The first scene of ET" was very important. I announced that the filming started, which naturally made everyone's heart raise.

The fat man sitting next to me turned on the camera very quickly, and Stenborough and Griffith on the opposite side were each looking at one camera, and three cameras started working at the same time.

Close-up shot, above the night sky, a round moon with bright stars. The lens slowly moved down, and there were indigo trees and mountains. The distance was brilliant. At that time, Clawson under the night sky, and even further away, there was Los Angeles with bright lights and wine.

The camera is full of the right and then slowly falls down. In the clearings of the woods, a huge flying saucer with light shining all over the body.

Next is a series of swing lenses of the flying saucer, which scans the flying saucer from all angles in all directions. Because the distance is very far and there is fog, the flying saucer inside the lens is very mysterious.

Close-up, a hand with a finger often raised the branches, and what appeared inside the camera was a shadowy alien. They were moving on the ground as if looking for something.

In the woods, a rabbit was jumping, and a shadow was attracted by it, and slowly followed the rabbit to the woods and stretched out.

In the mid-scene shot, a headlight suddenly pierced the night sky, the car stopped, and a team of policemen jumped out of it.

Close-up, teams of feet running away.

The following drama is a fierce chase scene. The arrival of the police made the aliens panic. They fled in a hurry on the spaceship, but threw the ET that tracked the rabbit into the forest.

This scene is not very difficult to shoot. All the aliens left in the camera with shadowy outlines. In order to increase mysteries, even ET did not appear in the camera. In the whole scene, there were only ET's breathing and strange screams, and the shaking of the bushes it drove through the grove chamber.

The policeman and all the researchers appeared in the camera openly. The sheriff was played by Jacques Borton. He was tall and put on the sheriff's uniform. A solemn aura hit me, which made me very satisfied.

Every alien has a dedicated personnel to move. Basically, they set up moving tracks on the ground first and then move according to the script. ET:||Simple aliens are much simpler because they are much smarter than them after all.

Although there were no major problems in the shooting of the entire scene, there were also some difficulties in other aspects.

First of all, the movement of the lens. Although the invention of sounding on the film allowed the camera to get rid of the heavy recording system, the range of the camera movement in this scene was still very large. The scene scheduling was completely open and closed. In order to ensure the smooth connection between the various shots in the script, we set up a huge rocker arm of meter on the top of the mountain. Such a large rocker arm requires many people to operate at the same time. When shooting, several shots are often completed in one go, with a little shaking and pause, which requires the person who operates the rocker arm to be very proficient. There is no shortcut to solving this problem. The only thing we can do is rehearse over and over again until it is completed smoothly.

The second problem encountered is the sound recording problem, including the addition of background music.

Originally, my idea was to implement on-site recording, that is, not only to record various sounds on the scene on the film, but also to include the background music on the spot at the same time. This benefit is that it has a strong sense of reality and strong music, but once it is implemented, it is almost impossible.

There were all kinds of sounds in the woodland. There were many sounds to be recorded, but the background music was even more noisy and the effect was greatly reduced. So after experimenting many times, the crew had to give up this idea and replaced it with post-dubbing and recording background music.

The most troublesome problem for me is the takeoff of the UFO.

I originally thought that I would be fine if I asked the plane to hang the flying saucer up and fly away, but after I took the photo, I realized that my idea was too naive.

Although the aircraft can lift the flying saucer, it often seems that the flying saucer is not a little flexible when taking off. The loud noise from the plane seriously interferes with the sound recording on the scene. What's more, the thick cables that the plane lifted the flying saucer were extremely eye-catching in the camera, and it looked like a joke.

I was so sad that I was so sad that I couldn't cry. At this time, I missed computer stunts so much.

However, Stenberg and Griffith were very patient with these issues. Their idea about the inflexibility of the UFO is very simple: the inflexibility of the UFO is because the plane that stays in it is flying in a straight line. You only need to try to take the line when the plane is flying, which basically solves the problem. Of course, this requires high requirements for pilots.

We studied the huge sound of the plane and only intelligently adopted the method of silencing all sounds in that scene and then simulating the sounds in the later stage. As for the thick cables that appear in the lens, they can only be manually corrected one film at a later stage when the film is flushed.

In addition to these big problems, small problems emerged one after another during the filming process, but fortunately, the people in the crew like to think and basically all of them have been solved well.

This scene takes up ten minutes in the entire movie, and it took us almost a week to finish filming. In fact, this is one of the more difficult scenes in the entire movie.

On November 7, after the scene was successfully filmed, I specially held a dance party to make the crew happy and relax the tension over the past few days. At the same time, I also wanted to strengthen the relationship between the crew and the residents in Clawson Town.

The residents of our Lawson Town are very supportive. During the filming process, they actively cooperated and helped the crew a lot.

