I am Hollywood

Chapter 65: The Transformation of Two People



[Chapter 65: The Transformation of Two People]

On January 7, filming officially began for Pretty Woman at a villa in Beverly Hills. In keeping with the idea of keeping things in the family, many of the supporting actors for Pretty Woman were chosen from UTA. Kepler hadn't been wrong when he said that these actors had talent but simply lacked opportunities.

Even landing a minor role with just a few lines in the director of Home Alone's new film had these young actors feeling pretty satisfied. Eric hadn't promised anyone anything, but once Pretty Woman hit theaters, the UTA signed talent would realize just how fortunate they had been. In the past, the movie's runaway success had turned even minor characters, like an elevator operator who only appeared briefly, into hotshot comedic actors with multiple offers rolling in.

However, Edward's cutthroat lawyer, Philip Stuckey, was a character for whom UTA didn't have a fitting actor. Eric arranged for the original performer, Jason Alexander, to be contacted.

At that time, Jason Alexander was just an ordinary Broadway actor. Although his acting skills were impressive, he didn't have the looks deemed ideal for Hollywood. He had only appeared in a handful of films and television shows in minor roles. Upon hearing he could land a substantial role in Eric's new film, he promptly jumped ship from his former agency to join

UTA.

Hollywood was ruthless that way. If Jason Alexander became successful later on, no one would dare malign him for switching agencies; they would only envy his good fortune.

Inside the villa, all the actors had taken their places, and Eric, sitting behind the monitor, gestured an "okay" to his assistant, signaling that filming was about to start.

"Pretty Woman, scene one, take one, action!" The sound of the clapboard echoed as everyone on set sprang into motion.

In the frame, a magician hired from a circus started performing a coin trick while delivering his lines. "No matter what they say, the topic always circles back to money..."

The camera quickly panned up as the magician produced a gold coin from Edward's ex- girlfriend's ear. Jason, playing Philip Stuckey, appeared with a smile, casually asking a male guest about Edward's whereabouts.

This nearly minute-long shot was quite challenging, as it tested the actors' abilities to perform. They had rehearsed this scene many times in advance.

Jason Alexander did not disappoint Eric. As the camera moved, Jason maintained a smile throughout, delivering his lines effortlessly while weaving through the guests with rich and natural body language.

After Jason kissed a female guest on the cheek, Eric called out, "Cut!"

Jason Alexander set his champagne glass down, smiling as he approached Eric. "Director Williams, how was that shot? Should we do it again?"

Eric couldn't help but give a thumbs-up, praising him, "Not at all, that was perfect! This is a solid start."

Several crew members gathered around, and Eric replayed the scene. Everyone nodded in agreement, appreciating Jason Alexander's performance.

After confirming there was no need for a retake, Eric clapped his hands. "Okay, crew, let's get ready for the second scene."

Everyone dispersed, and Jason Alexander walked into the villa to prepare for the next shot with Al Pacino and the rest of the cast.

...

Upstairs, a room had been converted into a meeting space where Al Pacino was going through stack after stack of materials he had already reviewed numerous times.

To give Al a deeper understanding of his character, Eric had arranged for a detailed dossier on two fictional companies, Louis Corp and Moses Corp. Even though these companies didn't exist, the information was meticulously designed by professionals based on real firms in the industry.

The second scene was centered around a meeting discussing the acquisition of Moses Corp. Although the room had been initially prepped, arranging the camera setup and other details still took a good half an hour.

Once shooting started, Eric largely focused on Al Pacino, who had very few lines in this scene, relying mostly on expressions and body language to convey character -- something Al excelled at.

Al's portrayal of Edward differed significantly from the character Richard Gere originally played; he brought a more intelligent, cold, and aloof demeanor while retaining a certain suave charm. This new portrayal aligned better with the script that depicted Edward as a heartless businessman with machine-like precision in executing his plans.

Eric quickly embraced the new image Al presented.

"Cut." After a few shots, Eric suddenly yelled "Cut" right as another shot began. He frowned, standing up.

"Eric, is there a problem?" Al Pacino asked, puzzled by the earlier smooth shoot. He wasn't aware of any mistakes in his performance.

Eric shook his head, saying, "Al, it's not your problem." He then sat down behind a blonde woman at the conference table, her name was Dolly, who promptly stood up.

With a straight face, Eric picked up a notepad where Dolly had been scribbling. "Dolly, do you realize that because of your oversight, we now have to reshoot?"

Dolly nervously apologized, "I'm sorry, director. Can I ask what went wrong?"

"Your character is a meeting note-taker, but in the earlier shots, you looked completely distracted. Do you understand? If this were a real company meeting, you'd be fired! Look at what you wrote: 'Can I compare you to summer, but you are gentler than summer'? Is this a poem?"

Dolly's pale cheeks flushed slightly, and she softly explained, "It's... it's Shakespeare's Sonnet."

"Alright, artsy Miss, now sit properly." Eric had Dolly sit down again, gently correcting her posture while placing the notepad in front of her. "Next, remember, don't write poetry. Just jot down everything Al and the others say quickly, got it?"

