NOVEL NEXT Exploiting Hollywood 1980.
Chapter 96 I Can Find a New Job in Two Weeks
Chapter 96 I can find a new job in two weeks
A section of 46th Street in Midtown Manhattan has been cordoned off by the police since the morning, and it is used to coordinate with the filming of the "Fame" crew.
The large group of people moved from Harlan Middle School to the outside of a stone building here to shoot the exterior scenes of the theme song dance.
The reason for choosing this building as the gate of the school in the movie is simple. Alan Parker likes the gate of the Academy of Performing Arts, so he found a similar one on 46th Street.
The road between the intersections on the left and right sides of this gate was blocked by the producer for three days for filming.
The crossroad at one end and 46th Street was also requisitioned for parking prop vehicles.
In order to film this important scene, the crew also hired 30 additional on-site assistants with Motorola wireless walkie-talkies to assist in the on-site shooting.
Standing behind the camera, Ronald watched as the on-set assistants, dressed in uniform white T-shirts with "Fame" on the front, took orders from director of photography Michael Seresin.
"My child's father is an Oscar winner." The words on the back of the white T-shirt made Ronald standing beside him smile knowingly.
"When the director announced the shooting, you mainly maintained the order of vehicles entering the scene. After the actor playing Anglo drove the taxi with horns into the scene, the team began to prepare..."
After seeing the new choreography from last night's choreographer, Alan Parker decided to add some authenticity to the scene.
All the vehicles no longer parked on the road in advance, but lined up on the cross road intersecting with 46th Street, and then drove into 46th Street one by one at a slow speed.Try to make the scene where the dancers stop the car look as real as possible.
"All vehicles, slow approach according to number, speed limit not allowed to exceed 6 mph. I repeat, not allowed to exceed 6 mph."
"Prepare to rehearse." The director saw that everyone's tasks were assigned, and gave an order to the first assistant director.
Ronald stepped back, out of the director's view, and stood by an apple crate.
The assistant director picks up the walkie-talkie and orders the cars to come in.The camera operator directs the team to slowly push the machine forward.
Dancers rushed out of the gate and danced in the street to the sound of disco songs from the sound system.
At this time, according to the original plan, the leading car should brake, and the following convoys should brake one by one, and the drivers stick their heads out of the cab to observe the situation.
But the driver in the lead seems to have deliberately played a joke on the dancers.He first faked the brakes, and the car turned slightly.When the dancer stopped to dance, he arched forward another half a foot.
This annoyed the dancer in front of the car. He originally only showed his back in front of the camera and didn't get the shot of showing his face. Now he was shaken by the driver again. In a moment of anger, he slapped the hood of the car vigorously. Ask the driver what he wants to do?
The driver was Italian. He started talking in Italian as soon as he got out of the car. He raised his hand and pushed the dancer's chest.
This action aroused the anger of the dancer, who wanted to push the driver back.However, he is thin and tall, and fighting is not his physical activity.
The unexpected reinforcements came from the camera crew. The camera operator handed over the machine to the assistant, and led the pushers to catch up with them, pushing the driver far away in one fell swoop, "What the hell are you doing? If the scene doesn’t follow the plan, will it kill everyone?”
It turned out that the operator carried the camera on his shoulder and shot on the extension line of the car.If halfway through this shot, the driver makes a fake brake and shakes, the unlucky one will be the operator behind the camera staring at the viewfinder.
The Italian, backed by the Truck Drivers Union, did not expect an unexpected challenge from a strong man in the British Isles, and fell into a disadvantage for a while.
Alan Parker had DP Michael Seresin call his men.He walked up to the Italian driver and said:
"I really like your performance of the fake brakes, which makes the actors' performances very real, but you must pay attention to safety when you are actually filming, and you can't use this dangerous trick again, do you understand?"
Of course, the driver understood the meaning of the director's words, knew that the director was on his side, and pointed his thumb at the director.
Then, the moment Alan Parker turned his back and walked back, he quickly turned his thumb upside down and provoked the camera operator.
The camera operator smiled contemptuously, pointed to his own eyes, and pointed two fingers at the Italian's eyes.Means "I'll keep an eye on you, don't let me catch you a wimp again."
On British studios, class barriers have existed for a long time.Directors, actors, etc. belong to the upper class, speaking with an orthodox upper-class accent, or a Shakespearean accent.
Camera operators, scene reporters, props, recording, etc. all belong to the working class, and most of them speak with a Cockney accent in East London.They are under the command of the first deputy director, just like in the British army, only the sergeant major can command the main soldiers.
