Hollywood Director 1992

The flight from Los Angeles to New York lasted 4 hours and 50 minutes. By the time I took a taxi from Queens to Lower Manhattan, it was already six in the evening.

New York City is at a higher latitude than Los Angeles. At six in the evening, the sky was gloomy. Surrounded by many tall buildings, the light on the streets appeared dim.

This book is first published on the entire network by 𝕥 𝕨 𝕜 𝕒 𝕟 . 𝕔 𝕠 𝕞

However, New York City is currently the most prosperous city in the world and one of the most densely populated cities in the world, especially in the Manhattan area, which is many times more lively and bustling than the loosely structured Los Angeles.

At dusk, the streets of Lower Manhattan were filled with traffic, and the sounds of horns rose and fell. The sidewalks were also filled with people of various attire and skin colors. The proportion of handsome men and beautiful women was not inferior to Los Angeles, the entertainment capital.

Link spent $8 at a roadside supermarket to buy a bottle of no-name red wine and brought it to Quentin's apartment.

The apartment on 45th Street was a taller and more dilapidated apartment building than the youth apartments in West Hollywood.

It was more than ten stories high, with the exterior walls of the wings exposed.

It looked like the building where the six main characters of "Friends" lived.

This should be Quentin's residence when he worked in New York before.

Before becoming a director, Quentin was originally an artist at James Best's film company in Los Angeles, preparing to debut as an actor.

However, every time he attended acting class, Quentin always liked to point fingers at the teacher's acting methods, believing that the teacher's teaching was wrong, and was therefore kicked out of the classroom.

Quentin worked as an apprentice at the film company for more than two years. Seeing that he could not learn anything new at the company and could not get any film roles, he left the film company and came to New York Manhattan to work as a manager at a video store called 'Audio-Visual Archives,' similar to a librarian.

During the four or five years as a manager, he took advantage of his position to watch a large number of Western films and Hong Kong films.

After accumulating a certain amount of film knowledge, Quentin began to write scripts and make movies. The "True Romance" he wrote last year sold for $50,000.

At the beginning of this year, he became popular with "Reservoir Dogs" and officially embarked on the path of a director.

Link took the elevator to the 8th floor of the apartment building, turned right to the third apartment door, and rang the doorbell.

After more than ten seconds, the blue door was pulled open, revealing Quentin Tarantino's hideous and comical face, and messy hair.

"Oh, God, Link, you really came to New York?"

"Of course, I said I would come, so I will definitely come."

"Okay, this is crazy. Come on in."

When Link walked into the apartment, he realized that there was someone in the room. It was a scantily clad woman wearing black stockings, with her feet propped up on a low table, and Quentin was also wearing an open-front pajamas.

"Quentin, you said on the phone that you were the only one here, how come there are two people? Two people means more money."

The woman twisted her waist and sized Link up and down with ambiguous eyes.

"Debbie, I have something to do, today's date is over."

"How boring! I won't refund your money."

The woman put on her high heels and twisted her snake-like waist to leave.

Link had been in America for four or five months and had seen a lot of messy things. He was not surprised by this kind of thing, and he didn't even have the interest to tease Quentin.

"Sorry for interrupting your date."

"Haha, no, I'm writing a script. Yes, I have a habit when writing scripts. I like to find a lady to be my audience. I first tell her the story. If she thinks it's good, I'll write it down and find other women to be the audience. If they all think it's good, it means my idea is very good."

"That's a good way, I'll try it if I get the chance."

Link nodded, sat down on the sofa opposite, took out the "Kill Bill" script from his backpack, and gave it to Quentin to take a look.

"You flew all the way from Los Angeles to New York just to have me look at the script?"

Quentin took the script, looked at the cover, and showed a surprised expression.

"Take a look at my new script first, and we'll talk about other things later."

"Okay, let me take a look at your script. You can watch TV, eat something, please feel free to do so here."

"I will."

While Quentin was reading the script, Link sat for a while, then stood up and walked around.

Mainly because the sofa was too soft, he was worried that he would accidentally fall asleep on the sofa and miss the good opportunity to discuss the script with Quentin.

He made a cup of instant coffee with a glass, came to the half-open back window, the sky outside was completely dark, the night breeze was gentle, many windows on the opposite apartment building lit up, the stars in the distance were twinkling, and the living room on the opposite side could almost be seen up close.

On the 6th floor of the opposite apartment building, a woman was lying on the windowsill, and someone behind her was doing something bad. The pig-like screams could be heard even standing by the window.

When Link saw the scene on the opposite side, he subconsciously turned his head away, averting his eyes from what he shouldn't see.

But suddenly he thought that since the residents on the opposite side chose to stand by the window to perform this sacred ritual, it meant that they needed an audience to enhance the sense of ritual.

Link drank the slightly sour coffee, looked at the scenery on the opposite side, and felt a hint of comfort.

It's a pity that human power is limited. With a muffled groan like a wild boar hitting a wall, everything calmed down.

