Exploiting Hollywood 1980

"What the hell are you doing, Ronald?" Producer Da Silva warned. Ronald ignored the Latino producer and walked straight to director Alan Parker, and stopped in front of him. Ronald looked at this man in his 30s. His big nose looked particularly funny from this angle. His eyes tried to look out from behind his nose and looked at him, as if asking: "What are you doing? Do you want to challenge my authority in the crew now?" Ronald asked: "What's going on, director? Why is the script I wrote here with you and used for auditions?" "I saw it in your notebook. This is a good play and lines. You will become a successful playwright, Ronald. I don't understand why you are not satisfied." Director Parker picked up the notebook and handed it to Ronald. "This is what Meg Tilly said to me. I promised her that I would take it out of the script. You should have told me before using it for the audition." Ronald's anger subsided a little. He took the notebook and opened it. Inside was the crumpled paper that he had thrown into the trash can and picked up again. "Oh, e On. Ronald, don't be stupid for two buttocks. All great plays come from life. You have to learn to extract drama from life..." Ronald was provoked by Parker's words again. His whole face turned red and he cursed in a low voice: "Asshole!" "Stop, Boy" "Ronald, stop" Margaret and Joanna who followed hurried forward to dissuade him. Alan Parker looked bad. He adjusted his collar and squinted at Ronald. Meg Tilly, who had been watching, walked forward and bypassed Ronald and said to the director: "Director, I think I am also qualified to audition with this scene." Meg said calmly. "Meg, listen to me, I didn't give this scene to the director on purpose, he took it from my notebook." Ronald quickly explained. "But you didn't throw it away, you still put it away, didn't you, Ronnie?" Meg's calm attitude made Ronald even more flustered. She seemed to have decided something. "Meg, I..." Ronald stammered, not knowing how to explain. "Director, this dialogue is what I said to Ronald, and he copied it into this scene. I think I am fully qualified to use this scene to audition for the role of Hillary, am I right?" Meg said calmly to Director Parker. "Of course." The director agreed, and looked at Ronald again, as if to say, "Didn't your dialogue also get stolen?" "I think I will be the next one to audition." "Give you 10 minutes to prepare." "No, Meg, you can change the scene." Ronald tried to persuade Meg. Meg slapped his hand away and walked into the lounge to prepare her emotions. Margaret came up and pulled Ronald to sit in the corner by the far door. "Child, you shouldn't react so strongly. The director is right. Playwrights find inspiration from life. You see Meg is not that angry. Take a chance to apologize to the director." "No, you don't know Meg. She hates me for writing her words into lines for others to read. And the Franceschi I recommended is also very good and may get the role. Now Meg is determined to win this role and win back her lines. I'm afraid that in order to win this audition, she will use emotional memory to play this crying scene." "Hiss, this..." Margery also heard about Meg's use of emotional memory to cause her to cry and collapse. "This is a personal choice. You have done everything you can. Don't blame yourself, child." Margery stopped persuading. Antonia Franceschi had already retreated to the door and was ready to leave, but she was attracted by the drama in reality, so she simply sat down and waited to see what would happen in the second half. She looked at Ronald who was still twisting his fingers after sitting down. "So this confession was written by this young boy in front of me. It's really wonderful. It tells the dreams and sorrows of a ballet girl." Ronald clenched his hands tightly. The joints had turned white because of excessive force. Self-blame and worry now replaced anger and occupied his heart again. The redness on his face due to anger had faded, and only his two ears remained red. Antonia looked at the two red ears and felt a little funny. "Ahem..." Ronald's throat was itchy because of nervousness and he began to cough. Someone handed him a bottle of Arrow Mountain mineral water. Ronald took it, opened the bottle cap, and drank a few sips. "Thank you," he turned his head to thank Antonia. "Sorry, I disturbed your audition..." Ronald remembered that he almost interrupted her audition and apologized. Antonia shook her hand, indicating that it was okay. Then she pointed to Meg Tilly who came out of the lounge. Ronald's heart was hanging again. Meg sat down on the bench, slowly, little by little adjusted her sitting posture, put her hands on her lower abdomen, and began to indicate that she was ready. Alan Parker turned on the camera and motioned Meg to start. "Look, I got the San Francisco Ballet... Look, my dream is to dance everywhere before I'm 21... I hope to hear the audience shouting Bravo to me on the stages of New York, Leningrad, London, and Paris! There will even be a ballet written specifically for me." Ronald was relieved. Meg was satisfied with the results of her training in Stella Adler's training class. Although she didn't perform as naturally as Antonia, she was very precise and the emotional transitions were all in place. I think even if she didn't get the leading role of Hillary, she would be a stable supporting role.

“Look, there’s no room for a baby in my dream…” Meg finally lost her life experience when she acted here. The dream part before was Meg’s own idea, so she didn’t need to act it out. The details of abortion here were set in the script, but Meg hadn’t carefully analyzed the motivation and life details of the character of Hillary. Irene from the Stella Center asked her to challenge Hillary, but Meg didn’t do it. Now she regretted it very much, but it was too late. In a flash, Meg thought a lot. In order to win the role, she could only use the emotional memory method… She instantly remembered those memories from the past, and big tears couldn’t stop flowing down her face. Antonia Franceschi was also watching Meg’s performance. The script said that Hillary was sobbing softly. And Meg’s crying was obviously more than just sobbing. “Is she okay?” Antonia saw something wrong and asked. “I hope she’s okay.” Ronald kept his eyes on Meg, and his hands began to clench together nervously again. His mouth opened unconsciously, and his legs twisted on the stool. Meg's sobs got louder and louder. She was no longer able to care about acting or interacting with her partner. Joanna Merlin, who was acting opposite her temporarily, said the last line of the clinic nurse: "Are you paying with MasterCard or American Express, Honey?" Meg suddenly stopped sobbing and let out a sharp scream that was neither crying nor laughing. Then she couldn't hold it in any longer and slid off the stool, sat on the ground, covered her face with her hands, and sobbed again. "Snap", the director turned off the camera. Ronald stood up from the stool, jumped over the long table in front of the stool, and rushed to Meg in two steps. Meg cried a little sadly and a little ashamed, but unlike the time at Lee Strasberg Theater School, she gradually stopped crying. Ronald breathed a sigh of relief, took out a handkerchief, and wanted to wipe her tears like last time, and asked with concern: "Meg, it's me, Ronnie, I'm glad you're okay." "No, I'm okay." Meg snatched the handkerchief, wiped her tears, and blew her nose hard, "You stole the lines that should have belonged to me and gave them to another actress, so that she got the role that should have been mine and said the lines that should have belonged to me on the screen." "Ronald, we're done."