"What the hell are you doing, Ronald?" producer Da Silva warned.
Ronald ignored the Latino producer and walked straight to director Alan Parker until he was in front of him before stopping.
Ronald looked at this man in his 30s. His big nose looked particularly funny from this angle. His eyes tried hard to look at him from behind his nose, as if asking: "What are you doing? Now."
Do you want to challenge my authority on the set?"
Ronald asked: "What's going on, director? Why is the script I wrote with you and used for auditions?"
"What I saw from your notebook is that it has good plays and lines. You will become a successful playwright, Ronald. I don't understand why you are dissatisfied." Director Parker picked up the notebook and handed it to him.
To Ronald.
"This is what Meg Tilly said to me, and I promised her that she would take it out of the script. You should have told me before using it for the audition." Ronald's temper subsided slightly, and he took the notebook and opened it.
Lying there lay the crumpled piece of paper that he had thrown into the trash can and picked up again.
"Oh, e On. Ronald, don't be stupid for your butts. All great drama comes from life, and you have to learn to extract drama from life..."
Ronald was aroused by Parker's words again, his whole face turned red, and he cursed in a low voice: "Asshole!"
"Stop, Boy"
"Ronald, stop"
Margaery and Joanna, who were following, hurried forward to dissuade him.
Alan Parker looked terrible. He adjusted his collar and stared at Ronald with squinted eyes.
Meg Tilly, who had been watching, stepped forward and walked around Ronald, and said to the director:
"Director, I think I am also qualified to audition for this scene." Meg said calmly.
"Meg, listen to me, I didn't give this scene to the director on purpose. He took it from my notebook." Ronald said quickly.
"But you didn't throw it away, you still put it away, didn't you, Ronnie?" Meg's calm manner of speaking made Ronald even more flustered. She seemed to have decided something.
"Meg, I..." Ronald ended, not knowing how to explain.
"Director, this conversation was something I told Ronald, and he copied it into this scene. I think I am fully qualified to use this scene to audition for the role of Hillary. Am I right?"
Meg said calmly to director Parker.
"Of course." The director agreed and looked at Ronald again, as if to say, "Didn't you steal your dialogue too?"
"I think I'll be next in line to audition."
"I'll give you 10 minutes to prepare."
"No, Meg, you can change the scene." Ronald tried to persuade Meg.
Meg slapped his hand open and walked into the lounge to prepare herself emotionally.
Margaery came up and took Ronald to sit in the far corner by the door.
"Child, you shouldn't have such a big reaction. The director is right, playwrights find inspiration from life. You see, Meg is not that angry. Take a chance to apologize to the director."
"No, you don't understand Meg. She hates me for writing her words into lines for others to read. Moreover, Franceschi, whom I recommended, does a good job and is likely to win this role.
Now Meg only wants to win this role and win back her lines. I'm afraid that in order to win this audition, she will use emotional memory to perform this crying scene."
"Hiss, this..." Margery also heard about Meg's use of emotional memory, which caused her to cry and collapse.
"This is all a personal choice. You have done everything you can. Don't blame yourself, kid." Margery stopped trying to persuade her.
Antonia Franceschi had already retreated to the door to leave, but she was attracted by the drama unfolding in reality, so she simply sat down and waited to see what would happen in the second half.
She looked next to Ronald, who was still twisting his fingers after sitting down.
"It turns out that this confession was written by the young boy in front of me. It is really wonderful, and it expresses the dreams and sorrows of the ballet girl."
Ronald clenched his hand tightly, and the joints had turned white from the excessive exertion. Self-blame and worry now replaced anger and occupied his heart again.
The redness on his face caused by anger had faded, and only his two ears remained red.
Antonia looked at the two red ears and felt a little funny.
"Ahem..." Because of nervousness, Ronald's throat felt itchy and he began to cough.
Someone handed him a bottle of Arrowhead Mountain brand mineral water. Ronald took it, opened the bottle cap, and drank a few sips.
"Thank you", he turned around to say thank you and saw that it was Antonia.
"Sorry, I interrupted your audition..." Ronald remembered that he almost interrupted her audition and apologized.
Antonia waved her hand, indicating that she didn't mind. Then she pointed at Meg Tilly who came out of the lounge.
Ronald's heart was filled with anxiety again.
Meg sat down on the bench, slowly and little by little adjusted her sitting posture, put her hands on her lower abdomen, and then signaled to the director that she was ready.
Alan Parker turned on the camera and motioned for Meg to start.
"Look, I got the San Francisco Ballet...
You see, my dream is to dance all over the world before I am 21 years old...
I hope to hear audiences shouting Bravo to me on stages in New York, Leningrad, London, and Paris! There will even be a ballet written specifically for me.”
Ronald was half relieved, and the results of Meg's training class with Stella Adler were satisfactory. Although it was not as natural as Antonia's performance, it was precise and the emotional transition was in place.
Thinking about it, even if I don't get the lead role of Hillary, a supporting role is guaranteed.
"Look, there is no room for a baby in my dream..."
At this point in Meg's performance, she finally has no support from life experience.
This chapter is not over yet, please click on the next page to continue reading! The previous part of the dream is Meg’s own idea and does not need to be acted out. The details of the abortion here are the settings of the script, but Meg has not carefully analyzed Hillary
The motivations and details of this character's life.
Erin from the Stella Center asked her to try to challenge Hillary, but Meg didn't do it. She regretted it very much now, but it was too late.
In a flash, Meg thought a lot. In order to win the role, she had to use emotional memory...
Instantly, I remembered those memories from the past again, and big tears couldn't stop flowing down my face.
Antonia Franceschi was also watching Meg's performance. The script stated that Hillary was sobbing quietly. But Meg's crying was obviously more than just sobbing.
"Is she okay?" Antonia saw something was wrong and asked.
"I hope it's okay." Ronald kept his eyes on Meg, and his hands began to clasp together nervously. His mouth opened unconsciously, and his legs twisted around on the stool.
Meg's crying became louder and louder, and she no longer cared about performing or interacting with her partner.
Joanna Melling, her temporary co-star, uttered the clinic nurse's last line: "Do you pay by MasterCard or American Express, Honey?"
Meg suddenly stopped sobbing, and let out a sharp roar that seemed to be crying but not crying.
Then she couldn't bear it anymore, slid off the stool, sat on the ground, covered her face with her hands, and started crying again.
"Pa", the director turned off the camera.
Ronald stood up from the stool, jumped over the long table in front of the stool, and rushed in front of Meg in three steps at a time.
Meg cried a little sadly and a little ashamed, but unlike the time at Lee Strasberg Drama School, she gradually stopped crying.
Ronald breathed a sigh of relief, took out his handkerchief, tried to wipe away her tears as he did last time, and asked with concern: "Meg, it's Ronnie, just hope you're okay."
"No, I have something to do." Meg grabbed the handkerchief, wiped her tears, and blew her nose hard, "You stole the lines that should have belonged to me and gave them to other actresses, so that she could get the lines that should have belonged to me.
It’s my character, speaking the lines that should belong to me on the screen.”