I danced with the fat cousin of the fat man, and the skeleton of my body was almost thrown away by her. In the end, I had to find an excuse to defeat and hide aside and drink alone.

Before the glass of wine was finished, Sidney Alcott and Gans appeared among the crowd attending the dinner.

"Why are you two coming?" I couldn't help but wonder as they appeared in front of me.

"Boss, you are still living a happy life here. We are almost busy. You are actually having a dance party here!" Gans looked at the carnival crowd and smacked his lips.

Sidney Alcott laughed.

"Stop talking nonsense. We were as tired as dogs a few days ago. You didn't see it. I just got off.

You guys caught up with me and said, "You two come to me, love? Sidney. Didn't I ask you to be responsible for the Corleon Film Academy? Is there something wrong there?"

Looking at Sidney Alcott, my heart skipped a beat.

He is now the dean of the Corleon Film Academy and is fully responsible for the preparation and construction of the Corleon Film Academy. It is now a busy time. If there is no major problem, he would not have come here in person, and even Gans has come.

"Boss, something really happened to the film school." Sidney Alcott paused, then looked at Gans and smiled.

Looking at their smiles, a stone fell to the ground in my heart.

They can still laugh so happily at this time, which means there is no big problem.

"Boss. It's not a bad thing, it's a good thing." Gans smirked.

—

"What a good thing, tell me, let me have fun." I drank the red wine in my cup.

"That's right. The Corleone Film Academy has been constructed last year, and it has been almost a year since its construction. Now the main project has been completed, and some other supporting facilities can be delivered and used at the beginning of next year. So we must discuss with you the entire structure of the school and the various related personnel arrangements and how to manage it. After all, the enrollment work is about to begin. And we have no nothing except a bunch of buildings on hand. Boss, we have never done this in running a school, and we have no experience at all." Gans said.

After hearing Gans' words, Sidney Alcott nodded repeatedly: "Boss, the school's hardware is basically complete now. But the software is indeed nowhere. Teachers, local departments, majors, etc. in the school are all blank. Such a school is far from a regular film school, so we must discuss it with you as soon as possible."

Gans and Sidney Alcott made me pat my head hard.

Yes, I feel dizzy and forget such an important thing.

When I started a school, my subconscious thought was to build buildings. I had little consideration in this regard. In fact, this is the most critical point of whether Yiluo Film Academy can be established.

"Gans, call the company, named Yassel, Dunar, Stiller, Munau, Flahadi and others all came here for a meeting, and people from the Global Company, such as Lemmer, William Wheeler, Howard Hawks, etc., also came, and the bosses of major film companies, Grant, Hayes, Pang Mao and the leaders of the five major associations, were all here for me." I breathed a sigh of relief.

"Boss, are you?" Gans hesitated.

"Have a meeting and discuss what to do with this school? This is the film school in Hollywood." I smiled bitterly.

So, the cocktail party that should have had fun was disbanded in a hurry less than halfway.

An hour later, the huge house of Fatty Cousin was crowded with people.

All the senior executives of DreamWorks and Global Company were present, and there were no shortage of leaders from the five major associations, including Grant and other Hollywood municipal governments, Hayes, chairman of the Code Executive Board, and Pang Mao, mayor of Los Angeles, were present one by one.

Except for the people from DreamWorks and Universal who knew what to do tonight, others knew nothing about the reason why I called them over. They called them over in the middle of the night, and they were so anxious that they were full of doubts.

I sat in the middle of the long table, looked at the people on both sides with different expressions, and raised my cups first.

"Everyone, I toast this glass of wine. After drinking it, I have something to say." I smiled and drank the wine in the glass in one go.

Grant and others looked at me and I looked at you, and became more and more confused. They quickly finished the wine in the cup.

"Andre, is there something wrong with your movie? If so, we can help, after all, they are all from the same league." Marskolov looked at me with a very concerned expression.

"Yes, Lao Ma is right. DreamWorks is in trouble, so we should still help." Todd Browning nodded vigorously.

I laughed: "Everyone, my filming went very smoothly, and there was no major problem with DreamWorks. I asked everyone to come today, as long as it was for the Corleon Film Academy."

"Corion Film Academy!? Didn't you hear that all the buildings are about to be completed?" Adolf Chuck frowned.

"Adolf is right. Now, after more than a year of trial work, this film school that embodies Hollywood hope, is about to be completed. The academy has been built. The following is admissions and classes. But now there are no teachers at the academy, so why do you attend classes?"

As soon as I finished speaking, a lot of discussion came to my room.

"Andre, this film school is of great significance to being in such Hollywood. Just say what you want us to do, and we support it." Marskolov took the lead, and the group became excited.

These people are very clear that although the name of the film school is Corleon Film Academy, they can also hire filmmakers trained from it, so if this academy is run, it will be of great benefit to their major companies.

