Exploiting Hollywood 1980

, Exploitation of Hollywood 1980

"Ronald, welcome, we meet again." Jeff Katzenberg, Paramount's vice president of production, met Ronald who came with his agent in the office.

"Hello, Mr. Katzenberg." Ronald shook his hand generously.

"I watched the very wonderful narrative of "The Karate Kid". I admit that when I watched it, I felt that it was a bit like the work of an old-school director. The character portrayal and the final action scene were all very exciting."

"Thank you." Ronald thought to himself, as expected, when he came to Paramount before, he didn't get this kind of treatment.

"Mr. Eisner is not in Los Angeles right now. He called and asked you to come and have a good chat when he comes back." Katzenberg took out a script, "This is the new film we are planning to produce, the sci-fi film 'The Outer Worlds'.

I wanted to talk to you about this film, but after watching 'The Karate Kid', I think it might be more suitable for you to write and direct it yourself. What do you think?"

"Mr. Katzenberg, I don't have any inspiration for the new script yet."

Katzenberg nodded and pushed the script of "The Outer Worlds" over, "Then you can take a look at this one first. If you have new ideas in the future, you can come and talk to me at any time."

"Why do I feel that he seems to be much better to me?" Ronald walked out of the office and asked Niceta.

"A movie with a budget of one or two million is not the same as a movie with a budget of 10 or 20 million. Big studios need good directors, but whether you can control big stars, command a large work team, and produce the performances required by Hollywood all need to be examined.

Luckily, you have already proved this to them, and they don't need to take the risk of letting you shoot a movie to try your hand. You have already graduated." Nicita explained to Ronald in the car.

"Jeff, how was the talk with Ronald?" Paramount's president Michael Eisner seemed to care about this matter very much. When he called back and talked to his subordinate Katzenberg, he specifically mentioned this matter.

"He is very good and has a good impression of us. But I think he has not been very passionate about his creation recently. Maybe he just succeeded and needs some time."

"Very good, you give him the best conditions, and wait until I come back to see his willingness. As long as he can sign a contract with Paramount in three months, it will be a good explanation to the board of directors."

...

"Ronald, I am so happy that you are here." Ned Tanin, who used to be the head of Universal Group and is now the boss of an independent production company, warmly received Ronald.

"I say, when will you give me a 'The Karate Kid'?" Tanin, contrary to his tough attitude in the past, was able to be courteous to capable and proven directors.

"If there is a chance, what movie are you working on recently?"

"Hey, it's the movie that John Hughes wants to make." Tanin asked his secretary to bring coffee, "He wanted to make his 'Breakfast Club' last year, and I asked him to try his hand at 'Sixteen Candles' first. This year he insisted on investing in it, and I agreed. Anyway, the budget is not much, only one million US dollars."

Tanin saw Ronald holding up the coffee and drinking it, feeling a little helpless. It would have been great if Ronald had directed 'Sixteen Candles' at that time, but Hughes' directorial debut was defeated by his 'Breakdance'.

John Hughes was still not very good at portraying characters and shooting those very "heavy" performance scenes.

"He is a very good screenwriter. With this experience, he will definitely get better and better." Ronald answered casually.

"Well, there is another one, which is 'St. Elmo's Fire' written by your friend Cameron Crowe." Tanin also picked up the coffee, "Are you interested?"

"Cameron", Ronald saw Cameron Crowe who he hadn't seen for a long time in the office of the row of bungalows.

"Ronald", Crowe still had long hair, and came up to hug Ronald warmly.

"I saw your new film, it's really, really..." Cameron Crowe looked at Ronald in front of him, the scene of the two shooting "Fast Pace" in the past was right in front of him, and Ronald could shoot this kind of blockbuster that was praised by many film critics in a blink of an eye.

"Haha, I heard from Mr. Tanin that your new film is also a youth film?"

"Yes", Crowe took a script and handed it over with both hands, "This is my script, I think your opinion is very important."

"Of course, I will read it. Are you and Nancy okay?" Ronald put away the script and chatted with Crowe.

"Very good, we still live in the old place." Crowe was very happy that Ronald was still the same as before, and still treated him as a friend.

"Don't you consider directing yourself?" Ronald quickly flipped through the script and saw that the cover was written under the pseudonym "Xiaohan". It was really similar to the movie "Dahan" two years ago. It was a group drama, telling the love and work of multiple protagonists after graduating from college.

"I have no experience yet, so this time I will stay in the crew and learn from the director." Crowe looked at him. Last time Ronald asked him to learn directing, but he didn't take it too seriously. If he had the opportunity this time, he could follow him and carefully figure out the directing skills. "

"I can't promise you yet, Cameron," Ronald didn't lie to his old friend, "I need to contact more scripts before making a decision."

