Hollywood Hunter

Simon pushed the "Hollywood Reporter" in his hand towards Catherine, and said with a smile: "Someone got Jack Nicholson and Meryl Streep together to film a romantic comedy. The guy who made this decision What a genius."

Catherine listened to Simon's sarcasm and imagined the scene of Jack Nicholson and Meryl Streep having a love affair, which seemed a little funny inexplicably.

Out of curiosity, Catherine simply pulled the newspaper in front of her, and found that Simon had just read a piece of news about Paramount Pictures’ upcoming release of the film and video tape of Heart Fire.

"Fire of Heart" is a romantic comedy starring Jack Nicholson and Meryl Streep, which will be released this summer. The film invested 20 million US dollars, but only recovered 25 million US dollars at the box office. In order to return the funds as soon as possible, Paramount plans to release the video tape at the end of November.

This article on the "Hollywood Reporter", after a brief review of "Xinhuo", mainly discusses the issue of the movie window period that the industry is concerned about.

After browsing the news, Catherine found that the mark Simon had just made was only on a person's name casually mentioned in the article.

This is the screenwriter of "Heartfire", named Nora Efron.

Looking up again, Catherine curiously asked: "Simon, what happened to Nora Efron?"

Simon drank the rest of the milk, put down the cup, and said, "I saw the film review of "Heartfire" a few months ago and was very interested in the plot of this movie. So, if I have a chance in the future, maybe I can talk to Cooperation with each other."

For Nora Efron, not many people may know. But if you mention "Night Sleep in Seattle", it must be familiar.

Nora Efron is the director and screenwriter of Sleepless in Seattle.

Of course, this movie has not yet appeared. Moreover, in Nora Efron’s works, Simon’s favorite is not "Night Sleep in Seattle", but another less well-known film called "When Harry Meets Sally".

Simon has always felt that "When Harry Meets Sally" should be the pinnacle of Nora Efron's romance.

It just so happens that "When Harry Meets Sally" will be released in recent years. Simon just wondered if he could have the opportunity to cut this movie off, so he made a mark on Nora Efron’s name .

However, this kind of thinking obviously cannot explain to Catherine, so he joked casually.

In any case, it is indeed too messy to make Jack Nicholson and Meryl Streep make a romance.

Judging from the main creative lineup, this is obviously another CAA packaged project.

Catherine could feel Simon's reservations, but did not ask. She actually recognized Janet's point of view. The little boy in front of him definitely had a lot of secrets hidden in his mind.

Thinking of Janet, the situation in the bedroom last night couldn't help but come to mind, glanced at Simon, who had already eaten breakfast, and the woman's mood suddenly became a little distracted. She quickly lowered her eyes and took up a knife and fork to pretend to deal with a piece of fried egg.

Simon packed the tableware and said to the woman with her head down, "Catherine, eat slowly. I'm going to Fox Studios first."

Catherine gave a hum, noticed Simon's movement, and said: "Simon, wait for me to clean up, anyway, um, there is Jenny's."

Simon smiled and nodded, and said, "Okay."

With that said, Simon still walked out after sending his tableware to the kitchen sink.

Seeing Simon leaving the restaurant, Catherine thought for a while, put down the knife and fork, and followed out.

It is already November. Although it is a spring-like Los Angeles, the weather in this season is also somewhat cold.

Simon took off his coat from the hanger, and Catherine who came to take it naturally, unfolded to help Simon put it on, and stretched out his hand to tidy up the rolled collar. Simon smiled and let the woman do it. Finally, he picked up his bag and slung it on his shoulder, looked at Catherine in a burgundy turtleneck sweater, and said, "Then, goodbye."

Catherine felt the tentative look in Simon's hopeful eyes, but Janet's bright eyes suddenly appeared in her mind. She took a step back, pretending to check Simon's clothes for any problems, smiled casually, and said: "Goodbye."

Simon did not force him, nodded, and left the house.

In order to ensure as much later time as possible, Simon's basic work rhythm this month is to shoot films on weekdays, rough cut samples on weekends, straighten out various shooting plans at night, and also take time to write some soundtracks.

Two-thirds of the filming of "Lola Run" has been completed, and all the shots between the beginning of the film and the first run of Lola have been finished. Simon's work has focused on the first part of the past few weekends. Rough cut of the running plot.

The development of film editing is basically a small cycle from ‘non-linear editing’ to ‘linear editing’ and then to ‘non-linear editing’.

