Exploiting Hollywood 1980

【Exploiting Hollywood 1980】 【】

Send the new screenwriter Kevin Wade back to modify the ending according to Harrison Ford's opinions, as well as some of Jack Traynor's lines in the script, to make it more in line with Harrison's own habits (such as the bad habits in every movie) Smile and say na...).

Ronald also began to think about recruiting. Although this kind of happy ending is more pleasing on the surface than the original open ending, it lacks surprises for the audience. In fact, it is suspected of weakening their emotional outburst.

The story of "Working Girl" is actually derived from the classic "Tess" and is a modern version. Ronald first asked Richard to help find a screenwriter who could write this type of script and reorganize the story flow of the movie.

…

At the end of the year, the Directors Guild held a convention in Los Angeles to elect a new president. Ronald went to the convention to vote and wanted to talk to some big directors about how to deal with relationships with stars.

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

"Marty, just in time, I have something to ask you, I don't know..." Ronald was very happy to find a teacher who could ask questions. Regarding how to deal with big stars, you have to talk to such a big director who is experienced and has a good personal relationship with you.

The two sat down at the back and chatted in low voices.

"My new movie stars Harrison Ford. I don't know how to deal with such a big star. Is there anything you can teach me?" Ronald expressed his worries.

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 quickly and gave Ronald a quick lesson in a few minutes.

In fact, it's not that celebrities have bad acting skills, it's just that in their daily lives and on set, they play a role all the time - a "star" named Harrison Ford.

Unlike ordinary character actors, celebrities generally have fixed personalities, and they try to take roles with similar personalities. The closer it is to your own persona, the better. Those parts of the character that are not close to their own image will use various privileges to influence the director, hoping to achieve their own goals. Often they succeed.

And Scorsese told Ronald that the most important thing about working with stars is that stars generally know the person they are playing all the time better than anyone else. Sometimes, a character may not be best shot according to the script. The star's intuition often has extraordinary effects.

At this time, instead of insisting on following the script, you can also let the star perform one in his own way, and then perform one according to the director's ideas. In this way, you have one thing and I have another. In the editing room, no matter how big a star you are, you can only express your opinion on the length of your appearance, but cannot interfere with the editing work of the director and producer.

"You have to be prepared, celebrities will always have all kinds of quirks, not because they like to act big, but because celebrities are inherently very shy."

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【Exploiting Hollywood 1980】 【】

"Shy?" Ronald knew that some actresses would feel shy when filming scenes that required them to show their personal side. Do big-name male celebrities also have such problems?

"Well, yes. I discovered that when I was directing Paul Newman in The Color of Money. They're both very sensitive." Scorsese nodded, this very counterintuitive fact,

He confirmed it with many friends in the circle.

"Why?" Ronald still didn't understand.

"Let me tell you a real thing. When I was filming The Color of Money, Tom Cruise's Top Gun had not yet been released. He happened to finish filming and went to rest. I sat in a corner of the studio in a daze. A temporary The hired security guy came over and he didn't know who I was but he recognized Tom Cruise.

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

Ronald scratched his head. Tom Cruise had just made a blockbuster movie called "It's Crazy" at that time, right? Were there such crazy movie fans back then?

Martin Scorsese continued, "The security guard then said, I bet my wife would be crawling on the floor if Tom would agree to have sex with her..."

"Um..." Ronald thought of the craze for whether it was the first lady or the housewives of small southern towns who wanted to dance with Patrick Schwytz. I also have experience with this kind of celebrity treatment.

"But a few years ago, he was still playing a supporting role with very few scenes in Francis (Coppola)'s crew. If it were you, what do you think stars are most afraid of?"

"Losing it all?"

"Yes, you have to take advantage of this. I can't say any more...hehehe"

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

"By the way, one more thing, you'd better find a better art director and photography director. Celebrities are very concerned about their own image. If a well-known expert in the industry is on your side, then the star will listen to you a bit more."

Ronald mused that he now only has one editing master, Walter Murch. This is not enough. I also need a master of art direction, a master of photography, and preferably a makeup master. If I can find well-known candidates in the industry to form an all-star lineup, then I can think of myself and Harrison Ford. When on the left, use these allies to put pressure on the opponent.

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So many masters from the all-star lineup say yes, is it possible that you are wrong?

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

"You seem a little confused?"

