Exploiting Hollywood 1980

Ronald came to meet producer Don Simpson with an experimental videotape shot by Adrian Lane.

Don Simpson, who was always with his partner Jerry Bruckheimer, greeted Ronald with a warm hug.

"Ronnie, what do you think? Are you willing to take over this movie?"

"Take a look at this videotape first." Ronald took out the wet dance of the stuntman that Ryan had filmed.

"Okay, let's see what you brought?"

A beautiful woman's wet dance appeared on the TV, especially when the dance double was half lying on a chair and pulled the rope, and a large bucket of water was poured on her body. Ronald saw Don Simpson's Adam's apple move and he visibly swallowed.

"If this footage had been made using film, this feeling of temptation would have been increased tenfold." Ronald took the opportunity to lobby.

Then there was a shot of the dance stand-in shaking her hair wildly, and some water droplets were thrown onto the set next to her with the movement. Even the relatively calm Jerry Bruckheimer's eyes lit up at this time.

"Imagine, here is a cut of the reactions of the audience in the bar." Ronald described his idea. Several audience members in the bar were shaken by water droplets on their hair, and they were all shocked.

Don Simpson was completely mesmerized by the idea of ​​Ronald depicting, "Holy shit, Adrian took this?"

"It's a test tape from Director Ryan. He wanted me to explain some technical details to you." Ronald pressed the pause button and pointed to the light source on the TV to explain to the two producers.

"Pay attention to this spotlight. The backlight gives the actor a contour light, and then matches the smoke on site, the reflection on the ground, and these splashing water droplets..."

Ronald pointed to a few lighting points and pressed play again.

"This is a traditional British technique. I saw it on the set of 'Famous' back then. They like to put smoke or use a stove to heat incense powder. Very small particles are suspended in the air, allowing a single point light source to appear in the air. The effect of the light beam..."

Ronald pointed to a light beam on the TV and explained to them, "Then the very smooth ground shows reflections, and the actors' reflections can be seen, forming an ambiguous ambient light. This is a single point light source plus specular reflection. the benefits of."

"So this effect can only use a single point light source?" Don and Jerry had already stood up from their chairs and gathered around Ronald.

"I'm not a professional director of photography. I just know that it would be very time-consuming to use traditional American multi-light sources to simulate this effect. In this shot, the dance double is dancing with a large range of movement.

If multiple lights are used for lighting, she will need to be relit as soon as she moves out of this range. In this way, the stand-in's face is more likely to be captured by the camera, which will be a troublesome editing process.

My suggestion, if you are satisfied with this effect, is to find a way for Director Lane to use his own camera team to solve this problem using single lights and smoke.

If I were to shoot it, without the cooperation of a good photography director, I would not be sure to capture a shot of this level. "

"Ryan still showed his ability, this old slicker." Don Simpson said in a low voice. If Director Ryan himself had to explain this lighting issue, he might not be as convincing as Ronald, a third person with successful films.

After all, Adrian Lyne's last Hollywood movie was "The Little Foxes" filmed three years ago, and it didn't have a high box office and didn't have much impact.

Don and Jerry exchanged glances and understood each other's thoughts. Don Simpson spoke to Ronald:

"Ronald, we trust you. This movie will start shooting in Pittsburgh soon. We want to hire you to be the associate producer of the movie, and join me on set to monitor the filming progress."

When Ronald saw that Don Simpson wanted to take him on a business trip, he was about to refuse.

Don Simpson grabbed his hand and said, "Don't refuse in a hurry, listen to our conditions. I know you have a new script now, and it won't take you long. I only need you to be on the crew for a week or two." , explaining some of the technical details of directing to Jerry and me.

It’s not that we don’t trust Director Ryan, the videotape he showed today clearly shows us his thinking and design.

But we are not familiar with the working methods of British directors. You just start looking at the scene. We need someone from Hollywood.

After that, when the quality of the daily dailies stabilizes and we have a handle on Director Lane's work, you can fly back to Los Angeles, I guarantee it. "

"What about the cigarette smoking required by Director Ryan? How do you plan to solve the union problem?"

"Our main scenes were shot in Pittsburgh, where the union is weak and there will always be a way." Jerry Bruckheimer, who is mainly responsible for non-artistic matters in the duo, answered Ronald's question.

Seeing their sincerity, Ronald saw that it would not hinder his other work to keep an eye on the crew for a few days. He called his agent and asked him to handle his contract while he prepared to go to Pittsburgh.

"Adrian, they agreed to use it, but there is a condition." Ronald first returned to director Adrian Lane's office and told him the good news.

"What are the conditions?" Director Ryan stopped talking to a young man, turned around and asked Ronald.

"I didn't know you had a guest." Ronald glanced at the actor and found him familiar. He seemed to be the "carpenter" who auditioned the leading actresses.

