Exploiting Hollywood 1980

"Ms. Campbell, thank you very much for your generosity. Our American art community needs politicians like you. With someone like you who understands art leading the New York City Department of Cultural Affairs, our Hollywood artists will be able to create better."

Ronald shook the hand of a young black woman with good temperament and began to compliment her.

This person, Mary Schmidt Campbell, is the new director of the New York City Department of Cultural Affairs.

Before she took this position, she managed the Black Museum in Harlem. In the late 1970s when New York City was on the verge of bankruptcy, she relied on her extraordinary fundraising and management skills to turn a simple museum on an apartment building into an independent building covering 60,000 square feet. The operating expenses brought in by fundraising and tickets each year are two million US dollars.

Mayor Koch was impressed by her level of management of cultural affairs and appointed her as the director of the New York City Department of Cultural Affairs last year, responsible for all cultural and artistic undertakings in the city.

The next scene that Ronald was going to shoot was when Tess and Jack sneaked into the wedding of the daughter of the boss of Teske Enterprises and promoted their plan to the founder, Mr. Teske, and got Teske's approval.

For this scene, a famous big house was needed to be filmed. Art director Polly Pratt took a fancy to the old house of steel tycoon Andrew Carnegie, located next to Fifth Avenue - Carnegie Manor.

This is one of the earliest wealthy residences in the Upper East Side, and the nearby hill is named Carnegie Hill for this reason. Because this house is a representative work of neoclassical architecture in the early twentieth century, it was included in the National Register of Historic Places in the 1960s and is protected by law and cannot change its appearance. It is now managed by the Bureau of Cultural Affairs.

Ronald had to flatter Director Campbell to use the historical heritage building as a place to shoot a movie. If she is happy, she can provide the greatest convenience to the crew.

"My friends call me Mary, and I also want to see the real Harrison Ford." Director Campbell keeps a good figure. Unlike the black aunts at the bottom who are starting to gain weight, she is actually closer to the upper white class in terms of personal quality.

"Of course, I'll introduce you. But when we start shooting, we'll ask you to be behind the camera..."

Ronald thought that big stars were more attractive, so he introduced Director Campbell to Harrison Ford and asked her to take a photo with her idol.

During the shooting process, whenever he encountered bureaucratic airs from government departments, Ronald would always play the "Harrison Ford" card, and then he would be successful.

"Ms. Campbell...Mary...I'm really happy to be able to film here." Harrison Ford showed his star charm and addressed Director Campbell as Mary at her request, making her very happy.

The subsequent shooting went smoothly. The crew added a lot of scenery on the scene and built a Hawaiian-themed wedding scene with straw, flowers, and fake palm trees as the main features.

Tess and Jack came here to meet Teske without any appointment. After Jack Traynor knew this, he knew that he had been fooled by Tess. It was a very risky move for the two to break into the rich man's wedding as strangers and chat with the bride's father, Teske himself.

If Teske didn't talk to them, it wouldn't just be a matter of failure this time. The billionaire would have a bad impression of them and it would be impossible for Teske Enterprises to do business in the future.

But they had already come here, and Jack Traynor had invested a lot of resources in this project, so he had no choice but to force it.

When the two entered the door, they were greeted by the Teskes who personally greeted them at the door. They wanted to know whether they were friends of the bride or the groom so that they could arrange seats. Tess and Jack had a tacit understanding. Tess used the bathroom as an excuse, and Jack said he wanted to have a drink, so the two tried to get over. But the two separated because of this.

Jack Traynor, played by Harrison Ford, was surrounded by women wherever he went, just like he was in life. He took two drinks and drank while waiting for Tess. The female guests around him were attracted like magnets, and kept whispering about how handsome he was.

"Cut!"

Ronald was not satisfied with their crazy attitude. "Eon, this is Harrison Ford. Show more of your desire to dance with him. The American audience will understand you."

"Hahaha..." The group of beautiful girls laughed so hard that they couldn't straighten their backs. They were a little reserved at first, but they became much bolder in the second line and discussed loudly in front of Harrison Ford.

