Send the new screenwriter Kevin Wade back to modify the ending according to Harrison Ford's opinions, as well as some of Jack Traynor's lines in the script, to make it more in line with Harrison's own habits (such as the bad habits in every movie)
Say that with a smile...).
Ronald also began to think about tricks. Although such a happy ending is more pleasing on the surface than the original open ending, it lacks surprises for the audience. In fact, it is suspected of weakening their emotional outbursts.
The story of "Working Girl" is actually derived from the classic novel "Tess" and is a modern reimagined version. Ronald first asked Richard to help find a screenwriter who could write this type of script and reorganize the story flow of the movie.
…
At the end of the year, the Directors Guild held a convention in Los Angeles to elect a new president. Ronald went to the convention to vote, hoping to find some big directors to talk to about how to deal with relationships with stars.
"Hi, Ronald." Martin Scorsese is also coming from New York. He is coming to Los Angeles for the release of "The Last Temptation of Christ" and by the way to attend the union meeting.
"Marty, just in time, I have something to ask you. I don't know..." Ronald was very happy to find a teacher who could ask questions. How to deal with big stars requires someone with experience.
And I can only chat with big directors who have a good personal relationship with me.
The two sat down at the back and chatted in low voices.
"My new movie stars Harrison Ford. I don't know how to deal with such a big star. Is there anything you can teach me?" Ronald expressed his worries.
Stars usually use various methods to achieve their goals on the set. Ronald was worried that his fame would not be enough to overwhelm the biggest star now.
"Ha, I think the most important thing is to have an open mind on the set." Scorsese spoke quickly and gave Ronald a quick lesson in a few minutes.
In fact, it’s not that celebrities have bad acting skills, it’s just that in their daily lives and on set, they play a role all the time—a “star” named Harrison Ford.
Unlike ordinary character actors, stars generally have fixed personalities, and they try to take roles with similar personalities. The closer the personality is to their own, the better. Those parts of the character that are not close to their own image will use various privileges.
To influence the director, hoping to achieve their own goals. Often they can succeed.
Scorsese told Ronald that the most important thing about working with stars is that stars generally know the person they are playing all the time better than anyone else. Sometimes, the characters may not be shot according to the script.
It is the best, the intuition of celebrities often has extraordinary results.
At this time, instead of insisting on following the script, you can also let the star perform one part according to his own method, and then perform one part according to the director's ideas. In this way, you can perform one part and I can perform another part. In the editing room, no matter how big the star is, he can only
You can express your opinions on the length of your own scenes, but cannot interfere with the editing work of the director and producer.
"You have to be prepared. Celebrities always have various quirks. This is not because they like to act big, but because celebrities are very shy in nature."
"Shy?" Ronald knew that some actresses would feel shy when filming scenes that required them to show their private side. Do big-name male stars also have this problem?
"Hey, yes. I discovered this when I was directing Paul Newman in The Color of Money. They are very sensitive." Scorsese nodded. This very counterintuitive fact was confirmed by him and many friends in the industry.
have to.
"Why?" Ronald still didn't understand.
"Let me tell you a real thing. When I was filming The Color of Money, Tom Cruise's Top Gun had not yet been released. He happened to finish filming and went to rest. I sat in a corner of the studio in a daze. A temporary
The hired security guard came over and he didn't know who I was, but he recognized Tom Cruise.
He said to me, is that Tom Cruise? I bet my wife would do that with him."
Ronald scratched his head. Tom Cruise had just made a blockbuster movie called "It's Crazy" at that time, right? Were there such crazy movie fans at that time?
Martin Scorsese continued, "The security guard then said, I bet my wife would be crawling on the floor if Tom would agree to have sex with her..."
"Um..." Ronald thought of the craze for whether it was the First Lady or the housewives of small southern towns who wanted to dance with Patrick Schwytz. He also had experience with this kind of star treatment.
"But a few years ago, he was still playing a supporting role with very few roles in Francis (Coppola)'s crew. If it were you, what do you think stars are most afraid of?"
"Losing it all?"
"Yes, you have to take advantage of this. I can't say more...hehehe"
"Well, thank you. It's very enlightening." Ronald thanked Scorsese for answering his questions like he did in college.
"By the way, one more thing, you'd better find a better art director and photography director. Celebrities are very concerned about their own image. If a well-known expert in the industry is on your side, then the star will listen to you
a bit more."
Ronald thought thoughtfully, he now only has one editing master, Walter Murch. This is not enough, he also needs a master art director, a master of photography, and preferably a makeup master. If he can find well-known candidates in the industry
, if you form an all-star lineup, you can use these allies to put pressure on the other party when you and Harrison Ford disagree.
