Ronald was very busy now. After finishing shopping, he went directly to the editing room, where Walter Murch was editing Ronald's second film "Moonlight".

"How's the sample this time?" Ronald handed a cup of coffee to Murch, like a promising student who always wants to hear the teacher's praise.

"Very good, very good. I saw very good dramas, here, and here." Walter Murch pointed out several scenes to Ronald, saying that he liked them very much and that they were very interesting to watch.

Ronald took a look and saw that they were all scenes at the dinner table. It seems that this kind of table scene really tests the skills of actors and directors. Murch, who has led the editing and sound design of many movies, is well-informed.

He also speaks more directly, so this compliment carries a lot of gold.

"Are you still going to play Dean Martin's 'That's Love' at the beginning?" Murch put the first reel of film on the editing table. He had already synchronized the sound and video, and he could start to slow down with Ronald.

Editing was done.

"Yes, what suggestions do you have?" Of course, Ronald followed the soundtrack in his dream and found Jimmy Lehner, the music broker he met during "Dirty Dancing", to ask the record company to buy this old song.

right to use.

"It wasn't my idea, it was your director of photography, David Watkin, who said it to me in Toronto. You know, David is a classical music lover, and he thought the opening should be from the opera 'La Boheme.'

The aria of your cold little hands.

It happened that this was also the music when the hero and heroine fell in love. When they went to the opera together, they couldn't help but fall in love with the performance, and they confirmed that they were the right person for each other."

"OK, what do you think?" Ronald asked Walter Murch to play a aria from La Boheme, then closed his eyes to reflect on it, and then compared it with "That's Love".

"I think from an artistic point of view, Bohème is more relevant. The audience will hear the opera scene behind the music again. This is a repetitive process in the symphony. Movies are sometimes like symphonies, you

Repetitions and variations of themes are required.”

"Yeah, but I'm worried about the audience's acceptance. It won't be as well-known as Dean Martin's song."

"You are the director, you make decisions. Dean Martin's songs are also very good, but in terms of structural integrity, they are not as good as this song 'Your Cold Little Hands'."

"How about we make two versions and see the reaction during the test screening."

The editing work is very boring. They read the materials over and over again. The two of them can cut about five or six scissors a day, and the rest of the time is spent discussing and trial and error.

"I think the editing of your movie is not that difficult. You seem to know the final effect of your film before shooting. This is not the case with some directors. They often don't know what story they want when they shoot.

When I was editing for Coppola, I could basically only scissor once or twice a day.”

"What about your own 'Back to Oz'?" Ronald asked Murch.

"I did not direct the film myself as an editor. Generally speaking, I still prefer free expression. Clay animation takes up a large proportion, and I have no confidence in the results of the filming."

What Murch is talking about is actually two main schools of directors.

One extreme is Hitchcock. He extremely disliked actors' improvisation on the set and once said that he would treat actors like cows and horses.

He had planned all the scenes before shooting. Once an actress felt that her performance was not good and asked to shoot a new scene. Hitchcock couldn't help but agreed, but he didn't even open the lens cover of the camera.

Let the actress go through it again.

After the actress found out, she was very angry with Hitchcock. She was still dissatisfied with the performance and just wanted to improve herself.

Hitchcock said that for him, her performance was already completed in the previous section.

Many directors, including Stanley Kubrick and John Ford, prefer this method.

At the other extreme is Francis Coppola. This guy can improvise tomorrow's script on set. During filming, he also encourages actors to use different methods to improvise.

So when Murch was editing him, each one had a different acting method. They could be matched together, and the final plot could even be completely opposite.

Ronald, like most directors, is in the middle of the two extremes. He mainly makes commercial films, so the performance of actors is not that important. This "Moonlight" can be regarded as his relative emphasis on performance.

It's a drama.

…

The clip continued, and suddenly one day, Joseph Farrow, the vice president of Twentieth Century Fox, suddenly called Ronald and asked him to come over and have a chat.

"Mannequin is scheduled to be released on the 12th of next month. Our distribution budget is not large. Now we have an opportunity to get some free buzz, but we need your help."

Joseph Farrow got right to the point, and the show's audience test results were pretty good, but the critics' impressions of it were poor and they were scolded.

Seeing this situation, 20th Century Fox gave up its intention to promote the film in the media, and instead relied on word-of-mouth from the audience.

"An absolute piece of shit, this movie is a depressing one for anyone who remembers what movie comedy is supposed to be."

Ronald picked up the film reviews that Farrow had put on the table and read them. These film critics had already gone through the public relations of Twentieth Century Fox and came to watch the film critics' special show.

It's just that the movie hasn't been released yet, and the content of the movie review has not yet been published in the media, but is only circulated within Fox.

"Does this author, Leonard Martin, have any grudge against you?" Ronald raised his head and glanced at Farrow.

