Exploiting Hollywood 1980

Sent the new screenwriter Kevin Wade back to modify the ending and some of Jack Traynor's lines in the script according to Harrison Ford's opinions, so that it would be more in line with Harrison's own habits (such as the smirk and saying na in every movie...).

Ronald also began to think of a plan. Although such a happy ending is more pleasing on the surface than the original open ending, the audience lacks a little surprise, and it is suspected that their emotional outburst is weakened.

"Working Girl" is actually a modern version of the classic "Tess". Ronald first asked Richard to help find a screenwriter who can write this kind of script and re-sort out the story flow of the movie.

…

At the end of the year, the Directors Guild held a conference in Los Angeles and began to elect a new chairman. Ronald went to the conference to vote, hoping to find some big directors to talk about how to deal with the relationship with the stars.

"Hi, Ronald", Martin Scorsese also came from New York. He came to Los Angeles to arrange the release of "The Last Temptation of Christ" and attended the union conference by the way.

"Marty, it's just right. I have something to ask you. I don't know..." Ronald was very happy to find a teacher to ask questions. For such a matter of how to deal with big stars, you have to find such an experienced director who has a good personal relationship with you to talk.

The two sat down in the back and chatted in a low voice.

"My new film has Harrison Ford as the lead actor. I don't know how to deal with such a big star. Is there anything you can teach me?" Ronald expressed his concerns.

Stars usually use various methods to achieve their goals on the set. Ronald is worried that his fame is not enough to overwhelm the biggest star now.

"Ha, I think the most important thing is to have an open mind on the set." Scorsese spoke very quickly and gave Ronald a quick course in a few minutes.

In fact, stars are not bad at acting, but they are always playing a role in their daily lives and on the set - a "star" named Harrison Ford.

Unlike ordinary character actors, stars generally have a fixed personality, and they try to take roles with similar personalities. The closer to your own personality, the better. The part of the role that is not close to their own image will use various privileges to influence the director in the hope of achieving their own goals. Often they can succeed.

Scorsese told Ronald that the most important thing about working with stars is that the stars generally know more about the self they are playing all the time than anyone else. Sometimes, the role may not be best shot according to the script, and the star's intuition often has an extraordinary effect.

At this time, it is better to let the star perform one line according to his own method and then perform one line according to the director's ideas. In this way, you have one line and I have one line. In the editing room, even the biggest stars can only comment on the length of their appearances, but cannot interfere with the editing work of the director and producer.

"You have to be prepared. Stars always have all kinds of quirks. This is not because they like to play big names, but because stars are inherently very shy."

"Shy?" Ronald knew that some actresses would feel shy when shooting some scenes that show their private side. Do big male stars also have such problems?

"Oh, yes. I discovered this when I was directing Paul Newman in The Color of Money. They are all very sensitive." Scorsese nodded. This very counterintuitive fact was confirmed by him and many friends in the circle.

"Why?" Ronald almost didn't understand.

"Let me tell you a true story. When I was filming The Color of Money, Tom Cruise's Top Gun had not yet been released. It happened that he finished filming a take and went to rest. I was sitting in a corner of the studio in a daze. A temporary security guard came over. He didn't know who I was, but recognized Tom Cruise.

He said to me, is that Tom Cruise? I bet my wife would do that with him."

Ronald touched his head. Tom Cruise had just filmed a hit movie "The Good Boy" at that time, right? There were such crazy fans at that time?

Martin Scorsese continued, "The security guard then said, I bet my wife would crawl on the ground as long as Tom agreed to do that with her..."

"Uh..." Ronald thought of the first lady and the housewives in the southern town, who were all crazy about dancing with Patrick Schweitzer. I have experience with this kind of treatment for stars.

"But a few years ago, he was still playing a small supporting role in Francis (Coppola)'s crew. If it were you, what do you think stars fear the most?"

"Losing it all?"

"Yes, you have to make good use of it. I can't say more... Hehehe"

"Well, thank you. Very inspiring." Ronald thanked Scorsese for answering his questions like in college.

"By the way, one more thing, you'd better find a better art director and director of photography. Stars care about their image very much. If there is a well-known expert in the industry who stands on your side, then the star will listen to you more."

Ronald was thoughtful. He only had one editing master, Walter Murch. This was not enough. He also needed an art director, a photography director, and preferably a makeup master. If he could find well-known candidates in the industry to form an all-star lineup, he could use these allies to put pressure on Harrison Ford when he and Harrison Ford disagreed.