Although director Alan Parker claims to have been in the East End of London since he was a child, he can't speak a Cockney accent, and even the British crew members don't regard the director as his own.
The stocky and stocky camera operator looked down on the thin and bad style of the Italian driver at all, just like on the football field, a British hero can beat seven sissies.
The first assistant director picked up the radio and started calling the truck driver in the back row.
Cars one by one slowly backed out of 46th Street and returned to their starting positions.
Ronald watched the assistants direct the traffic like a traffic policeman, and restore everything to its original state. The scene director patrolled with props to ensure that everything was restored to its original position, so as not to go wrong.
The choreographer pointed out some problems to the dancers, and took everyone back to the building, waiting for the official shooting.
For a large crew of more than 100 people, it takes time to restore the original, and it is not as easy as rewinding on a video recorder.
When everything returned to its original state, the official shooting could be carried out. Ronald looked at his watch and saw that more than half an hour had passed.
"No wonder you have to apply for three days of shooting time. If you shoot like this, you can't get a few shots in a day." Ronald nodded secretly. This is an experience that cannot be learned in textbooks. You need to work hard on the set to know of.
"Attention all departments, the next one will be officially shot!"
The shooting instructions for the big scene should be issued by radio. In addition to the main camera on the guide rail in the middle of the road, there is also a second camera on the second floor of a facade on the side of the road.
After careful scheduling, the director of photography can keep the two cameras from photographing each other, so as not to go wrong.
The convoy entered 46th Street like traffic on an ordinary road.
"Give me something hot, baby, tonight"
The group of dancers rushed into the street. The leading Italian driver didn't do any tricks in the car, and stopped in front of the group with a sudden brake.
The second camera group on the second floor captured the chain effect of sudden braking on the team. The series of sudden braking of the team was very beautiful.The driver at the beginning is worthy of participating in filming frequently, and he has a good grasp of the director's intentions.
Next would be the extras climbing up the leading Cadillac and starting dancing on the roof, while the other dancers danced among the stopped traffic.Turn the whole of 46th Street into a discotheque.
The leading Italian driver still remembered the director's suggestion to give the extras some surprises and stimulate real reactions.
He shifted the gear to neutral, then stepped on the accelerator twice.
"Boom, boom"
The dancer who was going to climb on the roof was frightened and shivered away from the front of the car.
"Cut!", the director called to stop the shooting, the actors did not perform as planned, and after being frightened, they did not follow the trend and stopped by the side.
The hot-tempered uncle camera operator put the camera on the ground and jumped to the front, "Hey, what's the matter with you?" He pointed at the Italian driver who was still in the car and cursed away.
The driver shifted into first gear, stepped on the accelerator, and the car jumped forward a foot, barely stopping in front of the operator.The driver wanted to scare him, why are you so coquettish?Don't you know how powerful the Italian Truck Drivers Union is?
Uncle, a camera operator who is a three-generation fan of West Ham United in the East End of London, couldn't help it. He punched the hood of the Cadillac, and the frame camera was a hole.
The driver who got out of the car and yelled for trouble was pushed to the ground by the operator uncle.
Now all the drivers in the convoy got out of the car, wanting to seek justice for the driver of the lead car, while the dancers on the other side also rushed forward, resolutely standing with the camera crew.
Ronald watched with cold eyes. This fight should not start. Both sides are relatively restrained. It seems that they will have to wait for the leader's negotiation to resolve it.
Sure enough, after the first assistant director negotiated with the heads of the drivers, the two parties agreed that the crew would compensate the maintenance cost of the Cadillac hood, and the driver would promise to follow the director's instructions in the future and not to make surprise attacks again.
In addition, the driver asked the camera operator uncle to verbally apologize to the driver who was pushed to the ground by him.
Director Alan Parker pointed at the operator without opening his mouth, and raised his hand to signal him to apologize quickly and not delay the shooting.
"You're a fucking jerk, Alan. I'm not going to apologize to that bitch," the operator scolded the director on the spot when he heard this strange request, "Winners can't apologize to losers of?"
"Michael, take care of your people." The director did not speak directly to the operator.
"Hulk! I resign, I can't work for a jerk," the camera operator yelled in his East End Cockney accent.
The group of dancers surrounded the uncle, defending him. After all, the uncle clashed with the Italians because of them.
"Don't worry!" The uncle comforted the group of young people in turn, "I have union protection, and I can get full salary and return air ticket."
"With my qualifications, I can find a new job in two weeks. I'm glad I'm not working for this bastard who doesn't care about your safety or your health."
"I've seen it a lot. Don't watch Alan Parker, that sissy who says that he wants to make a movie that reflects human nature every day. He is the most inhuman thing I see. Children, you have to protect yourself, you know?"