So many masters from the all-star lineup say yes, is it possible that you are wrong?
Ronald began to think about who would be suitable as the director of photography, art director, and makeup director for this film that expresses the texture of New York's Wall Street images.
"You seem a little confused?"
"Ah, I'm wondering what well-known experts there are in Hollywood who are suitable for making this urban modern movie."
Martin Scorsese looked at Ronald's frown and felt amused. This former student was very good at grasping the taste of the market, and he could also shoot movies like "Top Gun" that made extensive use of backlighting and sunset light. He was a
A director with his own image characteristics.
However, he has never filmed a drama with enough tension before, like a script adapted from a Broadway play. The makeup and image tone of this kind of film have a great influence on the final film, and it is related to whether the audience can recognize that your story takes place on Wall Street in Manhattan.
.
Ronald can make any type of film, and he can produce blockbuster films as soon as he gets started. However, his habit of not focusing on one type of film means that he does not have a technical team for long-term cooperation.
Helping people to the end, Scorsese simply asked, "If you don't have a director of photography, you might as well try Michael Ballhaus, my director of photography for 'The Last Temptation of Christ'. The German is also money-minded.
The director of photography, he has also shot the new version of 'Death of a Salesman', and he is very experienced in photography of commercial environments."
"Thank you. I will look for his past video materials and then contact him." Ronald wrote down the name of this person and the movies he had filmed.
"Is there a suitable person for the art director?" Ronald simply asked a master. Scorsese has been in Hollywood for many years. He has had high moments and low points. He has seen a lot, and the ones recommended to him are all those with real talent.
Practical.
"Hey, have you forgotten the Peter (Bogdanovich) you met at the last party we had in New York?" Scorsese said with a smile, such a master art director also
Will you turn a blind eye?
"Is Peter also an art director? Isn't he making new movies now?" Ronald was puzzled.
That's right, when Peter was making waves in Hollywood, Ronald had not yet entered the industry. Scorsese leaned close to Ronald's ear and whispered a name: "Polly."
"Hua Hua Hua..."
At this moment, the old chairman Gilbert Cates on the stage shook hands with the new chairman Franklin Schaffner, officially transferring the power of the director's union chairman.
Cates, a Jew, has been working in the Directors Guild for four years, and members have criticized him. So this year, members voted to replace him with Schaffner, the son of a devout Christian missionary. Everyone was impressed by Cates, a Jew, for his work style.
If there is a big dissatisfaction, maybe it would be better to change to another Puritan.
"Thank you all for your trust in me..." Schaffner began to give a speech. He has been acting in this position for a long time. Now that he has officially taken over, his signature will be on the new union membership card starting next year - the last thing the union president has done.
A place with a sense of presence.
…
"Hello, Ms. Platt."
One day later, Ronald warmly welcomed Bogdanovich's ex-wife, Hollywood's most famous female art director, Polly Platt, into the office.
"Call me Polly Ronald. I'm surprised that you came to see me. We haven't worked together before, have we?" Polly Prader has short hair that reaches her ears, has a capable appearance, and is quick to talk.
She was Peter Bogdanovich's partner in early films. Many people believe that Polly's design of the environment, props, and especially the tone of the images helped her a lot in Bogdanovich's directorial achievements.
Busy. Without Polly, Bogdanovich would not have achieved his artistic achievements.
Ronald didn't know whether this statement was correct, but after Bogdanovich abandoned Polly and the children for Sybil Shepard, he has not made any films that have received positive box office or critical reviews.
.
"A lot of people have actually recommended you to me, Polly. I'm currently working on a movie about working women on Wall Street in Manhattan, and there's no one better able to bring Wall Street to life on screen than you. Marty Scorsese and I
Only by chatting with Peter in New York can I know your name and your great contribution to movies."
After Ronald received Scorsese's recommendation, he looked for all of Polly Platt's films. Except for Bogdanovich's "last film", "Paper Moon",
She has also served as the producer of Brooke Shields' famous film "The Story of a Baby" and the Oscar-winner "Mother and Daughter". She has done a good job in restoring movies of various eras and types.
Ronald has full confidence in her, and with Polly joining the cast, the film will surely be even more powerful.
However, Polly Platt had just participated in the "Grown Up" project of her good friend, female director Penny Marshall, as the art director. She had just finished various designs for that movie and wanted to take some time off to spend some time with her.
children.
Polly and Bogdanovich had two children, and she came to raise them after the divorce. Apart from being a top art director in Hollywood, her most important identity is that of a single mother of two children.
