Ronald brought an experimental videotape shot by Adrian Lane to meet producer Don Simpson.
Don Simpson was always with his partner Jerry Bruckheimer. When he saw Ronald coming, he hugged him warmly and greeted him.
"Ronnie, what do you think? Are you willing to take over this movie?"
"Take a look at this videotape first." Ronald took out the wet dance of the stuntman that Ryan had filmed.
"Okay, let's see what you brought?"
A beautiful woman's wet dance appeared on the TV, especially when the dance double was half lying on a chair and pulled down the rope, and a large bucket of water was poured on her body. Ronald saw Don Simpson's Adam's apple twitching,
He visibly swallowed a mouthful of saliva.
"If this footage had been shot on film, the temptation would have been ten times greater." Ronald took the opportunity to lobby.
Then there was a shot of the dance stand-in swinging his hair wildly, and some water droplets were flung onto the set next to him with the movement. Even the relatively calm Jerry Bruckheimer's eyes lit up at this time.
"Imagine, here is a cut of the reactions of the audience in the bar." Ronald described his idea. Several audience members in the bar were shaken by the water droplets on their hair, and they were all shocked.
Don Simpson was completely mesmerized by the idea of Ronald depicting, "Holy shit, Adrian filmed this?"
"This is a test tape from Director Ryan. He wanted me to explain some technical details to you." Ronald pressed the pause button and pointed to the light source on the TV to explain to the two producers.
"Pay attention to this spotlight. The backlight gives the actor a contour light, and then matches the smoke on the scene, the reflection on the ground, and these splashing water droplets..."
Ronald pointed to a few key points for lighting, and then pressed the play button again.
"This is a traditional British technique. I saw it on the filming set of 'Famous' back then. They like to put smoke or use a stove to heat incense powder. Very small particles are suspended in the air, allowing a single point light source to appear in the air.
The effect of the light beam..."
Ronald pointed to a light beam on the TV and explained to them, "Then the very smooth ground showed reflections, and the actors' reflections could be seen, forming an ambiguous ambient light. This is a single point light source plus specular reflection.
the benefits of."
"So this effect can only use a single point light source?" Don and Jerry had already stood up from their chairs and gathered around Ronald.
"I'm not a professional photography director. I only know that it would be very time-consuming to use America's traditional multi-light source lighting to simulate this effect. In this shot, the dance stand-in is dancing in a wide range of motion, and the range of movement is very large.
If multiple lights are used for lighting, as long as she moves out of this range, the lighting will need to be re-arranged. In this way, the stand-in's face will be more likely to be captured by the camera, which will be a troublesome editing.
My suggestion is that if you are satisfied with this effect, you should still find a way to have Director Lane use his own camera team to solve this problem using single lights and smoke.
If I were to shoot it, without the cooperation of a good photography director, I wouldn’t be sure to get a shot of this level.”
"Ryan still showed his skills, this old slick guy." Don Simpson said in a low voice. If Director Ryan had to explain this lighting problem himself, Ronald might not be a third party with successful movies.
People are very convincing.
After all, Adrian Lyne's last Hollywood movie was "The Little Foxes" filmed three years ago, and the box office was not high, so it didn't have much impact.
Don and Jerry exchanged glances and understood each other's thoughts. Don Simpson said to Ronald:
"Ronald, we trust you. This movie is about to start shooting in Pittsburgh. We want to hire you as the associate producer of the movie and join me on set to watch the filming progress."
When Ronald saw that Don Simpson wanted to take him on a business trip, he was about to refuse.
Don Simpson grabbed his hand and said, "Don't refuse in a hurry. Listen to our conditions. I know you have a new script now, and it won't take you long. I only need you to be on the crew for a week or two."
Here, he explained some of the technical details of directing to Jerry and me.
It’s not that we don’t trust Director Ryan, the videotape he showed today clearly shows us his thinking and design.
But we are not familiar with the working methods of British directors. You just need to start looking at the scene. We need someone from Hollywood.
After that, when the quality of the daily dailies stabilizes and we have confidence in Director Ryan's work situation, you can fly back to Los Angeles, I promise."
"What about the cigarette smoking required by Director Ryan? How do you plan to solve the union problem?"
"Our main scenes were all shot in Pittsburgh. The union there is weak, so there will always be a way." Jerry Bruckheimer, who is mainly responsible for non-artistic matters in the duo, answered Ronald's question.
Seeing how sincere they were, Ronald decided that it would not hinder his other work to follow the crew for a few days. He called his agent and asked him to handle his contract while he prepared to go to Pittsburgh.
"Adrian, they agreed to use it, but there is a condition." Ronald first returned to director Adrian Lane's office and told him the good news.
"What are the conditions?" Director Ryan stopped talking to a young man, turned around and asked Ronald.
"I didn't know you had guests." Ronald glanced at the actor. He looked familiar. He seemed to be the "carpenter" who auditioned for the various heroines.