(End of this chapter)
A section of 46th Street in Midtown Manhattan has been cordoned off by the police since the morning, and it is used to coordinate with the filming of the "Fame" crew.
The large group of people moved from Harlan Middle School to the outside of a stone building here to shoot the exterior scenes of the theme song dance.
The reason for choosing this building as the gate of the school in the movie is simple. Alan Parker likes the gate of the Academy of Performing Arts, so he found a similar one on 46th Street.
The road between the intersections on the left and right sides of this gate was blocked by the producer for three days for filming.
The crossroad at one end and 46th Street was also requisitioned for parking prop vehicles.
In order to film this important scene, the crew also hired 30 additional on-site assistants with Motorola wireless walkie-talkies to assist in the on-site shooting.
Standing behind the camera, Ronald watched as the on-set assistants, dressed in uniform white T-shirts with "Fame" on the front, took orders from director of photography Michael Seresin.
"My child's father is an Oscar winner." The words on the back of the white T-shirt made Ronald standing beside him smile knowingly.
"When the director announced the shooting, you mainly maintained the order of vehicles entering the scene. After the actor playing Anglo drove the taxi with horns into the scene, the team began to prepare..."
After seeing the new choreography from last night's choreographer, Alan Parker decided to add some authenticity to the scene.
All the vehicles no longer parked on the road in advance, but lined up on the cross road intersecting with 46th Street, and then drove into 46th Street one by one at a slow speed.Try to make the scene where the dancers stop the car look as real as possible.
"All vehicles, slow approach according to number, speed limit not allowed to exceed 6 mph. I repeat, not allowed to exceed 6 mph."
"Prepare to rehearse." The director saw that everyone's tasks were assigned, and gave an order to the first assistant director.
Ronald stepped back, out of the director's view, and stood by an apple crate.
The assistant director picks up the walkie-talkie and orders the cars to come in.The camera operator directs the team to slowly push the machine forward.
Dancers rushed out of the gate and danced in the street to the sound of disco songs from the sound system.
At this time, according to the original plan, the leading car should brake, and the following convoys should brake one by one, and the drivers stick their heads out of the cab to observe the situation.
But the driver in the lead seems to have deliberately played a joke on the dancers.He first faked the brakes, and the car turned slightly.When the dancer stopped to dance, he arched forward another half a foot.
This annoyed the dancer in front of the car. He originally only showed his back in front of the camera and didn't get the shot of showing his face. Now he was shaken by the driver again. In a moment of anger, he slapped the hood of the car vigorously. Ask the driver what he wants to do?
The driver was Italian. He started talking in Italian as soon as he got out of the car. He raised his hand and pushed the dancer's chest.
This action aroused the anger of the dancer, who wanted to push the driver back.However, he is thin and tall, and fighting is not his physical activity.
The unexpected reinforcements came from the camera crew. The camera operator handed over the machine to the assistant, and led the pushers to catch up with them, pushing the driver far away in one fell swoop, "What the hell are you doing? If the scene doesn’t follow the plan, will it kill everyone?”
It turned out that the operator carried the camera on his shoulder and shot on the extension line of the car.If halfway through this shot, the driver makes a fake brake and shakes, the unlucky one will be the operator behind the camera staring at the viewfinder.
The Italian, backed by the Truck Drivers Union, did not expect an unexpected challenge from a strong man in the British Isles, and fell into a disadvantage for a while.
Alan Parker had DP Michael Seresin call his men.He walked up to the Italian driver and said:
"I really like your performance of the fake brakes, which makes the actors' performances very real, but you must pay attention to safety when you are actually filming, and you can't use this dangerous trick again, do you understand?"
Of course, the driver understood the meaning of the director's words, knew that the director was on his side, and pointed his thumb at the director.
Then, the moment Alan Parker turned his back and walked back, he quickly turned his thumb upside down and provoked the camera operator.
The camera operator smiled contemptuously, pointed to his own eyes, and pointed two fingers at the Italian's eyes.Means "I'll keep an eye on you, don't let me catch you a wimp again."
On British studios, class barriers have existed for a long time.Directors, actors, etc. belong to the upper class, speaking with an orthodox upper-class accent, or a Shakespearean accent.
Camera operators, scene reporters, props, recording, etc. all belong to the working class, and most of them speak with a Cockney accent in East London.They are under the command of the first deputy director, just like in the British army, only the sergeant major can command the main soldiers.
Although director Alan Parker claims to have been in the East End of London since he was a child, he can't speak a Cockney accent, and even the British crew members don't regard the director as his own.
