"Director Parker, this is what I wrote these days..."
After getting a few fragments that Ronald had written in just a few days, Alan Parker opened them and read them suspiciously.
During lunch time in the cafeteria, someone used drumsticks to beat drum rhythms on the table, and then someone played the piano. Then students spontaneously joined the ensemble playing various instruments.
Then the students from the dance department also joined in. Ballet, jazz, and various dances were integrated into one, and they danced on the table in the cafeteria.
Allen's eyes lit up. This is very suitable for the title of the film "Hot Lunch" and can be used as a theme song scene.
Read on...
A shy remix genius doesn't want to release his produced music, so his father drives a taxi and plays his son's creations through the loudspeaker, attracting all the students in the school to run into the street and dance carnivally to the music?
"They rushed down the stairs, rushed out of the school gate, stopped the car, climbed on the roof of the car, and started dancing there..."
Another genius scene, giving shy Bruno an opportunity to change.
"Pa..." Allen closed the script and stopped reading.
It only took a few days to write a script summary of this level, which was beyond my expectation.
"Tell me, Ronald, how did you come up with these two scenes?"
It seemed that the plagiarism of the original version worked very well, and Ronald was secretly pleased.
"When I came back from Los Angeles, I met a father who drove a taxi at the airport. He loved his daughter so much that he stopped his business and was waiting at the airport for her daughter to return to New York."
Ronald started making stuff up.
"Bruno, the shy mixing genius in the play, needs a chance to break through, so I want to use my father's love to help him break through. Taxis can't drive into the school, so I want to use a loudspeaker on the street to play what my son doesn't want to publish.
Music and letting students dance is also good.”
I'm getting better and better at making stuff up.
"As for the hot lunch scene, when I was in high school, I saw the school band and cheerleaders eating in the cafeteria. When they became interested, they would practice impromptu in the cafeteria. I was very envious. I think the audience will also like this.
It’s an impromptu performance.”
In order to find a suitable reason for plagiarizing the plot of the dream, Ronald even exposed the incident of peeping at the beautiful cheerleader in high school.
The plot is well-founded and the writing ideas are very good. Alan Parker no longer suspects that Ronald plagiarized other people's scripts.
"These two scenes are great. I can imagine how teenagers will love them when they are filmed. If you continue to maintain this level, you can think more about the endings of each protagonist."
"I have no inspiration for this part. I was on the wrestling team in high school and am not familiar with literary and art clubs. Without details, it would be difficult for me to write anything."
"It doesn't matter, you take your time and observe. If necessary, you can also sneak into the performing arts college to observe undercover." Allen confirmed Ronald's script and asked him to continue writing.
Without the revelation in his dream, Ronald returned to being a novice learning script writing, trying slowly. He looked for opportunities everywhere to observe some details of the lives of art school students.
Like how Meg sleeps?
People who practice ballet all year round will involuntarily straighten their toes when lying down. This is a very different characteristic from ordinary people.
I couldn't help but test it out to see if it could still stay straight when disturbed by external forces. Snap, Meg slapped me open.
Ronald, who was inexperienced, began to slow down his writing progress. For two weeks, he could only write one or two pages on the typewriter every day, then rub it out and throw it away, and start again.
During the day, I worked as a driver and assistant for the director. In contrast, writing every night became a distressing thing.
Fortunately, getting together with Meg every day can relieve some of his anxiety. This has made his writing progress slow, but it has not completely stopped.
Meg's acting studies went very smoothly.
According to Meg, Lee Strasberg is a Ukrainian-born acting master. He first studied with Stanislavsky and learned a whole set of experiential acting skills (the system) for drama performances.
Later, he developed it and developed method acting suitable for film shooting. He also directed the acting skills of Marlon Brando and Marilyn Monroe.
At the beginning of the first class of the school year, Lee Strasberg came to the class in person and taught them the two magic weapons of Method: emotional memory and improvisation.
What Meg is about to learn is the emotional memory method.
"After you learn it, you can instantly mobilize your emotions and cry in just one second. It's really amazing. Lee Strasberg even gave us a live demonstration," Meg said.
"Really? Then his acting skills are really great."
Director Parker flew to Los Angeles for auditions, and Ronald simply wrote the script full-time at home, plus shuttled Meg to and from get out of class.
There were all artists in the apartment. Ronald brought food and drinks and had conversations with almost everyone, hoping to learn more about the details of the life of art students.
However, there have been few achievements. Most of the people living in artist apartments are over 25 years old. Most of their memories of art schools have been worn away by life, and they can no longer recall their dreams.
Or those who still have dreams bury them deep in their hearts and don’t easily show them to others.
