"Ronald, I have your phone number..." The assistant of the crew knocked on the door and shouted loudly from outside.

"Who the hell...?" Ronald, who was immersed in revising the script, was interrupted by various chores, "Didn't you say you don't bother me if you don't have anything important to do?"

All screenwriters in the United States, whether they are writing movies, TV series, talk show scripts, or Broadway plays, are all no longer accepting jobs. The various unions in Hollywood are powerful national unions and have the power to enforce pickets.

You write advertising scripts, and you can't write a single word after the union orders it.

Ronald, who was so angry with several British screenwriters, had to take matters into his own hands and revise the plot of Harrison Ford. But those union inspectors were still wandering around, and every time Ronald picked up the pen

To write in the script, they would come over kindly and remind Ronald that as a union member, he needed to stand with his 9,600 fellow members.

With no other choice, Ronald had no choice but to hide in a small room, lock the door, and ask an assistant from the production crew to stand at the door to block him.

But the director has too many things to do. Sometimes it’s the art director asking Ronald to decide the tone of the film, and sometimes it’s the costume thing. He takes the costumes of the supporting actors and lets Ronald see which one is better. Thank you for this. I just got some inspiration.

, and are often interrupted, which is extremely inefficient.

"Who is it this time?" Ronald raised his hand and took the phone receiver specially designed for long lines.

"It's your agent, Mr. Niceta."

"It's me, Rick." Ronald waved his assistant to hold the door so that no one from the Writers Guild could see it, and he started chatting with Niceta.

"Nowadays, screenwriters in English-speaking countries such as Britain and Australia are being snatched up like crazy. It's not just a question of money, but also a lot of conditions. If you have familiar friends, you'd better ask friends for help. I've already researched them in Hollywood.

In the cooperation model, the screenwriter will book a room in a hotel not far away and contact them by phone."

"Okay, let me ask if any of the screenwriters I have worked with before are willing. How should I talk about this kind of thing so that no one will get caught?" Ronald thought to himself, not only did this kind of thing not have a signature,

There is no reward yet (if you pay, you will be discovered by the union), and there is no good way except to compensate a trusted friend later.

"Let Richard contact you and don't show up. He will take care of it. You just need to give me a few lists of screenwriters you can trust, plus Paula and I's direct clients, and try your luck, otherwise you will be the director.

It’s already messy enough.”

"It makes sense, please." Ronald put down the phone, went back to the small room and wrote a list of screenwriters he had worked with before, faxed it to Niceta's office, and then lit a fire and burned the paper.

"Tuk tuk...Ronald, someone is looking for you." The assistant started knocking on the door again.

"Who is it?" Ronald threw the pen away angrily, and the inspiration he just thought of was interrupted again.

"It's me, Walter..."

It was Walter Murch, the film's editor. He opened the door and came in, "Did I find the time wrong? Are you busy? How about I come back later?"

"No, no..." Ronald quickly waved him away, "I'm waiting for you to come. Let's go take a look at the opening scenes. You told me to capture those materials." I rented a helicopter today.

There will be no waiting for flights after the scheduled time.

….

Ronald put on his coat and walked out of the door with Walter Murch. When he passed the assistant, he gestured to the assistant to tell her to watch the door.

Then the two met up with the director of photography, Michael Ballhaus, who was waiting for them, and the three of them walked outside together.

"This opening shot of yours is very ambitious. I have never seen an example of shooting like this. Have you rented a helicopter?" Walter Murch looked at the storyboard sketch in his hand and asked Ronald.

"Yes, we will rent it for half an hour today and then rent it for half a day during the shooting. The shooting time will be two hours. Let's go to the Statue of Liberty first." Ronald raised his wrist. There was not much time before the appointment time. He

Turning around to look around, Little Bud saw it and immediately got in the car to drive the Mercedes over.

"Ronald, Ronald, is that you? Thank you, thank you... I called last night, and today they

Just let me audition."

Suddenly, among a large group of actors queuing up to audition for supporting roles, Sandra, the waiter, saw Ronald and immediately came over to say hello to him.

"Is it you? Sandy. Audit well. I'm just giving you a chance. If you are selected, you can join the Screen Actors Guild."

Ronald shook hands with her, and by then the car had turned around and stopped, and Ronald and Walter Murch got in.

The actresses waiting over there all looked at Sandra with a bit of jealousy, and she was the only one who laughed without knowing it.

Under the rumbling helicopter, Ronald, Walter Murch, and Michael Ballhaus heard nothing. Ronald made a gesture, checked the list with the pilot, and signed it.

, and got into the back seat of the helicopter.

That helicopter pilot was the aerial photography helicopter rented by Elizabeth Sue in "Cocktail" starring Tom Cruise. The pilot wearing sunglasses also knew Ronald and knew that he was the director of "Top Gun", so he paid him a tribute.

He bowed and motioned for Ronald and Walter to put on their earmuffs.

"It would be great if you could give our helicopter pilot some time to film Top Gun. Sit tight, we'll take off right away." There were headphones and microphones in the soundproof earmuffs. Ronald heard the pilot's teasing and fastened his seat belt.

A strong force came from the seat, and the helicopter rose from the ground.

When it reached a high altitude, the helicopter flew directly towards the Statue of Liberty off Manhattan. When it reached a high altitude, the helicopter made no noise. The pilot pointed to the water below and said to Ronald:

"I'll fly around the Statue of Liberty twice, then lower my altitude to follow the ferry."