"I'll go out first, Director Ryan. I am indeed an actor, and I work well with your leading actresses, right?" He said as he stepped out of the office and closed the door.

"Don Simpson agreed. You can use your own photography team and set off smoke on the set. Jerry Bruckheimer agreed to help you deal with the union's troubles.

The condition is that I will be the associate producer. I will go to the set in Pittsburgh and be responsible for communicating technical details with them.

Of course, I won't do anything to interfere with you. I think they just want to buy an insurance policy and have someone explain to them what you are doing. I expect I will be able to leave in a week or two."

"I welcome you!" Adrian Ryan opened his arms and hugged Ronald before he finished speaking.

"In fact, they are doing too much. Artists always speak with their works. Anyone who sees the commercials you shoot and the test tapes can see that your finished film will be very exciting." Ronald explained.

Ronald actually knew that an expert could tell where Director Ryan's level was as soon as he saw the scene.

But since someone paid for him to watch the show, he could take the opportunity to learn some British system lighting and shooting methods.

"I have to thank you anyway." Ryan was very polite.

"You don't know what they are thinking. I rejected this project twice. I thought the script was a bit stupid, and they didn't bother me afterwards. It was not until Brian De Palma left to shoot another "Scarface" recently that they came to me again.

I have been resting for more than two years. When they came to me for the third time, I said to myself, Adrian, don't pursue perfection anymore. There are not so many perfect scripts in the world waiting for you to direct.

This "Flashdance" can at least make the dance scenes very beautiful, don't refuse anymore. So I agreed."

Ronald only then understood the complete ins and outs of the matter. Perhaps after several shirkings, the two producers also had some doubts about Adrian Ryan's level of commitment.

The trust between producers and directors is very fragile. If there is no mutual trust between the two parties, it will cause a lot of unnecessary suspicion and trouble.

"Don't you write scripts yourself?" Ronald asked Director Ryan.

"I've only written scripts for two short films. In Britain, traditionally, directors don't serve as playwrights."

"Oh, that's right."

Ronald discovered another difference between the British film industry and Hollywood. They are more like Broadway, with a clear division of labor between playwrights and directors.

In Hollywood, being a screenwriter is often the shortcut to getting the first director's job.

Adrian Lane in front of him, Alan Parker, who he is familiar with, and Ridley Scott, who has only seen movies, are all mainly directors and rarely participate in screenwriting.

Alan Parker, who has a little writing ability among the three British directors, is also mainly modifying other people's scripts.

Even the most famous British director Hitchcock often just wants to think of a story prototype and rarely has the opportunity to write a full script.

"Maybe they have been performing Shakespeare's plays and don't need additional scripts." Ronald thought maliciously.

"Director Ryan, I have formally studied acting, and carpentry is just my part-time job."

Just after he and Adrian Ryan decided to go out for a drink, Ronald found that the carpenter was still waiting for Ryan to come out at the door. He was a little tall and looked a few years older than him. Although he was begging, he looked neither humble nor arrogant.

"Kevin, I can't give you this carpenter job, I can only choose an actor. We have already chosen Nick Noory as the male lead, I can only say I'm sorry."

Lian refused to give the "carpenter" who claimed to be an actor with a kind of British courtesy.

"Sir, I am really an actor." The carpenter began to talk to Ronald.

"I am not the director of this movie." Ronald shrugged helplessly at him.

The carpenter was a little discouraged and turned away. Maybe he wanted to maintain his dignity and didn't want to beg for help.

"Adrian, Ronald, thank God, you finally reached an agreement. With Ronald as the associate producer, you will definitely not abandon us." Don Simpson and Jerry Bruckheimer came over and shouted to Director Ryan.

The big deal was settled, and several people were ready to go to the bar to have some fun.

When picking up the car in the parking lot, Ronald saw the carpenter in the parking lot, and he was a little lonely.

Ronald's car was just in front of him, and he nodded to him when he walked past him.

"Sir..." The carpenter spoke again.

"I heard Adrian call you Kevin, don't be discouraged, this is the film industry, and the first step into this industry is always the hardest."

"Thank you, Sir. My name is Kevin, Kevin Costner (Kever)"

Ronald was a little uncomfortable being called Sir by someone who looked older than him.

"Call me Ronald, you're just unlucky, keep auditioning, I think you look good as an actor, a bit like a mix of James Dean and Harrison Ford."

"Thank you, are you also the producer of Flashdance?"

"Actually I'm a director, Ronald Lee."

"Oh, Shxt, I've seen Fast Times directed by you." The carpenter shouted.

"Actually, I have acted in movies. I played the leading role in 1979, but I was unlucky and the movie didn't come out."

"Looking at your appearance and previous experience, you shouldn't have no movies to act in." Ronald was a little surprised to hear his experience.

"I only want to play the leading role."

"Try to start with a supporting role. Some supporting roles are easier for the audience to remember."