"Cut!" Ronald was satisfied now. Jack, played by Harrison Ford, was such a walking hormone sower that anyone would be crazy about him.

Just like Director Campbell of the New York City Department of Cultural Affairs, who looked here for a long time and was reluctant to leave even when urged to leave by his subordinates.

"Campbell, I think you can't walk after seeing the big star. We still have to go to the meeting with the mayor." A middle-aged white man with a bureaucratic look couldn't help but walk in and flashed his watch to Director Campbell.

"Oh, 'Ad Astra', I was just about to report on the strategy of cooperation with Hollywood." Director Campbell frowned, "By the way, let me introduce you, this is the director Ronald, and this is the Commissioner of the New York City Parks and Recreation Department in New York - Mr. Henry Stern."

"Hello, Mr. Stern." Ronald stepped forward to shake hands when he heard that it was a bureaucrat of the same level as Campbell.

"Call me 'StarQuest.'" Henry Stern had a quirk. Employees in all departments had to have a fancy name. His own was StarQuest. The old white man shook Ronald's hand impatiently and began to urge Campbell.

Ronald politely accompanied them out, and Campbell shook hands with him and said goodbye, "I'm glad to see the film you shot that reflects female independence."

"Oh, I hope the chicks in the movie won't be late every day like you." Henry Stern didn't give his colleague Campbell much face, and he still complained after getting in the car.

"This is a work that reflects social reality. It has a female protagonist, and Harrison Ford is a foil." Director Campbell is very used to this kind of sexist old white man, and she takes the plot out of Come out and piss him off.

"This is really, what the hell are directors making nowadays? I never watch it. Why don't you make more movies like those in the past? Like Billy Wilder... What's the name of that young and over-the-top director? Luo Nader Lee? New Yorker?"

Henry Stern was a little angry with Ronald, and kept saying that in today's movies, there are no more female characters like Monroe in the past - responsible for being the foil of men.

Ronald saw off the bureaucrats and went back to continue filming. Jack and Tess were very anxious because they had not found a chance to talk to Mr. Teske alone.

Finally seeing Teske dancing with an ugly fat girl, the daughter of his business partner, Jack Traynor brings out Pepsi's unhappy masculine charm to create opportunities for Tess.

Harrison Ford performed all the performances in his true colors. He first found out from the beautiful guest that the fat girl was called Lisa White, and then continued to trick her into getting her nickname. It was not the usual Lisa or Bess, but Bessie.

As long as the handsome guy tells the ugly girl what he wants to know, the other party will obediently give her the answer.

Harrison Ford seemed to be very happy to call Bessie's name, and together with Tess, he stepped forward to stop Bessie who was dancing with Teske. "Bessie, don't say you have forgotten me, I will be sad."

"Oh...hahaha...of course not." That fat girl Bessie didn't know Jack. It was her first time meeting her today, but she was "very smart" and immediately pretended not to realize that Jack had "mistakenly recognized the wrong person." , happily hugged him and danced together.

"cut!"

Ronald was very satisfied with the actress named Marceline Hugo. Her appearance was not good-looking. The makeup artist made her look ugly, making her chin protrude and her face look like a nymphomaniac. With a few expressions and movements, she very vividly portrays the state that a girl should have when she sees a handsome guy acting clever.

After a few shots, Ronald saw that she must have the skills to perform on stage. When I asked after the filming, it turned out that he was a rookie on Broadway. He was currently starring in the revival of Eugene O'Neill's "The Moon". This time, he was roped in by Julia Taylor for a fun guest role.

Seeing that Marceline Hugo, who played a famous drama, could only play a small clown in the movie, Ronald felt a little sorry and apologized to her, "I hope you won't be angry because of today's scene. That's how movies are. An impressive supporting role that will be remembered by film critics."

"It's okay, director, I understand that I always start with this kind of role when making movies. I heard Alec Baldwin and others say about you. You are the director who respects actors the most they have ever encountered." Marceline Hugo It was the first time she had the opportunity to make a movie, and she was a genuine theater actor and didn't care about destroying her image. "And those girls were jealous of me because I could dance with Harrison Ford."

