Film Set Wars

Chapter 49 Film Set Wars

The film crew's location was quickly moved from Gray Company to a General Motors production center.

This large industrial park has been idle since General Motors closed its Atlanta production center in 2000.

After Kelly Gray joined the production team, she rented a large factory and converted it into a soundstage.

With French director Michel Gondry and more than 20 key cast and crew members arriving in Atlanta, filming for "Eternal Sunshine of the Spotless Mind" began.

Martin played a small role with fragmented scenes; his main task each day was to get his makeup done and wait.

This job wasn't as simple as it seemed, and Martin would frequently pull Robert aside to rehearse together in order to stay in shape.

He's like the men in Saint Valley films—completely invisible, but when the director uses him, he has to be spirited and not weak and slug-like.

It doesn't matter if Jim Carrey and Kate Winslet aren't in good form; their co-stars will definitely make fewer mistakes.

In the actors' rest area, Martin raised his hand and bumped fists with Robert: "Brother, don't fucking make a mistake."

When it was Robert's turn to appear in the next scene, he said, "I'm an old background artist."

Five or six actors entered the "bookstore" to serve as background figures.

Robert's position is good; the camera might be able to capture his face.

Before filming began, Martin noticed that Robert quietly moved half a step toward Kate Winslet, and from the camera's position, the shot could definitely capture him.

As expected of a seasoned background artist.

It didn't exceed the requirements, and I could still get some exposure.

Being a background figure for Jim Carrey and Kate Winslet would be something Atlanta's background artist could brag about for years to come.

Perhaps it was the stuffy air in the studio, or perhaps it was because it was her period, but Kate Winslet was in terrible condition today. It took more than a dozen takes to get a very simple scene right.

French director Michel could only shoot one take after another; he had no way to vent his anger.

After Robert returned, Martin prepared to enter, exchanged a few lines with Kate Winslet, and then kissed her.

He sprayed on some air freshener and went onto the set for a brief chat with Kate Winslet.

Kate Winslet stated directly, "I'll take the initiative and do things my own way."

Martin said, "Understood."

The assistant director came over to remind them of their positioning.

Filming begins.

During the dialogue between the male and female protagonists, Martin comes out from behind the bookshelf, speaks with the female protagonist, and then bends down to kiss her.

The female lead quickly leaned in and kissed Martin on the lips.

Michelle called for a stop: "Too shallow! A deep kiss, a deep kiss that expresses love!"

Starting over, the female lead kisses Martin once again.

Michelle was still not satisfied: "Kate, are you going to eat him?"

Once again, the call to halt was made.

The French people's inherent romanticism led the director to have a perfectionist requirement for kisses.

Michelle was still not satisfied after taking more than ten takes.

As the game progressed, Kate Winslet's performance deteriorated.

Martin's lips went numb from trying all sorts of kisses the female lead had done.

At first, he felt a little smug; I had kissed Ruth.

They quickly became indifferent and changed it to me having a kissing scene with Kate Winslet.

At this point, Martin had only one thought: the person in front of me is Fat Wen.

After several takes to stop filming, Michelle couldn't help but say, "Don't stick your tongue out!"

"Who the hell knows what you want?" Kate Winslet exploded. She's the kind of woman who, when her temper flares, dares to clash with Cameron on set. She directly used her feminine advantage, launching a general attack: "Stop with that boring French man act! I've had enough of you in Los Angeles, you French man who only takes your anger out on women!"

Michelle's anger flared at the British insult to France: "You arrogant, rude, half-cooked beef! There's no undersea tunnel here, but there's an international airport leading to hell, as convenient as Charles de Gaulle!"

Everyone present, including Jim Carrey, quickly moved aside, not wanting to participate in this bizarre and ridiculous mutual humiliation.

Producer Steve Golin, screenwriter and producer Charlie Kaufman, and executive producer Louise Meyer all came to the set to mediate the fight.

The crew paused work, and Martin returned to the rest area. After consulting with the assistant makeup artist, he took out a wet wipe and gently wiped himself.

Robert added insult to injury: "I was a little envious of you at first, but now... it's really not easy for you to come back alive."

The three producers persuaded the situation for a while before the conflict was finally resolved.

Martin fixed his clothes and returned to the set.

Kate Winslet, seeing Martin's lips, politely said, "Excuse me."

Martin replied softly, "It's alright."

Director Michelle glanced at Martin and asked the makeup artist, "His lips?"