The stocky and stocky camera operator looked down on the thin and bad style of the Italian driver at all, just like on the football field, a British hero can beat seven sissies.
The first assistant director picked up the radio and started calling the truck driver in the back row.
Cars one by one slowly backed out of 46th Street and returned to their starting positions.
Ronald watched the assistants direct the traffic like a traffic policeman, and restore everything to its original state. The scene director patrolled with props to ensure that everything was restored to its original position, so as not to go wrong.
The choreographer pointed out some problems to the dancers, and took everyone back to the building, waiting for the official shooting.
For a large crew of more than 100 people, it takes time to restore the original, and it is not as easy as rewinding on a video recorder.
When everything returned to its original state, the official shooting could be carried out. Ronald looked at his watch and saw that more than half an hour had passed.
"No wonder you have to apply for three days of shooting time. If you shoot like this, you can't get a few shots in a day." Ronald nodded secretly. This is an experience that cannot be learned in textbooks. You need to work hard on the set to know of.
"Attention all departments, the next one will be officially shot!"
The shooting instructions for the big scene should be issued by radio. In addition to the main camera on the guide rail in the middle of the road, there is also a second camera on the second floor of a facade on the side of the road.
After careful scheduling, the director of photography can keep the two cameras from photographing each other, so as not to go wrong.
The convoy entered 46th Street like traffic on an ordinary road.
"Give me something hot, baby, tonight"
The group of dancers rushed into the street. The leading Italian driver didn't do any tricks in the car, and stopped in front of the group with a sudden brake.
The second camera group on the second floor captured the chain effect of sudden braking on the team. The series of sudden braking of the team was very beautiful.The driver at the beginning is worthy of participating in filming frequently, and he has a good grasp of the director's intentions.
Next would be the extras climbing up the leading Cadillac and starting dancing on the roof, while the other dancers danced among the stopped traffic.Turn the whole of 46th Street into a discotheque.
The leading Italian driver still remembered the director's suggestion to give the extras some surprises and stimulate real reactions.
He shifted the gear to neutral, then stepped on the accelerator twice.
"Boom, boom"
The dancer who was going to climb on the roof was frightened and shivered away from the front of the car.
"Cut!", the director called to stop the shooting, the actors did not perform as planned, and after being frightened, they did not follow the trend and stopped by the side.
The hot-tempered uncle camera operator put the camera on the ground and jumped to the front, "Hey, what's the matter with you?" He pointed at the Italian driver who was still in the car and cursed away.
The driver shifted into first gear, stepped on the accelerator, and the car jumped forward a foot, barely stopping in front of the operator.The driver wanted to scare him, why are you so coquettish?Don't you know how powerful the Italian Truck Drivers Union is?
Uncle, a camera operator who is a three-generation fan of West Ham United in the East End of London, couldn't help it. He punched the hood of the Cadillac, and the frame camera was a hole.
The driver who got out of the car and yelled for trouble was pushed to the ground by the operator uncle.
Now all the drivers in the convoy got out of the car, wanting to seek justice for the driver of the lead car, while the dancers on the other side also rushed forward, resolutely standing with the camera crew.
Ronald watched with cold eyes. This fight should not start. Both sides are relatively restrained. It seems that they will have to wait for the leader's negotiation to resolve it.
Sure enough, after the first assistant director negotiated with the heads of the drivers, the two parties agreed that the crew would compensate the maintenance cost of the Cadillac hood, and the driver would promise to follow the director's instructions in the future and not to make surprise attacks again.
In addition, the driver asked the camera operator uncle to verbally apologize to the driver who was pushed to the ground by him.
Director Alan Parker pointed at the operator without opening his mouth, and raised his hand to signal him to apologize quickly and not delay the shooting.
"You're a fucking jerk, Alan. I'm not going to apologize to that bitch," the operator scolded the director on the spot when he heard this strange request, "Winners can't apologize to losers of?"
"Michael, take care of your people." The director did not speak directly to the operator.
"Hulk! I resign, I can't work for a jerk," the camera operator yelled in his East End Cockney accent.
The group of dancers surrounded the uncle, defending him. After all, the uncle clashed with the Italians because of them.
"Don't worry!" The uncle comforted the group of young people in turn, "I have union protection, and I can get full salary and return air ticket."
"With my qualifications, I can find a new job in two weeks. I'm glad I'm not working for this bastard who doesn't care about your safety or your health."
"I've seen it a lot. Don't watch Alan Parker, that sissy who says that he wants to make a movie that reflects human nature every day. He is the most inhuman thing I see. Children, you have to protect yourself, you know?"
(End of this chapter)
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