Exploiting Hollywood 1980

John McTiernan was angry. He felt that the two producers, Ronald and Joel Silver, were deliberately working against him. This kind of character would interfere with the director's arrangements even if he speaks random German. Maybe there will be some problems during the final editing.

Ronald did not expect that his opinions for the sake of international box office would be misunderstood as interfering with the director's work. As the crew continued to watch filming, he could clearly feel McTiernan's anger towards him.

The position is different, and Ronald's thoughts are also different. If his "working girl" had a producer who made irresponsible remarks about his director, he might also feel this way about anger. Of course, given Ronald's box office performance, no one from 20th Century Fox would be stupid enough to say anything, and Ronald is also one of the producers.

McTiernan showed his anger by deliberately not shooting the main shot that explained the entire scene, and instead used close-up reaction shots and mid-shot front and back shots to show the dialogue and interaction between the characters. In this way, the producers can do much less in the editing room.

Ronald, who knew full well, just watched from behind the camera and said nothing. His purpose is not to point fingers and replace the other party's director's work.

Today's shoot is another thrilling action stunt shot. A close-up of Alan Rickman falling off the building at the end.

Just like the first scene of filming, the scene with Bruce Willis, the rooftop on the top floor was cleared by the crew again. Alan Rickman's body was hanging outside the railing, hung by a safety rope. The camera fixed above with a bracket was changed to a close-up shot, facing Rickman's face from top to bottom. The cameraman hung on it, operating this big machine, which looked very funny.

A stuntman grabbed Rickman's hand with his hand while McTiernan talked to him. "When the time comes, I will count one, two, three. When I count to three, Mike will let go and you have to make a surprised face. Then it will be OK."

"Okay, no problem." Alan Rickman wiped his hands on his body. It was the first time he filmed such an action scene, which made his heart beat faster as an actor in a Shakespeare play.

The stuntman named Mike also explained their protective measures to Rickman. "You don't have to worry. This safety rope can withstand impacts ten times greater than your weight. If the safety rope is protected by the airbag alone, there will be no problem.

Don't hold your hand too hard, I will pull you hard. When the director counts to three and gives the signal, I will let go, so that the fall will be more natural. We have been doing this simple stunt for many years, many actors have tried it, it is very simple. "

Alan Rickman was relieved by what he said and signaled to the director that he was ready.

For this kind of shot, the most important thing is whether the actor is ready. If you are not afraid mentally, you can often succeed in the first time. But if you are afraid that you are not prepared, the actor may be under pressure to perform unnaturally every time he dances, and the filming will be endless.

“Attention all departments, we have started filming.

a! "

Director John McTiernan gave the order from behind the camera.

"One, two..."

Before the count reached three, McTiernan secretly sent a signal to the stuntman, and Mike, who grabbed Rickman's hand, immediately let go.

"ah……"

Alan Rickman was shaken unexpectedly. His face was full of panic and fear caused by subconscious conditioned reflexes. He screamed and fell from the top.

"Did you get it?" McTiernan asked director of photography John de Bont.

De Bont scratched his hair and nodded in confirmation. The effect of this close-up shot is very good. The look of horror on Rickman's face is something no performance in any genre can achieve. This is completely a human instinctive reaction.

"Damn...damn director, I want to complain." came Alan Rickman's curse. This time, he was so frightened that he was waiting with all his concentration. Suddenly, he let go ahead of time, scaring him so much that he broke into a cold sweat.

"Forget it, it's all for filming..." Alan Rickman saw Ronald coming down to see him, and suddenly he no longer wanted to complain to the Screen Actors Guild. Although he is a member of the British Screen Actors Guild, he automatically enjoys all the rights of the American Screen Actors Guild.

There are still many differences between film performances and theatrical performances. Although this method is damaging, the final effect is definitely good.

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…

After watching the more dangerous shots, Ronald's matters in Los Angeles were settled, and he flew back to New York. The actors have gathered together to start reading and rehearsing the script.

"Working Girl" is a movie that relies on plot and performance to advance the plot, with a high degree of drama. So before filming started, the actors read through all the scenes based on their characters, so that they could understand the intensity of the emotions in each scene.

Everyone is an actor with a background in theater, and Alec Baldwin and Joan Cusack are very familiar with this form. Melanie Griffiths is a child star who has been acting since she was a child and comes from an acting family. After reading it for two consecutive days, I already have my own understanding of where the plot should be.

