Legendary Hollywood Director

Early the next morning, Lyman was dressed and drove to the Paramount headquarters in Hollywood.

After arriving, he was greeted by an old acquaintance, the female assistant next to Shirley Lansing, whose name seemed to be Sharon or something, and looked quite intellectual. Forgot for a while.

Lyman smiled and nodded at her, avoiding the embarrassment of not being able to name her, but people didn't feel it, and soon went to Shirley Lansing's private office to report.

Fu came out and politely invited Lyman in.

Lyman walked in quickly, looked up, and saw Shirley Lansing sitting behind the boss chair talking, with Tony and Ratner sitting on the sofa next to him.

As soon as Shirley Lansing saw Laiman, she waved her hands and said a few words of politeness, and let them chat. She still has a meeting to open, so she will leave for a while.

Actually, there's really nothing to talk about.

The salary conditions of the two directors are all within the acceptable range of Lehman. It is nothing more than a lower price for Tony, as long as the basic salary of 3 million US dollars and the tiered box office incentives; while Ratner is the basic salary of 8 million and cents. The box office incentives for Ladder are not far behind, and they will not exceed the budget of Mrs. and Mrs. Smith anyway.

It seems, however, that Tony is a little more attentive and eager to the project.

Come to think of it, he does need this opportunity more than Blake Ratner.

Afterwards, Lehmann talked to the two of them individually about their intentions.

The first is Ratner, which is quite satisfactory, and Lehman thinks it is quite reliable;

The second is Tony...

I waited alone for more than half an hour, and I don't know how to talk, whether I still have a chance. Tony thought about the gains and losses.

It's your turn. A staff member reminded.

Oh, oh. Thank you.

Tony threw away unnecessary thoughts, tightly clutched the results of the preparations in the past few days, took a deep breath, and pushed in the door.

Hello, Mr. Rust.

Lyman looked over, with a wrinkled and aging face, and there was a hint of flattery in his eyes.

Ratner, on the other hand, does not have such an expression, which is where Lyman is easy to compare.

After all, for most directors, Lehman's rise is a little too fast, and many people inexplicably have the mentality of their predecessors. This is the case when Ratner just faced Lehman.

In such a comparison, Tony seems to be a person who is very aware of current affairs, at least he knows how to not put on airs when fighting for opportunities.

Hello, Director Tony, sit down first.

Okay, thank you. Tony sat on the sofa with half of his buttocks, his back straight, like a serious student.

However, this student is 49 years old, 21 years older than Lehmann, and close to a round.

Still, this attitude of respect rather than taking it for granted has served Lehmann well.

Inevitably, he was also very enthusiastic about him.

Can you talk about the script?

Okay. Tony coughed and said, I heard that this script is an outline designed by you, Mr. Rust, and it sounds very interesting, and I think the audience will buy it.

Since Paramount sent me the invitation, I have read it dozens of times. To tell you the truth, I really want to take over the directing job, but Ms. Shirley told me that there are several other competitors in the project. I also know that my shooting experience seems minimal, but I don't think it's a big gap, so Mr. Rust, would you like to give me this chance?

A compliment and flattery, but unfortunately, Lyman can't make a decision on this.

Explain the filming ideas and understanding of the plot. Lyman smiled.

Mr. and Mrs. Smith is undoubtedly completely different from those traditional action movies that are straight-forward and don't have any fancy, or rely on violent blood plasma, and the protagonist kills the Quartet to achieve a refreshing feeling. Or, it just drapes With action skin, it is actually a comedy movie. The unique identities set by the two main characters in the script are the best sense of contrast, and the plot revolves around the identity of the killer. Although it is not complicated, it has a strong attraction. Think about it, the composition of an ordinary family and the husband and wife combination of two top killers have their own desire to attract the audience to look down, which means half the success. Mr. Rust, I am confident that we can shoot similar film effect.

Talking, Tony couldn't help but express his determination.

After speaking, he seemed to feel that it was not enough, and he took out a thick stack of documents from the backpack he was carrying, Mr. Rust, look, this is a part of the scene script I imagined, you can take a look.

Sure enough, he did so much flattery in front of him, and it was not as important as the preparations for this bunch of shots.

This is also how Tony thought about how to impress Lehman and stand out after meeting with the executives of the Paramount production department.

Apparently, this trick worked.

Lehman carefully read through each of the sub-scene manuscripts, from which he realized Tony's series of ideas for the film.

Maybe it's time to make a decision.

Compared with Ratner, Tony not only has a better attitude, but also works harder to do practical things.

Although he has failed once, his professionalism as a director is not bad.

Having been in the industry for more than 20 years, he has served as the screenwriter or assistant director of many production crews, and he has enough experience to overcome the hurdle of failure.

Lyman lowered his head and carefully compared all aspects.

Tony also understood that the most critical time had come, and his breathing couldn't help but be quick - agree, agree, Tony shouted in his heart.

He really needed a chance.

In such a realistic circle, he doesn't want to continue to hang out with mediocrity, he also wants to be beautiful, and he also wants to be sought after and affirmed by fans.

As a director, he has imagined a similar scene countless times, and now, the most likely chance to succeed is coming, and it is in the hands of Lyman, who is sitting opposite and looking down at the draft of the storyboard.

To be honest, he didn't think the script of Mr.

As the most senior screenwriter, he deeply understands that the value of a script is not the content, but the people.

If it weren't for Ryman, no one would have noticed a similar cliché.

It's like every studio's script library is full of countless plot ideas, but so what?

Is anyone investing?

If you don't invest, who will know how it will work?

Although I don't think the plot of Mrs. and Mrs. Smith is very good, Lyman's vision has proved to be good enough.

He is optimistic, that means opportunity.

Tony read the script over and over again, racked his brains to figure out what Lehmann wanted to shoot and meticulously prepared the sub-shots, not all to get the project.

To this end, he can set a standard answer to every possible question.

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