"You know, people who are engaged in art are very sensitive. If you tell others about your dream, even family and friends will be hit. When the dream has not yet been realized, if they accidentally say one or two words, you will also feel that they
I will feel uncomfortable for two or three days if I target you."
"Thank you for talking to me about this. I know it's difficult. I will adapt some of your shared experiences into a script. Of course, I will remain anonymous."
Ronald stood up and shook hands, handed the other party a bottle of red wine and a package of sausages, and then sent away the painter who was being interviewed.
I typed out the summary of today's conversation on the typewriter, then took off the typed letter paper, picked up the pencil, and started correcting it.
In this way, after typing and correcting, and after correcting, typing again, the sky gradually darkened.
"Hey, why hasn't Meg come back yet?" Ronald called Meg's apartment roommate and found that she hadn't returned to his apartment either.
Unable to help feeling worried, Ronald hurried downstairs and drove to the Lee Strasberg Drama Training School.
"Ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh..."
When he entered, he heard a bunch of actors crying loudly in the teaching hall. Ronald thought something unfortunate had happened.
Some were wailing, with tears streaming down their cheeks. Some were hugging each other and crying, comparing their misfortune to each other. Some were simply lying on the ground, rolling around and crying freely.
What's going on? Is there a collective psychosis?
Ronald looked around worriedly for Meg, and finally found her in a corner.
Meg cried quite miserably, her eyes were swollen, and her throat could no longer make a sound. She just kept crying silently. She hugged her knees, hid in the corner, and covered herself with the shadow of the wall.
figure.
No wonder it took me a long time to find it.
"Meg, what's wrong with you? Are you okay?" Ronald asked softly, taking out a handkerchief and carefully wiping away her tears. As soon as he finished wiping her tears, Meg shed tears again, and the handkerchief was soaked through.
"Meg, Meg?" Ronald shook Meg's shoulders gently, but she seemed to be immersed in sadness and did not react.
"Hey, who are you? Please go away. Don't interfere with the students' retrieval of emotional memories." A teacher-like person approached with a nervous step, raised an orchid finger, pointed at Ronald and accused him loudly.
Ronald turned around impatiently, stretched out his hand and pushed the sissy to stagger: "fxck you, don't fucking come near me. Is this how you devils train actors?"
Ronald knelt down and whispered in Meg's ear:
"Meg, I'm Ronnie. Look into my eyes. I'm your Ronnie. Do you recognize me?"
Meg seemed to have some reaction, her dull eyes found focus, and she nodded gently.
"Can I take you home?"
Meg nodded again.
Ronald put Meg's arms around his neck, lifted Meg into his arms, and carried her towards the entrance of the Drama School.
The sissy didn't dare to stop him, but she was still scolding Ronald for destroying the performing arts. Ronald glared at him, making him squeal and back away.
Opening the back door of the car and letting Meg lie down on the back seat, Ronald began to wonder who could help him. Looking for a psychiatrist? But Meg's condition was caused by her acting skills, and ordinary psychiatrists may not know that.
what happened.
By the way, last time Julia Taylor from the casting studio mentioned that there is an acting guidance expert at New York University, Stella Adler. Maybe she knows this situation better.
Finding a pay phone, Ronald dialed Julia Taylor.
"Julia? I'm Ronald. I have something urgent to ask for your help."
After briefly explaining the situation to Julia Taylor, Julia was surprised:
"Didn't I ask you to find Stella Adler? Why does this happen again? Stella doesn't teach emotional memory, only that old bastard Lee Strasberg..."
"What? Your Meg just went to his class? Why did you take his acting class?"
"It was Meg's decision. She listened to her sister."
"You take Meg away from that place immediately and come to the casting studio first. I will ask an expert to help." Julia hung up the phone after speaking.
Ronald carried Meg into the front seat and fastened the seat belt. He drove the car to the casting studio, where Julia was already waiting for them at the door.
Ronald carried Meg to the sofa in the back room. Julia hugged Meg and whispered comfort in her ear.
Soon a middle-aged woman came to the studio. She was Stella's apprentice, her name was Irene. Stella was 78 years old, so it was inconvenient to trouble her.
Erin walked over and held Meg's hand, asked Julia to get a towel, and gently wiped Meg's forehead.
Ronald also stepped forward and took the time to ask Eileen:
"May I ask Meg if she's okay?"
Irene stood up and glared at Ronald, "If you don't go out yet, how can the girl feel better while you are here?" After saying that, she pointed at the door and motioned for him to get out quickly.
Ronald didn't know why. He looked at Meg and seemed to have regained some consciousness. Then he walked out of the room and waited.
"is it him?"
"No, it won't be him. Ronald is a gentle man at heart, and he would not treat women like this." Julia shook her head, denying Irene's guess.