However, the absence of Harrison Ford and Sigourney Weaver prevented the actors from doing a final overall script reading. In other words, each character rehearses their lines without interruption from beginning to end according to the plot.

Many problems that were not discovered in the intermittent readings often appear at this stage.

"Director, do we need to have another reading before shooting, after Harrison comes?" Melanie Griffith asked Ronald in a hoarse but sexy voice.

"No, you, Harrison, and Sigourney will not rehearse their scenes in advance. I need a sense of unfamiliarity. You have filmed Jonathan Demme's "Shotgun Lulu", so you should be familiar with this method."

Ronald had no plan to let them rehearse in advance. The two key points for the success of this movie are the couple feeling between Melanie's Tess and Harrison Ford's Jack Traynor. And the fighting scenes between Tess and Catherine, two women who are in full competition.

The supporting roles in the movie are all played by veterans. Harrison Ford and Sigourney Weaver are also stars with distinctive styles. Choosing them as the protagonists will make corresponding updates in the script to make the characters closer to their star images.

Such a movie with experienced people often falls into a perfunctory problem. Everyone has played similar roles dozens or hundreds of times, but when the real shooting begins, they will fall into skills and inertia and fail to perform that kind of natural reaction.

Tess and Jack fell in love at first sight. Well, isn't it similar to Han Solo's first meeting with Princess Leah in Star Wars? Tess competes with Catherine for career and man. Which Hollywood actress over 30 has not played 10 or 20 similar roles? Experience will hinder these veterans and stars from performing that kind of sincere emotion.

Just like Laurence Olivier, who has performed hundreds of Shakespeare plays and is known as the best actor in Britain, he would be nervous before going on stage every time, fearing that he would encounter the problem of being too familiar and his performance would not satisfy the audience.

Ronald asked the directors he was familiar with for advice on this problem. In fact, Hollywood directors generally have three ways to solve this dilemma.

The first method was taught to him by Peter Bogdanovich. It is to choose a novice who has just learned to act and let her stimulate the other veteran actors. Use fresh and unpredictable newcomers to give the veterans a sense of freshness and stimulate their natural reactions.

Bogdanovich's recent films are not very good, but he is experienced and familiar with all the stars and directors of the golden age. He has interviewed them and written several biographies.

His own famous work "The Last Picture Show" also found Sybil Shepherd, who had just debuted, and paired it with several veteran actors.

But this method is also an old method of the golden age. At that time, stars were long-term employees of the studio, so this method could be implemented. Today, movies need stars to sell tickets, and Ronald can't do this.

The second method was taught by Martin Scorsese. It is like Stanislavsky's drama theory, slowly polishing.

When performing the first take, there is a craftsmanship among veteran actors, and if it doesn't meet the requirements, continue to shoot. When shooting the tenth and twentieth takes, all the craftsmanship performances have been performed more than once.

The actors will get bored, angry, and even collapse, and begin to doubt why they always refuse to let the director pass, whether their acting skills have deteriorated, or they are not suitable for this role at all.

But as long as the director continues, when it comes to the 25th and 30th takes. All the shackles brought by the actors' past acting experience will be completely worn away. At this point, when they want to act, they must come up with something different that they have never tried before, which brings the same excitement as novice actors.

But this method is not very suitable for this movie. Scorsese is facing Tom Cruise, who has just become popular. Tom himself also respects these famous directors and is willing to learn. And Paul Newman, who is acting opposite him, is the most humble and respectful of directors among many Hollywood stars, and regards himself as an ordinary actor.

Ronald is facing Sigourney Weaver, who has a tight schedule, and Harrison Ford, who is acting like a big star before filming begins.

So he decided to use the third method, which is what Jonathan Demme taught him, that is, never rehearse important scenes, and let the protagonists talk for the first time until the start of filming.

Humans are animals that are very sensitive to false feelings. Only when they cooperate for the first time, whether they are novices or veterans, their reactions are the most original, the most natural, and the most favorite of the audience.

Just like when Alan Rickman fell, the completely pure natural reaction is something that no acting school can act out.

So during the early rehearsal, the most important thing is to keep the three most important protagonists from feeling familiar and maintain that sense of strangeness.

"Well, I'm looking forward to filming with him..." Melanie Griffith is indeed a nympho type actress. She is the kind of person with extremely rich emotions in life, just like in filming.

"Alec, I still don't understand some lines very clearly. Can you chat with me tonight?"