This chapter is not finished yet, please click on the next page to continue reading the exciting content! Ronald raised his thumb to indicate understanding. After a burst of acceleration, the helicopter flew near the Statue of Liberty, which was about the same height as the torch she was holding.

"I plan to let him fly a spiral, and then use the lens to capture one of New York's most iconic buildings." Ronald stuck his head out of the plane, pointed and expressed his thoughts.

"You have to use a zoom lens, right? There's not much space in the helicopter, and how do you plan to shoot? The door of this helicopter will block the camera's view." Walter Murch held the split lens and looked at the scene outside the cabin.

"After the actual flight, I will remove this door. Then let the photographer fix it on the seat and aim at the Statue of Liberty to take pictures. Ronald and I will give instructions behind him, but the wind will be very strong when flying, so it must be fixed

Clothes and hair,” director of photography Michael Ballhaus explained to Murch.

….

At that time, the camera will be mechanically fixed on the floor of the helicopter. This type of shooting with the door open is quite risky, so he found a tall and powerful photographer to control the camera.

Seeing that the two of them had seen each other, Ronald patted the pilot's back with his hand, and then made a gesture of descending altitude and moving forward.

A yellow ferry bound for Manhattan from Staten Island happened to be sailing below. The helicopter followed the ferry's path, slowly lowered its altitude and approached, and finally it was 45 degrees above the rear, maintaining a relatively stationary state with the ferry.

"We need to shoot enough material here, at least for more than one minute, twice." Walter Murch pointed to the ship in front of him and said to Ronald. "The editing will cut from here to the interior of the ship's cabin, the extent of the ship's sway, and the helicopter.

If I want to find the point where I can edit the track, I must be given enough time.”

While circling, the three of them discussed how far each shot should be taken to be considered adequate, where to cut the shot, how long the shot should be, and how many times each shot should be taken before it is qualified. They were all recorded on the shooting sheet.

good.

Then, the helicopter flew towards Lower Manhattan and hovered above many skyscrapers.

"The old method is to use a zoom lens and hover here to take aerial shots. This lens is relatively simple because the helicopter can fix the position..."

Director of photography Michael Ballhaus and editor Walter Murch began to discuss again. By the time they were finished, it was almost time to rent the helicopter.

The pilot pushed the control stick, and the plane flew back to the airport in the lower city, and then the propeller slowly stopped.

Come down.

"Be careful, the vertical propeller at the tail." This time the pilot learned his lesson and added a large yellow warning sign in front of the tail. He also jumped out of the cab. "Seriously, Mr. Director, can you?

Make us a movie like Top Gun. Now in the bar, those flying small planes are more impressive than us."

"Hahaha, I will do it if I have the chance..." Ronald liked this pilot very much and shook hands with him to say goodbye.

The three of them got into Little Bud's car that was waiting at the spot. The two technical masters discussed many details along the way. When they finally returned to the hotel, Ronald already had a copy of the shooting that the two of them had discussed.

In the guide, all the shots were arranged, and the duration and scenery were written down. When it came time to actually shoot, Ronald asked the photographer to shoot as usual, and he only had to sit back and control the scene.

Finally, Fox was very generous when selecting technical personnel. The people who worked with Ronald this time were all industry giants. It is so comfortable to work with capable people. They will do their best within the scope of their abilities and make everyone happy.

Directors can focus their energy on more important areas, such as:

Coaching actors on their acting skills, and also working part-time to revise scripts...

Ronald looked at the progress of the crew. Sandra Bullock was selected by the audition director Julia Taylor. She will play Tess's best friend and celebrate her birthday. There is also a line: "Yeah..."

".

Other progress was also very smooth. Melanie Griffiths came to bother him several times. Under the guidance of the Wall Street investment banker, she became more like a professional woman who could truly gain a foothold on Wall Street.

Already.

….

The two have become very close. When they showed Ronald the results of their studies on the set, they both held hands together. Ronald had no objection to the two of them disclosing their intimate status. Anyway, they had to film a lot of scenes in which she was passionately in love.

, this state helps to enter the state when performing.

Various staff members came to Ronald for advice one after another, ranging from the matching of high heels and clothes worn by the supporting character Joan Cusack, to the weather forecast and historical precipitation probability for the same period in the day when the City Hall opened the sky for aerial photography.

Finally, it was around 7 o'clock in the evening, and all the staff who had gathered at the hotel were getting off work one after another. The overtime pay during the preparation stage was already a bit overrun, and the production assistant on the scene came with a form for Ronald to sign.

After signing the last word, Ronald stretched, and finally waited until everyone had left, so he could quietly revise the script. Oh, by the way, there are also the materials that Harrison Ford asked his manager to send today.

Harrison Ford's manager sent him a script he had read, with more than 20 red and blue post-it notes densely pasted on it. The red ones were scenes that he was particularly satisfied with, and his thoughts were written in them,

There were a few places where he wanted to add more drama.

The blue one is a scene that Harrison Ford wasn't too happy with, and he politely asked Ronald to consider shortening it, or simply deleting the entire scene.

With a long sigh, Ronald made a cup of instant coffee and drank it in a few sips. After a short rest, he began to revise the script.

When it's quiet at night, it's really suitable for revising scripts. Writing scripts is a very difficult task, but revising scripts is relatively easy. Human modifications are always more efficient than creation.

This chapter is not finished yet, please click on the next page to continue reading the exciting content! Ronald spent more time understanding the opinions that Harrison Ford sent several times and what was his deep meaning behind them. Why did he do this?

I want to make these changes.
To be continued...