"Hahaha..." Ronald was very impressed by this actor with a sense of humor.

…

Next it’s Melanie Griffiths’ time. Tess smiled awkwardly and stepped forward to become a dance partner with Mr. Teske. She gave full play to the advantages of women and first said that she was working for Teske Enterprises. The mergers and acquisitions department of her company is indeed helping Teske Corporation propose mergers and acquisitions plans.

Then the homework Tess had done in advance came into play. She first complimented Mr. Teske for having the foresight to see the prospects of microwave transmission in 1971, and made a bet on the microwave transmission technology for television signals.

Then she complimented the other party. In the 1970s, when most entrepreneurs in America kowtowed to the labor unions, she began to learn the working methods of the Japanese and used the "shared good" model to partially solve the labor-capital conflict and make Tesk Enterprises large and public. , becoming one of the top media giants in the industry.

When people talk about his most proud success, Mr. Teske behaves like many successful entrepreneurs, and he no longer takes this beautiful professional woman lightly.

"I think that someone with such a long-term vision will not refuse my proposal for Teske Corporation to acquire a radio station. They must be your subordinates. They only want to acquire the TV station, but they are not interested in the radio station when I say ”

"Of course not, it's the same for radio and TV stations. I won't give up any opportunity." Teske was obviously happy to be flattered by the serial flattery.

At this time the bride and her companions came over, and they evidently discovered that Jack Tess was not a friend of either party.

Tess saw Teske's daughter, the bride herself, approaching. She immediately disengaged, "I just realized that I have occupied the father of the bride for too long. Otherwise, I will contact you next Monday to discuss this plan. What do you think?"

"Great, my media consultant is Tim Draper..."

Jack received the signal from Tess, and the two escaped from the door before the person who came to expose them arrived.

"cut!"

A wonderful indoor group scene ended, and Ronald was very happy. The experience he learned from the previous filming of "Moonlight Sultry" really came into play here. The scheduling of multiple people and the movement of indoor cameras were not what was needed most. The design was meticulously planned in advance, and the photographer and the photographer followed the design exactly.

It’s about giving the actors some room to perform freely, so that their performances will look natural, rather than the sense of stage drama that the audience can feel at first glance, as if everyone walks, expresses, and speaks like a drama. Well, under a movie lens, such a performance would feel strange and out of place.

"Hehe...hehehe...", the camera crew moved outside the door of the Carnegie Manor. Harrison Ford's smile was contagious, and his joy could be felt even from a distance. Instead of walking down the steps, he added some childish jumps. This kind of star's natural charm is very popular.

"Just laugh, Teske said that the first thing on Monday is to meet with us. We will contact his media consultant Tim Draper first when we go back..." Tess followed and put on a mink coat - —also “borrowed” from Catherine’s wardrobe.

"Oren Teske? That guy said he wants to see us on Monday?" Harrison Ford ran in front of Melanie Griffiths excitedly. He turned to the camera and backed up to talk to Tess.

"You're upset, aren't you?" Melanie Griffith hit Jack with the "borrowed" Catherine's Hermès bag.

"Cut", Ronald looked at the photographer holding a camera stabilizer, capturing the content of the conversation between the two. Such an over-the-shoulder shot required a tall operator from the Steadicam company who rented the equipment along with it. Later, when the direction was changed, Tess's over-the-shoulder shot was also shot.

"No, I'm very happy. I think you did a great job. You are a genius." The camera changed direction and filmed Tess's reaction after hearing Jack's praise.

"Do you really think so?" From time to time, the face of Tess, played by Melanie Griffiths, appears childish and unbecoming of a professional manager, which actually makes Jack Traynor feel attracted to Tess.

Jack hugged Tess, who was wearing a fur coat, and Tess laughed happily. The handsome guy praised her from the bottom of his heart, which made her very happy that she had received both professional recognition and the favor of that handsome guy. .

"cut!"

Ronald yelled, and the scene was over. Two-thirds of the filming progress had passed, and it was about to enter the most exciting reversal of the third act.