So Polly originally declined Ronald's invitation. However, Ronald did not give up and found many people to intercede. Finally, he found Roger Coleman.
Coleman was Polly's noble man. After Bogdanovich abandoned his wife and children, Polly was in great financial difficulty and could not find a new job. Roger Coleman was the only common friend of the couple.
He called Polly to comfort her. He also gave Polly two low-paying jobs to help her tide over her difficulties, as an art director on his low-budget exploitation films.
It was a favor that Polly Platt found hard to refuse. In addition, Ronald offered her double the market price to poach her, so she came to talk to Ronald about the new film.
"No, in fact not. When I went to work for Roger (Coleman), you were already the associate producer of "The Legend of the Baby". Recently, Brooke also played a female role in a small production of our company.
The protagonist went to Xiangjiang for filming.
Polly's eyes softened a little, and Ronald was able to give the down-and-out Brooke Shields a job, just like Coleman gave him a job.
This chapter is not finished yet, please click on the next page to continue reading the exciting content! "This is a script. It tells the story of a female secretary on Wall Street, how through her own efforts and risks, she finally crossed the glass ceiling and became the manager of an investment company.
, the story of finally getting love." Ronald pushed the script over and showed it to Polly.
"Scripts with female protagonists are rare, aren't they?" Polly Platt hurriedly read through it. This script was completely different from the usual Hollywood workplace business war dramas. The heroine was the center of the drama, and the men were more like vases and vases.
As a foil. The key to Tess's success is that she took the step herself.
"I like to make scripts about women. This is also a trend in America. In the 1980s, many company management positions were occupied by women. Their performance and management methods are no worse than men. I hope that the reality can be reflected in the film.
the trend of."
"Okay, I agreed." Polly agreed readily. In fact, many directors and producers who have worked with her in the industry know her working ability well, and many people think that she should transform into a director.
Or a producer. But the common gender issues in Hollywood have prevented her from finding a suitable opportunity.
The plot of Ronald's movie is very suitable to Polly's taste. Coupled with the favor of her benefactor Roger Corman, the kind words of her friend Penny Marshall, and more importantly, double the salary, she agreed
It happened that the filming was taking place in New York, and I could still find time to go home and spend time with my children.
"I'm so happy that you can join us. The art director and photography director, the two most important team members, are here."
Ronald jumped up from the sofa happily. He had previously interviewed Michael Ballhaus, a photographer recommended by Scorsese. Several of his workplace-themed photography works were very much to Ronald's liking, and there was a sense of awe.
As soon as people look at the picture, they will understand that it feels like New York.
Ronald feels good that two heavyweight artists have joined. It feels like he is surrounded by masters who are more capable than himself and provide support. This feeling is quite good.
"The most important thing in a workplace drama is to give people an immersive feeling. In addition to color management, the most important things are props, framing, costumes and distribution. Do you have a good costumer? Tess turned from secretary to manager, two
Each identity requires different clothing to match. You also need to find a good hairstylist."
"Do you have any recommendations? I want the best." Ronald asked quickly.
"Ann Roth is the best. She worked as a costume designer for Meryl Streep and Jane Fonda. For their Oscar-winning movies, Ann was the one who found the costumes."
"Very good, I'll go and invite you right away." Ronald wrote down the name.
"And the hairstylist...forget it, let me recommend him." Polly Platt looked at Ronald and said that he didn't have a regular staff.
"Alan D'Angelo, Italian, and J. Roy Holland, two of the best men in Hollywood with combed hair. Streep and Michelle Pfeiffer were all designated to do it.
Hair style.”
"Alan...Roy..." Ronald quickly wrote down the name of the hairstylist. It's good to have such an old mage. Everyone knows who is good and who is not. Polly's recommendations are all the best.
"Where's the accent coach?" Polly's abilities are all-round. As soon as she read the script, she knew that the actor needed to learn the smooth white-collar accent of Wall Street and the exaggerated blue-collar accent of the secretary.
"This is something I worked with," Ronald said in "Moonlight", and he hired supporting actress Julie Boisso to teach Cher how to speak a Brooklyn Italian accent.
"You can't do that. We need to be on Wall Street. How can you do it with a Brooklyn accent? Let me help. There are many pronunciation coaches on Broadway."
"You are so capable, I simply don't know what I would do without you." Ronald had just appointed Polly Platt as the art director. This woman who could actually be a producer took over many tasks.
All done.
"Very good, you give the contract to my agent. After we decide on the candidate, you arrange for me to meet Harrison Ford and the other leading actors, and we try to set the makeup."