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So many masters of the all-star lineup said it was good. Is it possible that you were wrong?

Ronald began to think about who would be suitable for the photography director, art director, and makeup director of this film that would show the texture of the image of Wall Street in New York?

"You seem a little confused?"

"Ah, I'm thinking about which well-known experts in Hollywood are suitable for this urban modern film."

Martin Scorsese looked at Ronald's frown and felt funny. This former student is very good at grasping the taste of the market, and can also shoot a movie like "Top Gun" that uses a lot of backlighting and sunset light. He is a director with his own image characteristics.

However, he had not shot many scripts with sufficient dramatic tension before, like adapted scripts from Broadway dramas. The makeup and image tone of this kind of movie have a great impact on the final film, and it is related to whether the audience can recognize that your story takes place on Wall Street in Manhattan.

Ronald can shoot any type of film, and he can produce a hit work as soon as he gets started, but his habit of not focusing on one type of film makes him have no long-term technical team.

To help people to the end, Scorsese simply asked, "If you don't have a candidate for the director of photography, why not try my director of photography Michael Ballhaus of "The Last Temptation of Christ". He is a German and the director of photography of the nature of money. He also shot the new version of "Death of a Salesman". He has a lot of experience in photography in commercial environments."

"Thank you, I will look for his past image materials and then contact him." Ronald wrote down the name of this person and the movies he shot.

"Is there a suitable candidate for art director?" Ronald simply caught a master and asked. Scorsese has been in Hollywood for many years, with high moments and lows. He has seen a lot, and those recommended to him are all talented and knowledgeable.

"Hey, have you forgotten Peter (Bogdanovich) whom you met at the party in New York last time?" Scorsese said with a smile. Would such a great master art director turn a blind eye?

"Is Peter also an art director? Isn't he making a new movie now?" Ronald was puzzled.

That's right. When Peter was calling the shots in Hollywood, Ronald hadn't entered the industry yet. Scorsese whispered a name in Ronald's ear: "Polly"

"Wow, wow, wow..."

At this moment, the old chairman Gilbert Katz on the stage shook hands with the new chairman Franklin Schaffner, officially transferring the power of the chairman of the Directors Guild.

The Jewish Katz worked in the Directors Guild for four years, and the members had a lot of complaints about him. So this year, the members voted to replace Schaffner, the son of a devout Christian missionary. Everyone was quite dissatisfied with the Jewish Katz's work style, and maybe it would be better to replace him with a Puritan.

"Thank you for your trust in me..." Schaffner began to give a speech. He has been acting in this position for a long time. Now that he has officially taken over, his signature will be on the new union membership card starting next year - the most visible place for the union chairman.

...

"Hello, Ms. Pratt."

A day later, Ronald warmly welcomed Bogdanovich's ex-wife, the most famous female art director in Hollywood, Polly Pratt, in the office.

"Call me Polly. Ronald, I'm surprised you came to see me. Have we never worked together before?" Polly Pratt has short hair and a capable look.

She was Peter Bogdanovich's partner in early films. Many people believe that Polly's design of the environment, props, and especially the color tone of the image helped Bogdanovich a lot in his directorial achievements. Without Polly, Bogdanovich would not have achieved artistic success.

Ronald didn't know whether this statement was correct, but after Bogdanovich abandoned Polly and the children for Sybil Shepherd, he had not made any works that had a positive box office or critical response.

"Actually, many people recommended you to me, Polly. I'm currently preparing a film about professional women on Wall Street in Manhattan, and no one can recreate Wall Street on the screen better than you. Marty Scorsese and I chatted with Peter in New York, and I learned about your name and your great contribution to the film."

After getting the recommendation from Scorsese, Ronald watched all of Polly Pratt's films. In addition to Bogdanovich's "The Last Movie" and "Paper Moon", she also produced Brooke Shields' famous work "Pretty Baby" and the Oscar winner "Mother and Daughter". She has restored all kinds of movies of different eras and types very well.

Ronald is full of confidence in her. With Polly's participation, the film will definitely be even more powerful.

However, Polly Pratt has just participated in the "Growing Up" project of her good friend, female director Penny Marshall, as an art director. She has just finished various designs for that movie and wants to take a break to spend time with her children.

Polly and Bogdanovich had two children, whom she raised after their divorce. In addition to being a top art director in Hollywood, her most important identity is that of a single mother of two children.

