Hollywood Hunter

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Simon pushed the "Hollywood Reporter" in his hand towards Katherine, and smiled: "Someone put Jack Nicholson and Meryl Streep together to shoot a romantic comedy, the guy who made this decision What a 'genius'."

Catherine listened to Simon's sarcastic tone, and imagined the scene where Jack Nicholson and Meryl Streep had a love affair, and felt somehow funny.

Out of curiosity, Catherine simply pulled the newspaper in front of her and found that Simon had just read a piece of news about the upcoming release of the "Heartfire" movie video by Paramount Pictures.

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

After a brief review of Heart Fire, this article on The Hollywood Reporter mainly discusses the film window period that the industry is concerned about.

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

This is the screenwriter of "Heartfire" named Nora Ephron.

Raising her head again, Catherine asked curiously, "Simon, what happened to Nora Ephron?"

Simon drank the rest of the milk, put down the glass, and said, "I read the film review of Heart Fire a few months ago, and I am very interested in the plot of this film. So, if there is a chance in the future, maybe I can talk to you about it. cooperation with each other.”

For Nora Ephron, perhaps not too many people know. But if you mention "Sleepless in Seattle", it must be familiar.

Nora Ephron is the director and writer of Sleepless in Seattle.

Of course, the movie hasn't come out yet. Moreover, among Nora Ephron's works, Simon's favorite is not "Sleepless in Seattle", but another lesser known film called "When Harry Met Sally".

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

Coincidentally, "When Harry Met Sally" will be released in recent years, and Simon has just thought about whether there is a chance to cut off this film, so he made a mark on Nora Ephron's name. .

However, this kind of thinking obviously couldn't explain it to Catherine, so she made a casual joke.

In any case, having Jack Nicholson and Meryl Streep in a romance movie was a bit of a mess.

From the perspective of the main creative lineup, this is obviously another caa packaging project.

Catherine could feel Simon's reservations, but she didn't ask. In fact, she also quite agrees with Janet's point of view, the little boy in front of him definitely hides a lot of unknown secrets in his mind.

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

Simon packed up the tableware and said to the woman with her head lowered, "Catherine, eat slowly, I'll go to Fox Studios first."

Catherine hummed, noticed Simon's movements, and said again: "Simon, wait for me to clean up, anyway, um, and Jenny's."

Simon nodded with a smile and said, "Okay."

Having said that, Simon still sent his utensils to the kitchen sink before coming out.

Catherine saw Simon leave the restaurant, thought about it, put down her knife and fork, and followed him out.

The time is already November. Although it is Los Angeles, which is like spring all year round, the weather in this season is also a bit cold.

Simon took his coat from the hanger, took it naturally with Catherine who came over, unfolded it to help Simon put it on, and reached out to straighten the rolled up collar. Simon smiled and let the woman do what she did, and finally picked up his bag and slung it over his shoulder, looked at Catherine in a burgundy turtleneck, and said, "So, goodbye."

Catherine felt Simon's slightly tentative hopeful eyes, but Janet's bright eyes suddenly appeared in her mind, took a step back, pretended to check if there was anything wrong with Simon's clothes, smiled casually, and said, "Goodbye."

Simon was not reluctant, nodded, and left the house.

In order to ensure as much post-production 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 in the evening, and take time to write some soundtracks.

Two-thirds of the filming of "Lola Run" has been completed, and all the shots from the beginning of the film to Lola's first run have been filmed. Simon's work these weekends focused on the first paragraph Rough cut of the run scene.

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 is completely direct to the film operation.

Editors can arbitrarily cull, reduce and replace the film, so it belongs to non-linear editing.

But this most primitive nonlinear editing workload is not ordinary.

For a movie, calculated based on 10 hours of footage, the cumulative length of all films is not many meters, but 20 kilometers. You can imagine how complicated the whole process would be to edit a movie from dozens of kilometers of film.

Then, the emergence of linear editing finally freed the editor from the tens of kilometers of film surrounds.

The principle of linear editing is to record the content of the film footage onto 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 belongs to the WYSIWYG mode, which can monitor the editing results at any time, so it is quickly popularized.

However, the disadvantages of linear clipping are also very obvious. The editor can only edit the pictures on the tape in a linear order, and the operation is slightly more flexible, and only inserts and replaces the same duration on the tape. However, if you want to delete, reduce, and replace non-equivalent length shots on the completed 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 twice, he can replace his own voice, but this song is still five minutes in five minutes. To make him a quarter and a half would have to re-arrange and then re-record.

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

By transcribing film images into digital images, non-linear operations similar to the original hand-editing can then be performed on editing software.

It has to be said that in the film era, whether it is the original manual editing, or the later linear editing, or even the digital non-linear editing, it is actually only an editing method. After a film has completed the editing, soundtrack and other post-production processes, it is ultimately necessary to manually edit the original negative of the film according to the result of the film, so as to obtain a film copy that can be screened in theaters.

Now in 1986, digital non-linear editing is just beginning, and the technology is far from mature. Simon can only perform the later stages of "Lola Run" on a linear editing machine.

Although he had not been exposed to linear editing in his previous life, there are other memories of these experiences. Simon hired an assistant to help him get acquainted with the linear editing machine at Fox Studios during the first weekend, and has been working alone for the past few weeks.

No matter what age, editing is a lonely profession that tests patience.

The linear editing equipment at Fox Studios was billed by the hour, and Simon didn’t want to waste his time.

Arrived at Fox Studios, sat down in front of the editing desk, looked at the two old-fashioned CRT monitors in front of me, and listened to the clicking sound of the machine running, and before I knew it, a morning had passed.

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

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

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

"Yeah," Simon nodded. "Aren't you the same?"

Peter Butler smiled and said, "It looks like we already have one thing in common, which is good."

Simon also smiled: "Speaking of which, Peter, why are you interested in me? Compared to the "Los Angeles Times", I'm just an inconspicuous little person, right?"

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

"I understand, it's another common denominator."

"It's a pity there's no wine, otherwise we can have a drink," Peter Butler smiled and continued: "However, Simon, in all fairness, I don't think you are an inconspicuous little person at all."

Simon just smiled.

Peter Butler also continued to take care of himself: "I did some research on you beforehand. You should have come to Los Angeles in June, and then, as a newcomer, you were unexpectedly caught by wma vice president Jonathan Friedman signed and became the only screenwriter client of the other party. Then, wma broke out infighting incidents, still related to you. Then, the incident that happened in Santa Monica at the end of July, although the newspaper talked about it Rarely, but as far as I know, we, the Los Angeles Times alone, put down two stories that tried to explore this. And then, within half a year of being in Hollywood, you're already directing your first The movie, um, "Lola Run." What is even more surprising is that several big names in Hollywood, Brian De Palma, David Gilles and Robert Redford, have all expressed that they will It's very rare in Hollywood to have an executive producer on the film. So, Simon, you can't be a little guy in any way. Little guys can't do these things."

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