It's a pity that I can't see the handsome man Harrison Ford with his masculine charm. Melanie Griffith turned around and thought that Alec Baldwin, who played her ex-boyfriend, was also very handsome. In particular, he has a wide chin similar to Harrison Ford, and he is a man among men at first glance.

Unlike Europe, where aesthetics tend to be feminine, America's aesthetics for men still remain in a relatively primitive and normal range. Here, male stars with a wide chin are very popular with female audiences.

The two camps have been in a cold war for decades. Among the major countries, only America and East Asia's China and Japan still have a male charm aesthetic for men. The traditional man with sharp edges and corners is still the mainstream aesthetic.

But this situation is also slowly changing. In big cities, men with overflowing male hormones are gradually labeled as blue-collar workers. Men with thinner chins and male stars with beautiful and feminine temperament are gradually being sought after.

Especially action stars like Stallone and Schwarzenegger can't play those smart men. This trend is more obvious in Europe and Japan. The new generation of male stars has become more and more feminine.

"Sorry, Melanie, I have something else to do." Alec Baldwin declined the invitation.

"Don't get me wrong, Alec, I just want to talk to you about the lines..." Melanie Griffith is now dressed as the elite beauty, not the ugly secretary in the first half. She wears those red glasses and speaks gently. She is really a heart-warming beauty.

As she spoke, Melanie Griffith gently stroked the back of Baldwin's hand with her fingers.

"E on, Melanie." Alec Baldwin spread his hands, not interested in Melanie's blatant seduction. He actually looked down on Melanie Griffith. This woman was not very pretty, and she was addicted to alcohol. She was just thirty, and her muscles were already sagging.

"I don't date actresses in the crew. This is not in line with professionalism. If we date, some scenes of breaking up and mutual dislike can't be performed. Sorry, this is my principle." Alec Baldwin's reason came out of his mouth. He has done similar rejections countless times.

"Oh, Alec, Alec, you are so cute. Are you sure we can't try intimacy first... This is also a kind of..." Melanie turned her hand and tried to touch Baldwin's face.

"Sorry, I have other things..." The knowledgeable Baldwin also wanted to run away. This kind of nymphomaniac was really unbearable.

"Oh..." Melanie Griffith covered her face with her hands. It was really embarrassing to be rejected directly by a man like this.

After sorting out her thoughts, Melanie Griffith began to pack her bits and pieces. Scripts, notebooks, glasses, lipstick, mouthwash, and some small plastic packages were slowly put into her bag. She turned her head and saw that director Ronald was still sitting there, chatting with screenwriter Kevin Wade.

Yeah, Ronald is so handsome, with dark golden hair, shining in the sun, a wide chin, and a cute little dent. He spoke to the screenwriter in a deep voice, and he was so talented that it was really fascinating.

"Ronald, I still have some lines for Tess..." Melanie Griffith came up.

"Don't overdo it... Melanie. I need you to relax yourself and show your talent when shooting."

Ronald looked back at her. Whether he really didn't know or pretended not to know Melanie's nympho personality, he decisively rejected her temptation.

He stretched out his finger and firmly tapped the cover of Melanie Griffith's script, "What I need now is a relaxed Melanie."

"Melanie, Ronald is right, don't analyze the role too hard now, we will slowly find the feeling after shooting, I have seen your previous movies, you are a talented actor, don't worry about this. If you want to talk to someone about Tess's psychology..."

Screenwriter Kevin Wade looked at Melanie, and he immediately felt that this Hollywood actress was very beautiful, and her every move had the charm of a 30-year-old professional woman, and also had some tenderness that was rare in professional women. It was a coincidence with Tess, who was a secretary, and he also had a lot of experience in character analysis, which he could share with her slowly in the evening.

"Thank you, Kevin, I still listen to Director Ronald, relax first, haha..." Melanie Griffith looked at Kevin Wade, her chin was not wide enough... not masculine enough, could not give her a sense of security, and did not have the kind of natural charm that made people's hearts beat and legs clamped together.

As she was thinking, Melanie Griffith took out a small notebook from her bag and called Liam Dalton, the Wall Street investment manager who taught her M\u0026A courses. His chin was also very wide!

"Liam, the legal provisions of the merger you mentioned last time, why does foreign capital need congressional approval to acquire American media?... Well, I still don't understand it. Can you come over tonight and tell me about it?"

"She's not your cup of tea... Kevin, or not yet." Ronald patted screenwriter Kevin Wade on the back, "Focus on the script and change it to suit Harrison Ford. You will soon have other stars asking you to tailor scripts for them..."