The makeup artist said, "It will take a while."

Michelle couldn't wait for a minor actor, so after a moment's thought, she told her assistant, "Adjust his positioning."

In another shoot, Martin walked in from the side, kissing Kate Winslet with his back to the camera, without any frontal shots.

Martin reluctantly accepted reality: the director and the female lead had a fight, but in the end, he was the one who suffered.

Back at the rest area, Robert was delighted: "You had lines, but you didn't show your face."

Martin's shoot for today is over, he can remove his makeup and leave. The two of them went to get the truck together.

After removing his makeup, Martin asked Robert, "Your filming is over. What's next?"

Robert said, "I chose the logistics team, which mainly involves moving food and drinks, a job I'm familiar with."

Martin couldn't help but remind him, "Dude, I can't be the lead or a supporting actor in this production, you don't need to push yourself so hard."

Robert, not wanting to deal with this jerk, pointed ahead and said, "Look, isn't that our male lead?"

Martin looked over there; in the open-air makeup area set up under a sunshade, among the extras changing clothes was a handsome blond man. After thinking for a moment, he asked, "Adam Smith?"

Robert nodded: "Yes, the male lead in your movie, Ma Zhen, I never thought he'd end up like me, just a background character."

From the food cart next to them, a mixed-race Black woman emerged and greeted Robert, "Are you done with work for the day?"

Robert said, "Filming's finished. I'll start doing odd jobs tomorrow."

The Black woman turned her gaze to Martin.

Robert casually introduced them: "This is Martin, the troupe's vice-director. Martin, this is Rosa, a former actress in the troupe, who's back now."

Rosa reached out to Martin, her chocolate-colored skin as smooth as satin: "I remember you."

Martin didn't remember her, but he shook her hand politely: "I remember you too."

A black BMW 7 pulled up to the side of the road, and Kelly Gray, dressed in a business suit, got out and waved to Martin.

"I have a friend," Martin said, and walked over.

Kelly Gray immediately noticed his mouth: "How did you get injured here?"

Martin shrugged: "In one kissing scene, I was so charming that the female lead kissed me until my scalp swelled up."

Kelly laughed: "I have good news for you. Your social investigator position has been promoted to a full-time position with a weekly salary of $500."

Martin said, "How can I thank you?"

"No need," Kelly said without hesitation, because Martin wasn't stupid; he understood immediately from a simple question: "I get more."

Martin laughed, "When will I become Senator Kelly?"

Kelly Gray said, "There's still a long way to go."

Not far away, Rosa looked at Martin and asked curiously, "Is he close to the owner of Gray Films?"

Robert said, "They seem to be friends, but I'm not really sure."

Rosa watched the two chatting and laughing and said, "They're not just casually familiar."

Robert didn't want to elaborate, vaguely replying, "Who knows?"

Martin turned around, waved to Robert, and followed Kelly Gray back into the studio.

Rosa looked away and invited Robert, "Shall I invite you to dinner?"

Robert pointed to the food cart: "You haven't eaten?"

"No." Rosa grabbed Robert's arm and walked away.

As Adam Smith passed by the outdoor dressing area, taking off his costume, he saw Rosa approaching and greeted her, "Hi, Rosa, where are you going?"

Rosa stopped: "Let's go eat."

Adam Smith glanced at Rosa's curvaceous figure, then at the large-headed, unattractive man following behind, and gave a charming smile: "Perfect timing, I'm going to have dinner too. How about my treat?"

Rosa's gaze fell on his costume, which resembled that of a passerby, and she politely declined, saying, "Sorry, I have an appointment."

Adam Smith looked down at his costume, wanting to throw it away but feeling it didn't suit him. Having been used to playing leading roles, the psychological contrast of playing such a minor character with no status was immense.

Ward came over from the side and whispered, "Spoiler's man Diego called and told us to pick up the goods tonight. Those sluts in those high-class clubs really like new stuff."

"I understand." The male lead in Gray Company's late-night films doesn't earn a particularly high income. Adam Smith's respectable lifestyle also comes partly from part-time jobs at upscale clubs and helping others ship goods.

Ward tentatively asked, "Should we cut off the connection over there?"

Adam Smith didn't care: "If a superstar like Marlon Brando could swallow his pride and do this back then, what am I afraid of?" He patted Ward on the shoulder: "Getting on this boat is easy, getting off is hard."

People who are used to making money while lying down don't want to stand up.

(End of this chapter)