Hollywood Hunter

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Fox Studios.

It was already the end of July, and Kathryn Bigelow entered a studio in the studio, greeted people she knew, and quickly found someone who was speaking for Robert De Niro and Janet Johnston. Simon.

Today's filming is an interactive scene between Butch Coolidge and taxi driver Esmeralda Villalobos.

In order to allow the actors to perform without distractions, except for the beginning and end of this episode, everything else was shot in the studio. The street scene outside the car window in the original film was obviously projected on the big screen.

Simon gave Janet the role of a taxi driver who he liked very much, and women are preparing very carefully these days. Catherine learned about this and agreed to come to visit the class today, and by the way, see how her best friend who had never appeared in front of the camera performed.

Seeing that Simon and the others were busy, Catherine didn't step forward to interrupt, just nodded to Janet who noticed her, then sat down in the lounge area and chatted casually with the film's producer, Laura Zeggins.

Ron MacMillan, a producer who worked with Simon on "Lola Run," has been sent to serve as a producer on "Death Is Coming." For this "Pulp Fiction", Orion Pictures recommended Laura Ziggins to come over.

Laura Ziggins, a blonde woman in her thirties, had just helped Orion complete Kevin Costner and Sean Young's "Spirits," which won't be released until next month .

After a few chats, Simon and Janet came over together.

After hugging Katherine intimately, Janet raised her arms and turned in front of her: "Kate, how is it?"

Catherine looked at Janet's pajamas-like loose red robe with a flower and bird print and fluffy and lazy brown hair, and said, "It feels a little weird."

Janet smiled and shook her body again, revealing a pair of bare feet with nail polish under the moon-white wide-leg trousers, and said, "I think so too, but if the little bastard thinks it's good, then it must be right. ."

Seeing Catherine looking at him inquisitively, Simon explained: "Actually, I thought about using pure red. Red represents danger, and, in oriental supernatural stories, women who wear red in the middle of the night are usually not human, but A very dangerous female ghost."

Catherine felt Simon's welcoming eyes, and subconsciously avoided a little, and said, "Why don't you use it?"

Simon laughed: "Because this is a dark comedy, adding surreal elements would interfere with the style of the whole movie."

Laura Zeggins, who had been standing beside the three of them and listened quietly, heard Simon say this and interjected: "Simon, in that case, what about the contents of that suitcase? You never explained in the script What is the golden light thing, it gives the impression that there is something in it that should not exist in reality."

"This is just an easter egg left for the audience to guess," Simon shook his head and said, "Since no one knows what is in the box, it will naturally not affect the plot of the movie."

Several people were chatting, the assistant director came over and said that they could start shooting again, and everyone walked towards a car model in front of the projection screen not far away. De Niro and Janet entered the car and began to bury their seats. Simon re-examined, then made an ok gesture to the assistant director, and then personally operated the camera.

This movie naturally hired a full-time photographer, but when it came to Janet's role, Simon decided to come in person with little thought.

When Simon is ready, the projection on the big screen and the car model work simultaneously, simulating the state of the taxi.

"All ready."

"Pulp Fiction, Scene 26, Third."

"action!"

The board is down.

Inside the carriage, Robert De Niro started to tear off the boxing gloves from his hands. Janet in the front row placed one hand on the steering wheel, her expression showing a little vigilance and curiosity, and her eyes squinted to the rearview mirror from time to time.

It was moments before Janet spoke in a soft, waxy accent she had been practicing for weeks.

"Sir... hey, sir?"

"What?"

"You were in that boxing match just now, right, the boxing match that was said on the radio, you were the boxer?"

"Why do you think so?"

"You are him, I know you are him. Tell me, you are him!"

behind the camera.

At this point in the performance, Simon raised his head and gestured to the crowd: "Card."

All suspended.

Simon leaned in front of the open carriage, gave De Niro a no-nonsense look, and said to Janet: "Jenny, 'Tell me, you are him' is the line, I want to see your excitement, a It's the tension that suppresses the madness inside."

