Fox Studios.

It was already the end of July. Kathryn Bigelow entered a studio in the studio, greeted people she knew well, and soon found the actor who was telling scenes for Robert De Niro and Janet Johnston.

Simon.

Today's shoot was about the interaction between Butch Coolidge and taxi driver Esmeralda Villalobos.

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

Simon gave Janet the role of a female taxi driver that he liked very much. Women are also very prepared these days. When Catherine learned about this, she agreed to come to visit the class today and take a look at her best friend who had never appeared in front of the camera.

How it is performed.

Seeing that Simon and others were busy, Catherine did not come forward to disturb her. She just nodded to Janet who noticed her, then sat down in the rest area and casually chatted with the film's producer Laura Zekins.

Producer Ron MacMillan, who had collaborated with Simon in "Lola Run", was sent to serve as the producer of "Death Comes Out". For this time "Pulp Fiction", Orion Pictures recommended Laura

·Zerkins, come here.

Laura Zekis is a blond woman in her thirties who has just helped Orion complete "The Spy Who Starred" Kevin Costner and Sean Young, which will not be released until next month.

.

The two chatted for a few words, and then Simon and Janet came over together.

After hugging Catherine affectionately, Janet raised her arms and waved in front of her: "Kate, how are you?"

Catherine looked at Janet's pajamas-like loose red robe with flower and bird prints and her 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 pants, 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 searchingly, Simon explained: "Actually, I thought about using pure red. Red represents danger, and in Eastern supernatural stories, women wearing red clothes in the middle of the night are usually not human beings, and

She is a very dangerous female ghost."

Catherine felt Simon's eyes coming towards her and subconsciously avoided it a little, saying, "Then why don't you use it?"

Simon smiled and said: "Because this is a black comedy, adding surreal elements will interfere with the style of the entire film."

Laura Zekins, who had been standing next to the three of them and listening quietly, heard what Simon said and interrupted: "Simon, in this case, what about the contents of the suitcase? You never explained it in the script.

What is the golden thing? It feels like there is something inside that should not exist in reality."

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

A few people were chatting when the assistant director came over and said that filming could start again, and everyone walked together towards a car model in front of the projection screen not far away. De Niro and Janet got into the car and started to bury themselves in place. Simon rechecked

After a while, he gave an OK gesture to the assistant director, and then started operating the camera himself.

Naturally, this film hired a full-time photographer, but when it came to Janet's role, Simon decided to do it himself without even thinking about it.

When Simon is ready, the projection on the big screen and the car model operate at the same time, simulating the taxi's movement.

"Everyone is ready."

"Pulp Fiction, Scene 26, Third Time."

"Action!"

The clapperboard is laid down.

In the car, Robert De Niro began to tear off the boxing gloves on his hands. Janet in the front row put one hand on the steering wheel, showing some vigilance and curiosity in her expression, and glanced back from time to time.

mirror.

After a moment, Janet spoke in a soft accent that she had practiced for weeks.

"Sir... Hey, sir?"

"What for?"

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

"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 everyone: "Card."

Timeout for everyone.

Simon approached the open car, gave De Niro a no problem look, and said to Janet: "Jenny, with the line 'Tell me, you are him', I hope to see your excitement.

A tight feeling suppressing the madness inside.”

Janet paused, glanced at the rearview mirror, changed her mood slightly, and repeated the line just now: "Tell me, you are him!"

"Not even close," Simon shook his head, thought for a moment, and said, "Hold your breath, hold your breath when you say this."

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

"Don't take a deep breath in advance, otherwise your emotions will be inconsistent. Be natural and don't think of this as a performance. Remember, you are Esmeralda, a crazy and dangerous taxi driver. And then, suddenly

When you met a boxer who had just killed his opponent with bare hands, the evil deep in your heart was aroused. You became strongly curious about the feeling after killing a person, so you asked Butch relentlessly, "Simon lowered his voice slightly.

For a moment, Janet was described bewitchingly by some voices, feeling Janet gradually integrating into certain emotions. Finally, she raised her finger and pointed at De Niro in the back seat, saying: "Look, Ace, he is the murderer."

After saying this, Simon stepped back behind the camera again.

"Everyone is ready."

"Pulp Fiction, Scene 26, Fourth Time."

"Action!"

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

Behind the crowd, Catherine watched the scene quietly.

Still failed for the fourth time, Simon stepped forward again and patiently instructed Janet on how to perform. Occasionally, he would imitate a woman's voice without hesitation and personally demonstrate Esmeralda's way of speaking to Janet.

Then.

The fifth time, the sixth time, the seventh time, the eighth time...

Simon kept shouting "CUT", and at the same time gave Janet instructions again and again without any impatience. There was no mania like other directors after many mistakes. Janet also followed Simon's request without resistance.

Adjust and appear to be extremely compliant.

However, this obedience has unknowingly taken on a hint of madness.

Nearly two hours passed like this, and Catherine watched quietly for two hours. At a certain moment, Catherine suddenly felt that these two people were probably going crazy.

This set of shots, which started shooting at one o'clock in the afternoon, was still being repeated boringly until the end of the day. Feeling the investment of a certain man and woman, no one asked to get off work.

Until seven o'clock in the evening.

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

Inside the carriage.

Perhaps due to fatigue, the fluffy brown hair of the woman sitting in the driver's seat looked listless. The soft and hanging hair also added a bit of coquettishness and laziness to the woman. Her eyes were still bright, with a look in her eyes.

Curiosity, the whole person is like a dangerous cat that may pounce on its prey at any time.

at this time.

Everyone in the room felt that this was Esmeralda, a taxi driver with the same name as the heroine of "The Hunchback of Notre Dame".

She is coquettish, charming, with an accent and a soft tone, but she suppresses a sense of danger and madness that may break out at any time, as if she will pull out a sharp blade in the blink of an eye and stab a living person several times.

A hole with blood spattering.

In the lens.

The woman raised her chin slightly and her eyes were not very sharp, but the state of being completely integrated into the character gave her a certain mysterious attraction, even faintly overpowering the two-time Oscar winner sitting in the back row.

"..."

"..."

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

"I wonder what it feels like to kill someone?"

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

"..."

The thirty-first performance is over.

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 could finally get off work.

Everyone began to clean up the scene quickly. Robert De Niro got out of the car, took the towel handed by the staff and wiped his body, spraying 'sweat' repeatedly. The boxer shorts on his body were soaked by now. Turning his head inadvertently, De Niro

However, Nile noticed that Janet was still sitting in the carriage, with no intention of moving at all.
Chapter completed!