"I'll go out first, Director Ryan. I am indeed an actor, and I work well with your heroines, right?" As he said that, he exited the office and closed the door.
"Don Simpson agreed that you could use your own camera crew and smoke on set, and Jerry Bruckheimer agreed to help you sort out the union troubles.
The condition is that I will be the associate producer, and I will go to the scene in Pittsburgh and be responsible for communicating with them about the technical details.
Of course, I won't do anything to disturb you. I think they just want to buy insurance and have someone explain to them what you are doing. I expect I can leave in a week or two."
"I welcome!" Adrian Lane opened his arms and hugged Ronald before he could finish speaking.
"Actually, they are unnecessary. Artists always speak for themselves by their works. Anyone who sees your commercials and test shoot videos can tell that your finished film will be very exciting." Ronald explained.
Ronald actually knew in his heart that as soon as the expert took action, he would know where Director Ryan's level was.
But since someone paid me to go to the show, I took the opportunity to learn a few British system lighting and shooting methods.
"No matter what, I want to thank you." Ryan was very polite.
"You don't know what they were thinking. I turned down the project twice because I thought the script was a bit silly and they never bothered me after that. Until recently when Brian De Palma left to film another 'Scarface'
People', they came to me again.
I had been resting for more than two years. When they came to me for the third time, I said to myself, Adrian, stop pursuing perfection. There are not so many perfect scripts in the world, waiting for you to direct.
For this ‘Flash Dance’, at least the dance scenes can be captured beautifully, so there’s no need to shirk it anymore. So I agreed.”
Only then did Ronald understand the complete ins and outs of the matter. Perhaps after several excuses, the two producers also had some doubts about Adrian Lane's level of commitment.
The trust between producers and directors is very fragile. If there is no mutual trust between the two parties, it will cause a lot of unnecessary suspicion and trouble.
"Don't you write the script yourself?" Ronald asked Director Lane.
"I have only written the scripts of two short films. In Britain, traditionally a director would not also be a playwright."
"Oh, that's right."
Ronald discovered another difference between the British film industry and Hollywood. They are more like Broadway, and the division of labor between playwrights and directors is relatively clear.
In Hollywood, being a screenwriter is often the shortcut to getting your first directing job.
The Adrian Lyne in front of me, Alan Parker, whom I am familiar with, and Ridley Scott, who has only seen movies, are all directors and rarely participate in screenwriting.
Among the three British directors, Alan Parker, who was slightly more capable of writing, also mainly modified other people's scripts.
Even Hitchcock, the most famous British director, often only thought of a prototype of a story and rarely had the opportunity to write a full script.
"Maybe they have been performing Shakespeare plays and don't need additional scripts." Ronald thought with some malice.
"Director Ryan, I have formally studied acting. Carpentry is just my part-time job."
Just when he and Adrian Lane decided to go out for a drink, Ronald discovered that the carpenter was still waiting for Lane to come out at the door. He was a bit tall and looked a few years older than himself. Although he was begging for help, he looked neither humble nor overbearing.
"Kevin, I can't give you this job as a carpenter. I can only choose an actor. We have already chosen Nick Nouri for the male lead. I can only say I'm sorry."
With a characteristically British politeness, Lane refused to give the offer to the "carpenter" who claimed to be an actor.
"Sir, I am really an actor." The carpenter began to say to Ronald.
"I'm not the director of this movie." Ronald shrugged helplessly.
The carpenter was a little discouraged and turned around to leave. Maybe he wanted to maintain his dignity and didn't want to ask for help in a humble manner.
"Adrian, Ronald, thank God, you have finally reached an agreement. With Ronald as the associate producer, you will definitely not abandon us." Don Simpson and Jerry Bruckheimer walked opposite.
Come on, shout to Director Ryan.
The big deal was finalized, and a few people were going to the bar to have fun.
When picking up the car in the parking lot, Ronald saw the carpenter also in the parking lot, feeling a little lonely.
Ronald's car happened to be in front of him, and when he passed him, he nodded to him.
"Sir..." the carpenter spoke again.
"I heard Adrian call you Kevin, don't be discouraged. This is the film industry. The first step into this industry is always the most difficult."
"Thank you, sir. My name is Kevin, Kevin Costner"
Ronald was a little uncomfortable being called sir by someone who looked older than him.
"Call me Ronald. You're just unlucky. Keep auditioning. I think your appearance is very suitable for an actor. It's a bit like James Dean and Harrison Ford mixed together."
"Thank you, are you also the producer of Flashdance?"
"Actually, I'm a director, Ronald Lee."
"Oh, shxt, I've seen the fast pace you directed." The carpenter shouted.
"Actually, I have acted in movies. I played the leading role in 1979, but I was unlucky and the movie was not released."
"From your appearance and past experience, you shouldn't be able to act in movies." Ronald was a little surprised when he heard about his experience.
"I just want to play the leading role."
"Try to start with the supporting characters. Some supporting characters are easier to remember by the audience."