The earliest film editing was entirely directed at film operations.

The editor can remove, reduce and replace the film at will, so it belongs to non-linear editing.

But the workload of this most primitive nonlinear editing is not generally large.

A movie, calculated on the basis of 10 hours of lens material, the cumulative length of all films is not many meters, but 20 kilometers. It is conceivable how complicated the whole process is to edit a movie from a film that is tens of kilometers long.

Then, the appearance of linear editing finally freed the editor from being surrounded by dozens of kilometers of film.

The principle of linear editing is to record the content of the film footage on a tape, and then transcribe the material on the tape to another tape according to the editing plan.

This editing method greatly reduces the workload of the editor, and it is a WYSIWYG mode, which can monitor the editing results at any time, so it will quickly become popular.

However, the shortcomings of linear editing are also very obvious. The editor can only edit the pictures on the tape in a linear order, and the slightly more flexible operation is just to insert and replace on the tape for the same duration. However, if you want to delete, reduce, and replace non-equal length shots of the finished editing results, it is impossible.

This mode is actually similar to a music tape. For a five-minute song, if a person presses the record button and howls, he can replace his own voice, but this song is still five minutes in five minutes. To make him into a quarter and a half, you can only re-arrange and re-record.

After linear editing, more advanced nonlinear editing appeared in the late 1980s.

By transcribing film images into digital images, you can then perform non-linear operations similar to the original manual editing on the editing software.

I have to say that in the film era, whether it is original manual editing, or later linear editing, or even digital nonlinear editing, it is actually just an editing method. After a movie has completed the editing, scoring and other post-production processes, the original negative of the movie must be edited manually according to the result of the film, so as to obtain a film copy that can be screened in the theater.

Now in 1986, digital non-linear editing has just sprouted, and the technology is far from mature. Simon can only perform the late stage of "Rolla Run" on a linear editing machine.

Although he has not been exposed to linear editing in his previous life, he has these experiences in other memories. Simon hired an assistant to help him familiarize himself with the linear editing machine at Fox Studios during the first weekend, and has been working alone for several weeks.

No matter what era, editors are a lonely profession that tests patience.

The linear editing equipment of Fox Studios is billed by the hour, and Simon is not willing to waste time at all.

I rushed to Fox Studios, sat down in front of the editing stage, looked at the two old-fashioned CRT monitors in front of me, and listened to the clicks of the machines when they were running. It was already a morning before I knew it.

It was not until the staff reminded that Simon recovered from his focused work, remembering that he had an appointment with the reporter from the Los Angeles Times yesterday for an interview at noon.

Hurrying to the gate of Fox Studios, Peter Butler had waited for a while, and greeted a few apologetically. Simon did not bring him into the studio, but chose a restaurant on the street outside the studio.

The two sat down in the dining room and ordered lunch. Peter Butler turned on a recorder and placed it on the table, with a natural familiarity in his tone, and said, "So, still working on weekends?"

"Yes," Simon nodded, "Aren't you the same?"

Peter Butler smiled and said, "It seems that we already have one thing in common, which is great."

Simon also smiled: "Speaking of which, Peter, why are you interested in me? Compared to the Los Angeles Times, I am still just a humble little person?"

Peter Butler shrugged and said: "Actually, in the Los Angeles Times newspaper, I am also a small person. Interviewing Spielberg must have nothing to do with me."

"I understand, this is another common denominator."

"It's a pity that there is no wine, otherwise we could have a drink," Peter Butler smiled and continued: "But, Simon, to be fair, I don't think you are a humble little person at all."

Simon just smiled.

Peter Butler continued on his own: "I did some research on you beforehand. You should have come to Los Angeles in June, and then, as a newcomer, you were surprised by WMA vice president Jonathan. Friedman signed and became the only screenwriter client of the other party. Then, the WMA broke out in an infighting incident, which is still related to you. Then, the incident that happened in Santa Monica at the end of July, although the newspaper talked about it Very few, but as far as I know, only our "Los Angeles Times" suppressed two reports that tried to explore this matter. Then, less than half a year in Hollywood, you have already begun to direct your first A movie, well, "Lola Run". What’s more surprising is that several Hollywood celebrities, Brian de Palma, David Giller, and Robert Redford all expressed their will Will be named executive producer for this movie, which is very rare in Hollywood. So, Simon, no matter how you look at it, you can’t be considered a small person. A small person can’t do these things."