Janet paused, looked at the rear-view mirror, changed her mood slightly, and repeated the line just now: "Tell me, you are him!"

"It's almost," Simon shook his head, thought for a moment, and said, "Hold your breath, hold your breath when I say this."

Janet took a breath, looked at the rearview mirror again, and repeated, "Tell me, you are him!"

"Don't take a deep breath in advance, so that the emotions are disconnected. Be natural, don't think of it as a show. Remember, you are Esmeralda, some crazy and dangerous taxi driver at heart. And then, all of a sudden, met a

A boxer who just killed his opponent with his bare hands, the evil deep in your heart is inspired, you have a strong curiosity about how you feel after killing a person, so you are reluctant to ask Butch, "Simon lowered a little. The voice described in a bewitching manner for a moment, feeling that Janet was gradually blending into certain emotions, and finally raised her finger to De Niro in the back seat and said, "Look, Ais, he is the murderer. "

Having said that, Simon stepped back behind the camera again.

"All ready."

"Pulp Fiction, Scene 26, Fourth."

"action!"

In the car, De Niro, who was sprayed with 'sweat' again, began to tear the gloves on his hands again.

Behind the crowd, Catherine quietly watched the situation on the field.

The fourth time still failed, Simon stepped forward again, patiently instructing Janet on how to perform, and occasionally without hesitation learning the woman's voice to personally demonstrate to Janet Esmeralda's way of speaking.

Then.

Fifth, sixth, seventh, eighth...

Simon kept shouting 'cut', at the same time pointing to Janet again and again without any impatience, without the mania of other directors after many mistakes. Janet also made adjustments according to Simon's requirements again and again without resistance, and seemed extremely obedient.

It's just that this obedience has unknowingly added a bit of madness.

After nearly two hours had passed, Catherine also watched quietly for two hours. At a certain moment, Catherine suddenly felt that these two people were probably about to go crazy.

This group of shots, which started at 1 o'clock in the afternoon, is still repeated boringly until after get off work hours. Feeling the commitment of a certain pair of men and women, none of them offered to leave work.

until seven in the evening.

The projection on the big screen lights up again, and the car model starts running at the same time.

inside the car.

Perhaps due to exhaustion, the fluffy brown hair of the woman sitting in the driver's seat looked lethargic, and the soft drooping strands of hair also added a bit of a coquettish and lazy atmosphere to the woman, her eyes were still bright, and her eyes were full of energy. Curious, the whole person is like a dangerous cat that may pounce on its prey at any time.

at this time.

Everyone in the venue felt that this was Esmeralda, a female taxi driver with the same name as the heroine of Notre Dame de Paris.

Coquettish, charming, with an accent, a soft and waxy tone, but suppressing a danger and madness that may erupt at any time, it seems that a sharp blade will be pulled out in the blink of an eye and stabbed a few times on a living person. A blood-splattered hole.

in the lens.

The woman raised her chin slightly, her eyes were not very bright, but the state of being fully integrated into the role gave her a mysterious attraction, and even faintly overwhelmed the two-time Oscar winner sitting in the back row.

"..."

"..."

"So, Esmeralda, what do you want to know?"

"I wonder what it's like to kill someone?"

"I can't tell you. If you don't tell me, I don't even know he's dead, so how can I tell you how I feel. In short, I don't feel guilty at all."

"..."

The thirty-first performance ends.

The projection is still playing, the model is still running, and the two people in the carriage are all immersed in the characters. Although they are silent, they each maintain their own state.

After a while.

Simon finally looked up and said loudly: "good."

Everyone breathed a sigh of relief and finally got off work.

Everyone began to clean up the scene quickly. Robert De Niro got out of the car, took the towel handed over by the staff, wiped his body, and repeatedly sprayed 'sweat'. The boxer shorts on his body were soaked by this time. Turning his head inadvertently, De Niro noticed that Janet was still sitting in the carriage, not moving at all.

Soon, everyone noticed Janet's strangeness, and Simon stepped forward immediately.

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