Dolly nodded, "I understand, Director Williams."

Returning to his director's chair, Eric signaled for everyone to resume filming. The reason he let Dolly off so easily was that he too had missed the marks.

He had concentrated too much on Al and the others' performances and hadn't caught Dolly's mistake until she appeared front and center. If he had interjected earlier, they wouldn't have wasted so many shots.

However, as a director, to maintain his authority on set, he certainly wouldn't admit to such small blunders.

Although the party scene inside the villa only appeared briefly in the film, it took the whole afternoon to shoot. By the time they wrapped the last shot, it featured Edward conversing with his ex-girlfriend, Susan, after he had brutally broken up with his current girlfriend, Jessica, over the phone and was about to leave the villa.

As Edward walked downstairs, he unexpectedly ran into his ex, kicking off a brief

conversation.

...

"Susan, can I ask you something?" Edward eyed Susan intently.

"What is it?" Susan replied, puzzled.

Edward raised his hand slightly, pausing to consider his words before asking, "When we were

dating, did you talk to my secretary more than to me?"

Susan's tone carried a hint of sadness as she recalled their past together, "Your secretary

ended up being my maid of honor."

Edward froze for a moment, awkwardly laughing as he bid Susan goodbye.

...

This exchange appeared ordinary, but in actuality, it marked one of Edward's character's

pivotal turning points.

Pretty Woman became a box office hit and was featured on almost every list of romantic films for a reason. Many fans might dismiss it as merely a whimsical rags-to-riches fairy tale, claiming it could never happen in real life.

That criticism wasn't entirely unfounded, but the plot was woven with far more complexity than it seemed. Perhaps the director originally made these thoughtfully-crafted decisions instinctively, yet it in no way negated their brilliance.

When it came to illogic, one had only to look at Julia's later film, Notting Hill, which really took the cake. The lead characters barely exchanged a few words before diving into passionate kisses in the male lead's apartment. Eric had been startled by the jarring nature of that scene when he first viewed the film.

In contrast, Pretty Woman depicted the evolution of its two lead characters in a structured and believable manner, with Vivian and Edward undergoing at least three transformations

throughout the story.

...

Vivian's first change took place early in the film when she encountered a prostitute who had met a violent end in a trash can; the close-up on Vivian's face revealed raw fear, prompting her to ask her friend, Kate, "Don't you want to escape this life?"

The second shift occurred when Vivian, wanting to accompany Edward to an event, went shopping alone and was kicked out of a boutique. As she wrapped her coat tightly around herself on the street, she felt a bitter humiliation that renewed her resolve to flee her previous

life.

The final transformation arose after Edward chose to abandon the acquisition of Moses Corp. An enraged Philip Stuckey laid blame at Vivian's feet, harshly stating in a hotel room, "Don't forget your place, Miss Vivian. You aren't a lady; you're just a prostitute!"

That statement jolted Vivian awake from the fairy-tale illusion Edward had created for her. So

when Edward offered to keep her, she ran to the balcony, unable to meet his gaze, murmuring about her childhood dreams. She told him he could either give her a fairy tale or let her go. Ultimately, she chose to leave, though that wasn't necessarily the end of their story.

...

Edward's character transformation began in the villa during his exchange with Susan. He posed a personal question to her, and Susan's response about her secretary becoming her maid of honor starkly highlighted how neglected and disregarded he had been toward her, forcing his girlfriend to turn to his secretary for companionship. Although this was a small detail, it set Edward on a path for self-reflection.

Edward's second transformation unfolded after dining with Moses Corp's owner. Upon returning to his hotel, he found himself alone on a balcony gazing out at the night sky over Los Angeles. The conversations during dinner had evoked memories of his recently deceased father, reminding him of his drive to prove himself and the lingering bitterness from his childhood. His first official act after forming the company had been acquiring his father's business and subsequently breaking it apart.

However, with his father gone, fourteen years of resentment dissipated, leaving him feeling a

measure of fatigue. When one felt weary, their resolve faltered, and at that moment, a woman appeared before him, offering solace and entering his heart unannounced.

At the piano in the restaurant, a previously exhausted Edward experienced an outpouring ofNôv(el)B\\jnn

emotion for the first time.

The final transformation came one evening when Vivian insisted they play chess. Edward

propped his chin on his hands and said, "Why not wait until tomorrow? I still have work to

do."

Vivian countered, "Why work at all? Take a day off!"

Edward had a moment of realization, "You're right; after all, I am the boss!"

And so, Edward fully 'fell' for Vivian; they strolled about as if they were a couple, laying on

the lawn together reading, and talking aimlessly at snack stands...

Ultimately, he realized he couldn't live without Vivian.

On that melancholic rainy day before they parted ways, beneath the song It Must Have Been Love, Edward made up his mind to give Vivian a fairy tale ending. He transformed into a

knight, holding a sword (an umbrella) in one hand and flowers in the other as he scaled the

castle walls (ladders) to retrieve his princess.

*****

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