"Of course, come and see me often when you are free. I will be working here during this period."

...

"Tanin, why do you want to cooperate with this bastard?"

In the office of Amblin Productions, Ronald met Robert Zemeckis. Zemeckis heard that Ronald and Tanin were discussing cooperation on the next movie, and he spoke up for him.

"You may not know that our last movie was ruined by this bastard." Zemeckis took the script of "Back to the Future" and handed it to Ronald. "Look at the villain. I named him Biff Tanin."

"Ahahaha..." Ronald opened the script and turned to the villain who bullied the protagonist Marty McFly. As expected, Tanin's surname was given to him.

It seems that you can offend anyone but the screenwriter.

"Your advice is very good, Ronald. We have examined Eric Stoltz in detail. He has indeed made great progress. He is also very good in Peter Bogdanovich's crew. Peter has praised him many times. He can also perform well in a huge and ugly headgear. His method school is passable. ”

This time, Zemeckis invited Ronald to come, firstly to thank him for giving fair evaluation of actors.

“Take a look at his audition video,” Zemeckis took a videotape and started playing it.

Ronald saw Stoltz in a black jacket, with a confused look on his face.

“This is his performance suddenly returning to the fifties.” Zemeckis introduced Ronald.

“This is very good, he has indeed improved.” Ronald commented on Stoltz on the screen.

“The confused expression is very real, but his method traces are heavier, a bit too heavy.” Ronald thought to himself, of course it was not convenient to say this, Zemeckis had his own considerations.

“Your introduction is not wrong,” Zemeckis greatly appreciated Ronald’s vision for selecting actors, “So this time, I would like to ask you for help.”

“Who do you want to ask?” Ronald understood that Zemeckis wanted him to help find actors.

“We want to use your protagonist Elizabeth Shue in ‘The Karate Kid’, she looks very suitable for the role of McFly’s mother in the movie.

"She went back to Harvard to study. Didn't you contact her?" Ronald had read the script and knew that Marty McFly's mother was not played by a middle-aged actor, but a young character. Marty traveled back to the 1950s and met his parents who were still in high school.

Such a girl needs a bit of classical temperament and considerable acting skills to act like a high school student in the 1950s.

"That's why I want you to help convince her." Zemeckis adjusted his big glasses, "You know, we have signed an agreement with Universal. If we can't finish shooting within the specified time, they have the right to cancel the distribution agreement. I can't wait until her spring break next year, but I really want Elizabeth to play."

"Oh", Ronald knew that sometimes the director would take a fancy to a certain actor and would definitely want her to play a certain role. Maybe Zemeckis also wanted to borrow some of Elizabeth Sue's current super high popularity.

"She actually has a strong desire to go to school. My producer Weintraub invited her to participate in the marketing activities, and she also declined because of her busy studies."

"Alas", Zemeckis sighed. He was also rejected by Sue for this reason.

"But if you need an actress with a girl-next-door temperament, I have another candidate here." Ronald remembered the actress who had better acting skills when shooting the "Burger King" commercial...

"Lea Thompson," Ronald said her name, "the one with Sue in the Burger King commercial."

"Oh? Really?" Zemeckis was quite surprised. How could Ronald have shot so many young actors with good acting skills?

"That's her, that's her, call her agent!" After Zemeckis saw Lea Thompson's video, he thought Thompson's reaction was too good.

"Thank you, Ronald. You should come here more often. I will be here next time. Your judgment and training of young actors are really great."

"I will. I am also curious about the special effects of this movie." Ronald saw that there were many novel special effects descriptions in the script, and he also wanted to see how Zemeckis shot it.

"Why don't you take over another 'Young Sherlock Holmes' produced by Steven? Then we can all direct new movies here. Wouldn't it be very happy?"

...

"Ronald, why do you want to shoot that old-fashioned detective movie? That's an antique. Who still watches detective movies now? Mason Detective?" Weintraub heard that Zemeckis persuaded him to take over Spielberg's new movie, and said a few words to Ronald with regret.

"Your reputation is already very loud. When I went to Columbia, the producers and senior executives there were all talking about you. You don't have to work for Steven like a director who has never made a big production."

Weintraub hinted at Spielberg's Jewish business style.

"I'm different from him. Although I also think about saving money everywhere, you know, I never give orders to real artists."

Weintraub took out a piece of paper, "Look, this is the story outline I wrote yesterday. Why don't we strike while the iron is hot and shoot the second part of 'The Karate Kid'.