"Ah, I was wondering what well-known experts there are in Hollywood who are suitable for making this urban modern movie."

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

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【Exploiting Hollywood 1980】 【】

However, he has never filmed a drama with enough tension before, like a script adapted from a Broadway play. The makeup and image tone of this kind of movie have a great impact on the final film, and are related to whether the audience can recognize that your story takes place on Wall Street in Manhattan.

Ronald can make any type of film, and he can produce blockbuster works immediately. However, his habit of not focusing on one type of film means that he does not have a technical team for long-term cooperation.

Helping people to the end, Scorsese simply asked, "If you don't have a director of photography, you might as well try Michael Ballhaus, my director of photography for 'The Last Temptation of Christ'. The Germans are also money-minded. The director of photography, he has also shot the new version of 'Death of a Salesman', and he is very experienced in photography of commercial environments."

"Thank you. I will look for his past video materials and then contact him." Ronald wrote down this person's name and the movies he had filmed.

"Is there a suitable person for the art director?" Ronald simply asked a master. Scorsese has been in Hollywood for many years. He has high moments and low points. He has seen a lot, and all the people he recommends to him are qualified. Really talented and learned.

"Hey, have you forgotten that Peter (Bogdanovich) you met at the last party we had in New York?" Scorsese said with a smile. Such a master-level art director also Will you turn a blind eye?

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

That's right, when Peter was making waves in Hollywood, Ronald had not yet entered the industry. Scorsese leaned into Ronald's ear and whispered a name: "Polly"

"Hua Hua Hua..."

At this moment, the old chairman Gilbert Cates on the stage shook hands with the new chairman Franklin Schaffner, officially transferring the power of the director's union chairman.

Cates, a Jew, worked in the Directors Guild for four years, and the members criticized him quite a bit. So this year, the membership voted for Schaffner, the son of a devout Christian missionary. Everyone is quite dissatisfied with the Jewish Cates's style of doing things. Maybe it would be better to change to a Puritan.

"Thank you all 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 last thing for the union president. A place with a presence.

…

"Hello Ms. Platt."

One day later, Ronald warmly welcomed Bogdanovich's ex-wife, Hollywood's most famous female art director, Polly Platt, into the office.

"Call me Polly. Ronald, I'm surprised that you came to see me. We haven't worked together before, have we?" Polly Prader has short hair that reaches her ears, looks capable, and speaks quickly.

She was Peter Bogdanovich's partner in early films. Many people believe that Polly's design of the environment, props, and especially the tones of the images helped her a lot in Bogdanovich's directorial achievements. busy. Bogdanovich’s artistic achievements would not have been possible without Polly.

Ronald didn't know whether this statement was correct, but after Bogdanovich abandoned Polly and the children for Sybil Shepard, he has not made any films that have received positive box office or critical reviews. .

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【Exploiting Hollywood 1980】 【】

"A lot of people actually recommended you to me, Polly. I'm currently working on a movie about the working women of Wall Street in Manhattan, and there's no one better able to bring Wall Street to life on screen than you. Marty Scorsese and I Chatting with Peter in New York, I learned about your name and your great contribution to movies."

After Ronald received Scorsese's recommendation, he looked for and watched all of Polly Platt's films. In addition to Bogdanovich's "last movie," "Paper Moon," she also worked on the Brooke Shields-famous "Beauty," and the Oscar-winner "Mother and Daughter." It restores movies of various eras and types very well.

Ronald has full confidence in her. With Polly joining the cast, the film will surely be even more powerful.

However, Polly Platt has just participated in the "Grown Up" project of her good friend, female director Penny Marshall, as the artistic director. She had just finished working on various designs for the movie and wanted to take some time off 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 originally declined Ronald's invitation. However, Ronald did not give up and found many people to intercede. Finally found Roger Coleman.

Coleman was Polly's noble man. 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, actually 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. Their performance and management methods are no worse than men. I hope that the reality can be reflected 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.

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【Exploiting Hollywood 1980】 【】

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 coming on board. 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 give people an immersive feeling. In addition to color management, the most important thing is props, framing, costumes and distribution. Do you have a good costumer? Tess changed from secretary to manager, two Each identity requires different clothes to match. 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 he didn't have a regular staff.

"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 name of the hairstylist. It's good to have such an old mage, who knows who is good and who is not, and what Polly recommends is 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.

"This is something I worked with," said Ronald, who 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."