Exploiting Hollywood 1980

Hollywood is a place of fame and fortune pursued by handsome men and beautiful women, and a place for artists to realize their dreams, but in the final analysis, it is a business place.

When the earliest batch of studios came to Hollywood, California from New York to pioneer in order to avoid Edison's film patents, the studios valued photographers the most. The photographer who could take shots that others could not take could make a lot of money.

Knowledge spread quickly, and when all photographers could master photography methods, screenwriters began to become the most important money-making asset. A large number of screenwriters who could not make a name for themselves on Broadway flocked to Hollywood and began to shoot short plays with stories.

When the famous director David Griffith innovatively adopted close-up shots and editing techniques, he began to connect short plays with unique creativity to tell a one-hour story. At this time, the director who could manage everyone's work became the most relied-on object in Hollywood.

But when Griffith spent a record $400,000 on "Party Against Dissidents" in 1916 and failed at the box office, all the studio owners understood that this industry was no different from all other industries.

They all need to figure out the market's preferences, then set a budget based on the market, invite stars, directors, photographers, and screenwriters, and launch a product on the market.

Since the 1920s, producers have become the most powerful people in a crew. From then on, the success of producers has been considered the most reliable success by Hollywood.

Therefore, Ronald's "The Evil Husband" with a nominal producer showed its ferocious fangs in the second week. After the box office rose against the trend, everyone began to look at Ronald differently.

The director Zach Trio, who is famous for dense language jokes, was used to transform and shoot a comedy film with a plot as the main focus.

The actors used are all second- and third-tier supporting roles, and actresses who have already passed their prime. Putting these people with no characteristics together suddenly turned into a box office dark horse. This ability to discover potential, untapped markets, and the ability to turn stones into gold by finding a bunch of cheap actors to aggregate fine works, made everyone excited.

From David O. Selznick, the producer of "Gone with the Wind" in ancient times, to Robert Evans, the producer of "Chinatown" and "Cowboy" in the New Hollywood era, who was highly praised and box-office-received, there are always one or two producers with a particularly keen sense of smell who can see through the fog of the market and reach the hearts of the audience.

Their success has a characteristic, which is that they do not repeat the successful film types very often, and can repeatedly achieve the balance point of good reviews and box-office sales. Any script, once they see it with their keen eyes, may become a blockbuster that everyone is talking about that year.

Ronald's resume as a co-producer of films such as "Flashdance" was also dug up. Everyone suddenly discovered that Ronald was not only a director of hit films, but also did a lot of production work. All of a sudden, they all thought that he might become the next Hollywood "Golden Boy".

Just like the previous old golden boy, Robert Redford, no matter as an actor, director, or producer, he would hit the ceiling as soon as he made a move.

So, the number of calls received by two people suddenly increased rapidly.

The first one was Ronald's script assistant, David Simkins. He suddenly received a lot of high-quality movie scripts, and wanted Ronald to take a look to see if he could reach a production agreement.

Another person was Ronald's main agent at CAA, Niceta. Suddenly, senior leaders of the seven major studios began to call him personally and asked to meet with Ronald to "talk about the project." No matter what the subject matter was, no matter what actors were used, there was only one requirement, that he had to serve as a producer in addition to being a director.

The first one to come was of course the distributor of "The Evil Husband", Touchstone Pictures under Disney.

Compared to others, they were not so excited. Because Eisner understood that Ronald did not actually ask too much about the production work. He just looked at the blueprint of the director team and slightly interfered with the casting of the male and female supporting roles.

However, doesn't a smart producer see the potential for cooperation among the main creative staff?

"We are very satisfied with this kind of live-action film with a small and medium production cost, which can achieve such unexpected box office results. We will invest more in this type of film in the future, Ronald. Whatever project you have, whether you direct it yourself or find other directors, we will give priority to it."

Eisner promised Ronald on the phone.

"I just happen to have a project here, and I will submit it to Mr. Katzenberg when the time comes." Ronald asked Eddie to prepare the project information of "Dirty Dancing" and agreed to submit it to Touchstone Pictures

"Very good, I will ask about it personally."

Then it was Ned Tanin of Paramount, who personally asked Ronald to talk face to face.

"Aha, Ronald, very good, very good, did you collect the box office rankings in the newspaper that day? This is what I prepared for you, keep it well."

Tanin came to give Ronald a gift, which was the newspaper pages of the top three box office rankings that day, framed with photo frames.

"Haha, thank you. My family will love it."

"How is your new project going?"

"I have signed a contract with MGM." Ronald's "Moonlight Temptation" has chosen Weintraub, who trusts him more.