Boo!

"Buddy, it's not good, too weak."

"Hahaha!"

Many teasing voices came from upstairs and downstairs.

Link returned to the sofa and sat down. He saw a script on the low table and asked Quentin if he could read it. Quentin said to feel free.

Link picked it up and took a look, and there was a smell of foot odor.

The script did not have a title. Through the names of a few people, the dialogue, and the scenes at the beginning, it could be seen that this was the script for Quentin's second film, "Pulp Fiction."

The manuscript paper was covered in corrections and riddled with grammatical and spelling errors. If one didn't have a deep understanding of the movie "Pulp Fiction," it would be nearly impossible to recognize it as a script.

Link勉强看了几页，确实是《低俗小说》的剧情，但也有非常多的地方与电影里不一样，完成度不到电影剧情的1 / 3 .

"How's my script?"

Link put down the script, and Quentin did the same.

"Not bad, it's a good story."

"Can you understand my writing like this?"

"I can barely understand it. You're using a multi-narrative approach, right? Each story has its own protagonist, but they become supporting characters in other stories, just like us. From our own perspective, we're the protagonist, but from others' perspectives, we're supporting characters.

You use familiar relationships to connect several stories, forming a logical closed loop. This design is very cool, and I look forward to your new movie being released."

"Did you really understand it? Is my story so shallow that you can understand the whole storyline after just a quick look?"

Quentin's expression was a bit frantic, unable to accept that this was true.

He had spent more than a year writing the story, believing it to be profound and that upon release, many viewers would be confused, not understanding what was going on, and only after hearing explanations would they suddenly understand and praise the film.

Like a master of mazes, he had spent years creating what he thought was a very profound maze, one that no one could easily decipher.

But that wasn't the case at all. Link took the script and looked at it casually, without much thought, and clearly explained the story's thread and logic.

This showed that the maze he had created was not clever at all.

Link realized he had spoken too bluntly, inadvertently revealing his viewing experience in advance, seemingly striking a blow to Quentin.

"Is it that complicated? Stanley Kubrick's 'The Killing,' directed in 1956, is also of this type. After watching the second story in your script, I knew you might be learning from Kubrick's style."

Stanley Kubrick was a famous American director who entered the directing scene in the early 1950s and directed several Oscar-level films, including "The Shining," "A Clockwork Orange," "Full Metal Jacket," and the unmade "Eyes Wide Shut."

"The Killing," filmed in 1956, used a multi-narrative approach, presenting a racetrack robbery from the perspectives of several different characters.

This film had a great influence on later black violent films, especially Quentin's films.

Quentin had also publicly stated that he liked Kubrick's films.

"Okay, fine, you're right. I did use Kubrick's multi-narrative method, but it's more complex and interesting than the settings in 'The Killing.' Wait until I finish the script and you can see it."

"OK! Then let's evaluate my script. What's your opinion after reading my script?"

Link leaned back on the sofa, crossing his legs.

"Your script is very good. Although it's not as complex as my script, the story is also very interesting, especially the revenge and killing plot, which is very much to my taste. Is this the script you're preparing for your next movie?"

"No, I'm short of money. I'm going to sell the script. If you like it, I can sell it to you."

"Sell it to me? You flew from Los Angeles to New York to ask me to buy your script?"

"Yes, I've seen 'Reservoir Dogs.' Only you can make this type of script well. I don't think it will be good if I sell it to others, so I want to sell the script to you."

Link spoke very directly, without any roundabout intentions.

Quentin looked at him, then looked down at the script, his rough face showing a puzzled expression.

"Link, your script is of high quality. Whether you keep it to film yourself or sell it to other film companies, it's a very good project. But you want to sell it to me? You said you're short of money, how much money do you need, and what do you need the money for?"

"To be honest, I'm preparing to self-distribute 'Buried.' I've already contacted the theaters, but I'm short of a deposit."

"Damn it, it's 'Buried' again. After so many days, you haven't given up on 'Buried,' and you're willing to sell a good script for it, preparing to self-distribute this movie. What's your purpose in doing this?"

"First, to make money. If 'Buried' can be released, the box office won't be worse than 'Reservoir Dogs.'"

"Hmph!"

"Second, to let more people see 'Buried,' like 'Buried,' and prove that my view is correct, that this movie shouldn't be buried."

"You're a crazy guy!"

"It's okay, so are you willing to buy this script? If you're not satisfied, I have several other scripts on hand."

Besides "Kill Bill" and "Django Unchained," there were also several scripts submitted to film companies, but the types were different, and Quentin might not like them.

"How much are you going to sell it for?"

Quentin stroked the cover of the script.

"How much are you willing to give?"

"Are you sure you want to sell it, selling this script for that 'Buried' that no one is watching?"

"Yes, I'm very sure."

". How about fifty thousand dollars? That's all the money I have in my account for now."

"Deal!"

Link reached out and smiled.

Quentin looked at him suspiciously, and hesitantly reached out his hand.