"Since everyone said that, I'm relieved. In fact, my request is very simple, I hope you can make a comeback." I shrugged.

"With someone coming out? How?" Sam Warner asked a question that everyone was very concerned about.

For these large companies, there may be no money, but there is no problem with asking for people. Which company does not have hundreds of people under its command?

I stood up and waved at Gans, who brought a big cardboard just made.

This big cardboard immediately attracted everyone's attention.

"Everyone, on this cardboard, the structural diagram of the Corleon Film Academy is also the framework of the Corleon Film Academy." I pointed to the white cardboard and began a detailed explanation.

"The honorary president of the college is Mr. Edison, the president is me, and the vice president is Sidney Alcott. Below is the management committee of the college, responsible for and manage all kinds of things in the college, and is the brain of the entire college."

"Further down, there are various specific departments. I want you to come out and be the teachers needed by these departments."

"The first department is the Department of Literature, with two majors, one is the screenwriter and the other is the electronics

Everyone knows the major, the former major. It is mainly for Hollywood drama talents, the director is Howard Hawks, who is also the head of the entire literature department, and the latter major mainly cultivates film theory talents, and the director is Munau. Some of the teachers who substitute this department come from our DreamWorks. But everyone knows that people in film companies are basically very busy and cannot be substituted for full-time classes. This requires many people to divide the time and strive for each person to lead one course a year, and there are some regulations on the class hours."

As soon as I finished speaking, major film companies began to discuss it.

After some discussion, major companies have also launched their own place lists.

MGM's famous screenwriter Booth Jacobson, Hollywood comedy master Keaton of celebrity film companies, and others have been listed as professors in the Department of Literature, transformed from filmmakers to teachers in the Film Academy. In addition to these people who are currently in the limelight in Hollywood, some retired famous screenwriters, such as Dickson, screenwriter of "The Birth of a Country", and more than a dozen others have also become full-time professors. The problem of teachers in the Department of Literature has been solved.

Next, the department is the most eye-catching department in the entire film school and the most important department: the director department. The department head of this department is me, and the deputy director is Griffith. The person who is usually responsible for the specific management is Carmineon Coppola, who has long been confined to me. You can see the attention this department has received from the appointment of the leaders of this department. In the following teacher list, the names of Stendburg, Stiller, Munau, Dunar and others are listed.

It can be said that the director department is destined to be the most glorious department of the Corleon Film Academy. Being able to teach in this department naturally aroused great interest from many people.

After enthusiastic registration, almost all of Hollywood's first-class directors such as John Ford, Cialis Dimil, Liu Biechen, Kim Victor, William Wheeler, Strauheng, George Stevens became substitute teachers. In addition, many old film directors who retired from Hollywood, such as the master Edwin Porter, have also become full-time professors.

The third department is the Performance Department. The department chairs are James Garber, Gary Grant, Humphrey Bogart and other dream factories, needless to say, have become people who offer performance courses. After discussions by major film companies, a series of Hollywood stars, such as Lillian Gish, Clara Bow, Bebe Daniel, Rudolph Van Lentino, etc., joining them without any dispute, making the entire performance department teacher list shining brightly.

The fourth department is the photography department. The department directors are Berg, Huang Zongzhan, and the famous photographer George Bizen, and the famous photographer of Global Company. After discussions among major film companies, more than 20 Hollywood first-class photographers, including Steg Farlem, who was now a Crescent Film Company, Benjamin Glazer, Paramount's ace photographer, Ben Hurst, MGM's first photographer Ben Hurst, etc., have joined the coaching team.

The fifth department is a major department, the Department of Film Technology. The department head is Baird, the current director of the Technology Department of DreamWorks. The following are divided into several departments, namely: Recording Department. The director is Bihof Stanley, the imperial recording engineer of our local area; the Department of Fine Arts, responsible for the teaching of art, clothing design, makeup, etc.; the director is Glen Barton, the top artist of DreamWorks. The deputy director is Dukelay Targer, the first costume designer of DreamWorks. The department head is Porter, the best composer in Hollywood.

People recommended by major film companies have accepted the most, such as Warner's ace artist William Hurt, Paramount's ace costume designer Menzies Pomer, Global's local makeup artist Lewis Grett and other big brands have all joined. The number of people is more than 40.

The sixth department is also a very eye-catching department: the Department of Management. The department head is Gans. On the list of professors, there are me, Lemmer, Shanlige and others. After a round, most people from the Hollywood Producers Association joined in, including John Cohen, Marskolov, Adolfo Chuck, Bessie Lof, Todd Browning and other major film companies, naturally they can't escape.

The seventh department is the animation department. The department head is Disney. Almost all the coaching list of this department comes from Disney's fourth factory. There is no change.
To be continued...