"I'm not talking about that. I heard that you also bought the production rights of a movie? Have you considered distributing it at Paramount?"

"This project? It's a small investment. Paramount rarely distributes it."

"No, as long as you recommend it, we can give it priority. Small productions can also be invested, right? We can also find stars to participate." Tanin didn't want to lose this movie.

"Tsk, why didn't you say it earlier? I have already talked to Touchstone under Disney. So, if they are not interested, I will bring the script to you again?" Ronald said this deliberately, meaning to show him his face.

"Ah, that's right, that's right, you cooperated with them in "The Evil Husband at Home." Ned Tanin covered it up by drinking coffee. This kind of project of a talented producer was submitted to Touchstone, how could they release it? It's better to think of other ways.

"What other scripts do you have here? Don't forget Paramount. Speaking of which, your first movie as a co-producer was Paramount's "Flashdance."

"I don't have a new script for the time being, but my script assistant David said that there are several excellent scripts submitted to Daydream. I have new ideas and I must contact you first."

The knocking is almost done, and there is no need to make it too awkward with the head of Paramount.

Ronald felt that maintaining good relations with several distributors and maintaining a healthy competitive situation would be very beneficial to his future production business.

He learned this trick from Spielberg.

"You... can... I really misjudged you. Your production and negotiation skills are more surprising than your directing skills." Ned Tanin drank coffee again.

"I didn't do much work. Jerry Zucker was the leader of this film project." Ronald told the truth.

"Humility is a virtue. I like this about you." Ned Tanin didn't believe it.

"I like working with you the most, Ronald. Since your earliest film, 'Fast and Furious Richmond High', you have been a good director who respects producers and distributors. Our requirements for directors are actually very simple: complete the film on time, with quality and within budget.

It seems that you have had the heart of a producer since then. We are actually very tolerant of directors. Look at Zemeckis, the director of Back to the Future. He changed the name of the villain to mine because he was dissatisfied with my evaluation. In fact, I am not angry at all.

I am not really an antique to leave a footprint in this landmark film.

Don't worry, as long as it is a project you bring, I will personally inquire and give priority to it."

Ned Tanin actually did not do anything to help Ronald. In this situation, he can only lower his posture and say nice things, hoping that he can get one or two good projects.

Actions are more powerful than all sweet words.

The new president of Universal, Tom Pollack, has a different strategy. He took action first.

"Ronald, the heroine of the crew of 'Secrets of Success' has a problem. Christy McNicol abused drugs and we caught her. Her mental state is very unstable and she has been to a psychiatrist.

So we have to change the role. Director Herbert Ross and I both think that Helen Slater performed the best in the audition. Please help say a few good words and let Helen save the situation."

Ronald was very moved by these words. Tom Pollack's skills are very high. Before choosing Christy McNicol, the director and the producer may not know about her problems. This is a common problem in Hollywood.

And Helen Slater, who used this to fire her and invite Ronald, replaced her as the heroine, and asked Ronald to help persuade her. This is like sending a gift to the door and thanking him for trying it.

Without saying a word, Ronald also had to accept his favor. If there are any projects in the future, it is only natural to cooperate with Universal.

The trick is very old, but very useful.

Helen rushed to Ronald's house, "Ronnie, Ronnie, Ronnie, Ronnie..." When they met, she hugged his face and kissed him.

"I'm so happy. You helped me secretly snatch the heroine, right? Um... Um..."

"Can you play this role well?" Ronald looked into the beauty's eyes and asked solemnly.

"I... I'm not sure. I've always wanted to play this role and read the script. But after last time, I always felt that my acting skills were a big problem. Of course, I've been practicing with Helen Hunt recently and have made great improvements.

I can't say I can do the best, but I will try my best."

"I feel relieved when you say that." Ronald knew that Helen's acting skills could not improve overnight. As long as he knew himself and knew the direction of his efforts, he would not ruin the whole movie, and there would be no big problem. Anyway, for this role, youth and beauty are the most important.

"Then there is only one thing left..."

"What is it?" Helen stared at Ronald with wide eyes.

"You and Michael Fox have a kissing scene..."

"Hehehe, I get it. There is a height difference between him and me. I will use various methods to make up for it. I will definitely use a substitute. Don't worry."

"Really? How to use a substitute?"

"That's it." Helen kissed Ronald's mouth with a big kiss. It was filmed from the back and looked exactly the same as a real kiss.

"Hmm... Hmm... This is not a substitute." Helen was hugged by Ronald, and their lips slowly moved together.

"Hmm... It's more comfortable to kiss in real life."

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