So Polly declined Ronald's invitation. However, Ronald did not give up and found many people to intercede. Finally found Roger Coleman.

Coleman was Polly's nobleman. After Bogdanovich abandoned his wife and children, Polly was in great financial difficulty and could not find a new job. Roger Coleman was the only mutual friend of the couple who called to console them. He also gave Polly two low-paying but supportive jobs as an art director on his low-budget exploitation films.

This favor was difficult for Polly Platt to refuse. In addition, Ronald offered her a price twice as high as the market price, so she came to talk to Ronald about the new film.

"No, in fact not. When I went to work for Roger (Colman), you were already the associate producer of "The Legend of the Baby". Recently, Brooke also played a female role in a small production of our company. The protagonist went to Xiangjiang for filming.

Polly's eyes softened a bit. Ronald was able to give the down-and-out Brooke Shields a job, just like Coleman gave him a hand.

"This is a script. It tells the story of how a female secretary on Wall Street finally crossed the glass ceiling through her own efforts and adventures, became the manager of an investment company, and finally found love." Ronald pushed the script over and gave it to Polly looked.

"Scripts with female protagonists are rare, aren't they?" Polly Platt hurriedly read it. This script was completely different from the usual Hollywood workplace business war dramas. The heroine is the center of the drama, and the man is more like Vase and foil. The key to Tess's success is her own steps.

"I like to film scripts with female themes. This is also a trend in America. In the 1980s, many company management positions were occupied by women, and their performance and management methods were no worse than men. I hope to reflect reality in the movie the trend of."

"Okay, I agree." Polly agreed readily. In fact, many directors and producers in the industry who have worked with her are well aware of her working ability, and many people think that she should transform into a director or producer. But the common gender issues in Hollywood have prevented her from finding a suitable opportunity.

The plot of Ronald's movie is just to Polly's liking. Coupled with the favor of her benefactor Roger Coleman, the kind words of her friend Penny Marshall, and more importantly, the double salary, she agreed. The filming happened to be taking place in New York, and I could still find time to go home and spend time with my children.

"I'm so happy that you can join. The art director and photography director, the two most important team members, are here."

Ronald jumped up from the sofa happily. I had previously interviewed Michael Ballhaus, the photographer recommended by Scorsese. Several of his workplace-themed photography works are very much in line with Ronald's wishes. There is a feeling that once you look at the pictures, you will know that they are in New York.

Ronald feels good about two heavyweight artists joining the team. It feels good to be surrounded by masters who are more capable than yourself and provide support.

"The most important thing in a workplace drama is to make people feel immersive. In addition to color management, the most important thing is props, framing, costumes and distribution. Do you have a good costumer? Tess turned from secretary to manager, two You need different clothes to match your identity, and you also need to find a good hairstylist.”

"Do you have any recommendations? I want the best." Ronald asked quickly.

"Ann Roth is the best. She worked as a costume designer for Meryl Streep and Jane Fonda. For their Oscar-winning movies, Ann was the one who found the costumes."

"Very good, I'll go and invite you right away." Ronald wrote down the name.

"And the hairstylist...forget it, let me recommend him." Polly Platt looked at Ronald and said that he didn't have a fixed team.

"Ellen D'Angelo, Italian, and J. Royce Holland, two of the best men with combed hair in Hollywood. Streep and Michelle Pfeiffer are all designated They do hair.”

"Alan...Luo Yin..." Ronald quickly wrote down the hairstylist's name. It's good to have such an old mage. Everyone knows who is good and who is not. Polly's recommendations are all the best.

"Where's the accent coach?" Polly's ability is all-round. As soon as she read the script, she knew that the actor needed to learn the smooth white-collar accent of Wall Street and the exaggerated blue-collar accent of the secretary.

"I've worked with this before," Ronald said, and he hired supporting actress Julie Boisso to teach Cher how to speak a Brooklyn Italian accent when filming "Moonlight."

"You can't do that. We need to be on Wall Street. How can you do that with a Brooklyn accent? Let me help. There are many pronunciation coaches on Broadway."

"You are so capable, I simply don't know what I would do without you." Ronald had just appointed Polly Platt as the art director. This woman who could actually be a producer took over many tasks. All done.

"Very good, you give the contract to my agent. After we decide on the candidate, you arrange for me to meet Harrison Ford and the other leading actors, and we try to set the makeup."