"No, but the media in America have the right to report freely. We can only invite them to come and write movie reviews. As for what they write, we have no control over it."

This chapter is not finished yet, please click the next page to continue reading the exciting content! Joseph Farrow took a puff of cigarette. He was also very dissatisfied with the marketing department's negligence. CEO Barry Diller was turning his attention to the TV station.

There is still a lot of adjustment work to be done with the new boss.

Fox's film department is now leaderless. Everyone is doing their own thing and only looking to find their own interests.

If the marketing department had not allocated some budget and wanted to find some film critics to write film reviews, the most likely thing for this "high-spirited" film would have been ignored by film critics. Instead of being like now, there would be a bunch of very negative film reviews.

.

"Nonsense, why didn't you give me some vacation vouchers, sponsor the annual meeting of the Film Critics Association or something?"

"That's Eisner's strength. We at 20th Century Fox respect the media." Joseph Farrow was still arrogant.

But when he saw Ronald's disdainful smile, he stopped pretending.

"Fxck, if I were the president, I would have to fire those garbage in the marketing department."

"This movie is made by fools, for fools, about fools." Ronald continued to read, which was the Washington Post's film review.

"As co-writer and director Michael Gottlieb, 'Brilliant' is the best example of what it means to be perfunctory."

This is the New York Times film review.

"Damn it, you guys at Fox suck too. I know these people. When they were at Paramount and Universal, they were all well taken care of."

Ronald read a lot of scolding movie reviews, but none of them had anything good to say. Fortunately, he was named as a producer and was not scolded.

Finally, there's Roger Ebert of the Chicago Sun-Times.

"There are many bad movies, but they have strong vitality.

But this "spiritual show" is absolutely dead. The audience kept vigil for it for an hour and a half, and then finally the ceremony was over and they left the funeral ceremony.

In fact, halfway through watching it, I was ready to have someone lead us in turning the rosary and starting to mourn it.

The film stars Andrew McCarthy and Kim Cattrall.

They are actors that I have admired before and will undoubtedly admire again.

Years from now, they'll probably look back on the project with a mixed smile and a shrug, just as we remember Paul Newman's trashy film The Silver Cup. This crappy movie did nothing to diminish our fondness for them, it just served as

A joke appeared in the memory.

In 'Swagger,' McCarthy plays an incompetent young man who is fired from one job after another, while Cattrall plays an Egyptian princess who is reincarnated as a dummy in a Philadelphia department store window..."

"Isn't there anything better?" Ronald read halfway through and threw Albert's film review on the table.

These film critics are so bad.

To unanimously criticize a commercial film for its poor artistic quality, poor acting skills, and loopholes in the story is to deliberately belittle the film by telling partial truths.

Commercial movies are not so particular about the completeness of the details of the story and the harmonious performance of the acting skills.

Needless to say, such unanimous criticism must be from a certain movie of the same period, which paid a lot of money to buy their favorable reviews, so much so that they would step on a big company's production for comparison.

"Here is a nice article."

Joseph Farrow dropped a bound magazine sample.

"Philadelphia is a great city that was once the capital of our United States..."

"Isn't this a movie review?" Ronald read the previous paragraphs, all of which were talking about Philadelphia's current economic recovery, capital entering the suburbs, and active commercial activities.

"Look down." Joseph Farrow didn't say much.

Ronald continued to scroll down.

At the end of the article praising the city, the author finally remembered this movie and mentioned that the new Hollywood movie "Spiritual" was set in Philadelphia and was filmed in Philadelphia.

"This movie is a swaggering, if clumsy, one of the greatest movie stories ever told set in 1980s Philadelphia. Really, it's the most exhilarating movie ever made about this city."

"Hey..." Ronald smiled bitterly. This was a praise article published by a magazine in the city where the film was shot. The black mayor of Philadelphia attached great importance to the filming of the film in Philadelphia, but that was it, and he only said it at the end.

A few nice words about the movie.

"Stop talking about this, what do you want to do?" Ronald put down all the movie reviews and asked about Joseph Farrow.

"Starship is the band that sings the movie ending theme, Nothing Can Stop Us Now, and they are quite satisfied with this song. The lead singer, Grace Slick, wanted to give herself a happy memory before leaving the band.

So their record company is willing to pay for Grace Slick to shoot a music video so that we can ride on the popularity of this song."

Joseph Farrow talked about his plan. He had no resources to rely on. He just saw that Ronald's "Top Gun" and the theme song "Take My Breath Away" complemented each other and brought a lot of sales to each other.

I want to imitate it.

"How much money are they going to pay?" Ronald understood that they were interested in his company's MV shooting capabilities. "Take My Breath Away" was shot in the Navy and Air Force's aircraft cemetery. It didn't cost much and the effect was very good.
To be continued...