her daughter Jamie Lee Curtis, who came with her. The two had talked about "Touch of Evil" before, and Ronald was very happy to hear that it was possible to find the original copy and re-edit it according to Orson Welles' ideas.

"We have to find Albert Zugsmith first and get his consent..." Ronald said this is a necessary step.

"What? I don't believe it." Janet Lee's temper became harder as she got older. She pulled Ronald to find Tom Pollack, the president of Universal, to explain the matter clearly.

Poor Tom Pollack, he was still canvassing for votes for his movie and trying to curry favor with these old stars who were eligible to vote for the Oscars, but after Janet Leigh made a scene, he was surrounded by voices of condemnation from old men and women.

They immediately transferred their empathy from this incident to themselves. It was these producers who cut their films into a mess, ruining at least two of their Oscar-level performances, right?

"Tom, Albert Zugsmith is already over 80 years old, and he is probably getting old and confused..." Ronald reminded Tom Pollack softly. Now he doesn't have to worry about the face of these old people, and at such an old age, he may have forgotten the past.

"Are you sure the re-editing will be good?" Tom Pollack couldn't afford to offend so many judges and openly deny their demands, so he quietly asked Ronald.

"I have Orson Welles' revised manuscript, and Walter Murch has said before that he is interested in it. There won't be any problem. Just revise it accordingly. Besides, isn't this also an opportunity to re-release it? As for whether Orson Welles's editing is really better than the original, let the critics judge..."

"You cunning boy, I'll do as you say, but it must be revised strictly according to Orson Welles's opinions..." Tom Pollack was also persuaded. Anyway, it had nothing to do with him whether it was good or bad, and he could make some money. The most important thing was to make these judges with voting rights happy.

"Bravo..." These old stars all clapped happily. Janet Lee was even more delighted and hugged Ronald and kissed him a few times.

"Ronald..." Seeing that everyone was happy and the atmosphere was good, Janet Lee's daughter Jamie Lee Curtis quietly pulled him aside and wanted to say something.

"Haha, isn't it Ronald?"

Ronald was about to talk to Jamie Lee Curtis when he was suddenly interrupted by a rude and loud laugh.

When I looked up, I saw that it was Harvey Weinstein, the boss of Miramax Films, whom I had met once in Cannes.

This person's neck and face are out of proportion, and his neck looks thicker than that of the former Cannon's owner Menahem Golan.

This time, his two films won nine awards (Ask the Heavens) and were nominated for six awards (The Crying Game), which was a great success for Harvey.

His favorite thing to do recently is to suddenly break into other people's canvassing parties with a few main creators, and then enjoy the compliments from various celebrities.

Of course, because the previous special screenings held in various resorts and nursing homes cost too much money, Harvey now has to cut the budget for canvassing parties. In essence, it is a cost consideration to rashly crash other people's parties.

"Harvey..." Ronald smiled and shook his hand.

"Ronald..." Harvey ignored his outstretched hand and hugged Ronald, and the two of them had a close hug. Harvey Weinstein wanted to create the impression that he was familiar with many of the bigwigs in the industry.

"Tom..." Harvey followed suit and hugged Tom Pollack, the president of Universal Pictures. Pollack had no choice but to give him a shallow hug in a false manner.

"This year is the year when the Oscars return to artistry..." Harvey began to brag, saying that he had so many nominations this year because of his high level of artistry.

"Hmph..." Tom Pollack was very dissatisfied with the nouveau riche's face. He snorted and left. Before leaving, he did not forget to raise his glass to Ronald.

"We independent producers should also unite. We are not necessarily worse than them, don't you think?"

Seeing this, Harvey Weinstein also came over and wanted to form an offensive and defensive alliance with Ronald.

"Congratulations on your nomination, but the Oscars are ultimately chosen by voting." Ronald still wanted to talk to Janet Leigh and the others about "Touch of Evil", so he had to make a light remark to Harvey.

"Hahaha, I have 15 nominations this year. How many do you have? How many does Universal have? Who is your father? Hahaha... I am also learning your tricks..."

Harvey came over with a domineering look and put his arm around Ronald's shoulders tightly, determined to give the impression to everyone present that Ronald and I were in the same group.

"Haha, be careful. This year everyone has learned how to give away videotapes. I wonder how many people will go to resorts and nursing homes to watch them next year?" Ronald dodged and moved two steps away from Harvey, making it clear to everyone that this thick-necked brute and I are not the same kind of people.

"What?" Harvey's face changed drastically. He didn't expect that the trick he thought he could keep secret would be known to others so quickly. He didn't know what to do for a moment, and cold sweat broke out.

"Ronald, Ronald?" After a while, Harvey reacted. He wanted to know whether this secret was known only to Ronald, or whether it was spread to several major studios.

But when I looked around, Ronald had already walked away, and was slowly walking towards the exit with Janet Lee and Jamie Lee Curtis, mother and daughter, as if they were leaving the party.

"Ronald, Jamie, would you like to chat again? I'm looking for a female lead for my next project?"

Hearing this, Janet Lee and Jamie Lee Curtis both turned around to look over. Ronald was lending his arm to old lady Janet Lee to help her walk, and upon hearing this, he also looked at Jamie Lee Curtis...

"I can't hear you..." Jamie Lee Curtis smiled and hugged her mother's other arm. She turned around and said to Ronald, "He's a pervert... He has a bad reputation..."

"Ronald, I heard Cameron is looking for a female lead for his next movie? You see?"

Janet Lee got in the car, and Jamie Lee Curtis took the opportunity to ask Ronald the same question she hadn't had the chance to ask before.

"Are you interested? That scene involves nudity and dancing with a pole..."

Ronald was a little surprised. He didn't expect that Jamie Lee Curtis was also interested in this movie. This role was actually an ice cream in the whole movie. Many famous stars were unwilling to show off their sexiness.

"After all, we are all filming a movie. It's not like I haven't filmed one before..."

"Um, okay, I'll mention it to James..." Ronald looked at him and understood in his heart that Jamie Lee Curtis's star has gradually faded since the Halloween series. Although she was well received in the past few years for A Fish Called Wanda, she has not won any awards or nominations.

This is the last gamble for a 35-year-old female star who wants to become a top star.

……

"Albert Zugsmith was old and confused, but he still retained his hatred for Orson Welles and his anger at Touch of Evil. This was the beginning of his decline in Hollywood."

The next day, Rick Schmidlin, who had obtained the right to re-edit the film from Albert Zugsmith, came back to reply to Ronald. Although the producer was already very old, he still cursed Orson Welles when he heard his name, saying that he and the actors had colluded to rebel against him, and he did not believe that Touch of Evil was a masterpiece and that no matter how he edited it, it would not be successful.

But under Rick Schmidlin's provocation, he finally agreed to re-edit the film and told the exact location of the original copy in the Universal warehouse.

"Good job, I'll call Walter Murch right away..."