Chapitre 487: set part 3.
James was focused, the atmosphere was intense, and the actors were completely in their element, pushing their performances to the limit. It was astounding how, despite their exhaustion, the actors retained that spark that made every scene extraordinary. Billy's role was subtle; his charming face added a layer of meaning, filling the page with charisma and making people yearn to witness the end of the relationship. A love story was unfolding, crafted through details that some might overlook, but for those meticulous enough to observe every line, it was evident they were meant for each other.
-I think we need to wrap this scene,- James remarked heavily. -We need to finish this scene today!-
-But everyone's exhausted, James,- someone replied.
-If we finish the scene, they can rest all weekend. Anyway, we need to fix a few details—the 1905 model car has arrived,- Cameron interjected.
-In three days, at least that's what they're saying from Fox,- commented an older woman, one of the silent producers who didn't even appear in the credits but was vital to the project.
-Good, perfect, more than perfect. Let's finish these scenes today. We'll handle the rest on Monday—regardless of the kid's state, it doesn't matter,- Cameron said, glancing at the camera and observing the boy's artistic perfection.
Take some coffee; he'll be up all night. He can't stop thinking about the film, overhearing the murmurs around him. But the promise of a full weekend of rest is enough. Some can already head home, though a few shots with extras remain—nothing unearned, but that's just the way things are.
-Everyone's in position,- someone informed Cameron, who, in the villa set, found renewed energy, eager to see the ink come to life on video.
...
Scene 30, Take 1.
CUT TO THE RECEPTION ROOM ON DECK D, as the group descends for dinner. They encounter Molly Brown, dazzling in a beaded gown, with her broad shoulders and ample bust. Molly smiles when she spots Jack. As they enter the dining room, she walks beside him and speaks in a low voice:
MOLLY: It's nothing, is it, Jack?
It's a whispered question, prompting Billy to respond with a sly smile—arrogant yet faintly amused. Cameron, watching from his chair, is captivated. Everyone remains relatively quiet. Monica, observing from a safe distance, feels almost as though the ship's motion were real, even as it's firmly grounded. Though not a theater, two things are evident: they don't need to speak loudly anymore, and the sound equipment can capture it all.
JACK: Just dress like a pallbearer and keep your nose in the air.
MOLLY: Remember, the only thing they respect is money, so act like you've got plenty and belong to the club.
As they move through the crowd, Rose leans toward him, pointing out notable figures in hushed tones.
ROSE: That's Countess Rothes over there. And that's John Jacob Astor—the richest man on the ship. His little wife, Madeleine, is my age and in a delicate condition. Look at how she tries to hide it. Quite the scandal.
(Pointing discreetly to a couple) The girl continues, whispering.
Over there are Sir Cosmo and Lucile, Lady Duff-Gordon. Among her many talents is designing risqué lingerie, quite popular with royalty. Cal engages in conversation with Cosmo Duff-Gordon and Colonel Gracie, while Ruth, the countess, and Lucile discuss fashion. Rose lightly slaps Jack to draw his attention to another impeccably dressed couple.
ROSE: And that's Benjamin Guggenheim and his mistress, Madame Aubert. Mrs. Guggenheim is at home with the children, of course.
Meanwhile, Cal accepts compliments from his male peers, who regard Rose as a prize horse on display.
SIR COSMO: Hockley, she's stunning.
GRACIE: Cal's a lucky man. I know him well, and luck's the only explanation.
Ruth approaches, catching the last remark, and coquettishly takes Cal's arm.
CAL: Thank you.
RUTH: How could you say that, Colonel? Caledon Hockley is quite the catch.
The party walks toward the dining room, passing the Astors as they cross the ornate double doors.
ROSE: JJ, Madeleine, I'd like to introduce you to Jack Dawson.
ASTOR: (shaking hands) Pleased to meet you, Jack. Are you one of the Boston Dawsons?
JACK: No, actually, the Chippewa Falls Dawsons.
JJ nods as if he's heard of them, then looks puzzled.
Madeleine Astor appraises Jack and whispers childishly to Rose.
MADELEINE: Such a shame we're both engaged, isn't it?
"Cut," Cameron whispers, ending the take. They film the scene twice more, with one error leading to a fourth take. That's how things were in Los Angeles—the City of Angels—where recordings often required three or four takes. Cameron's reprimands fell on others, but Billy observed that the director's roaring outbursts were sometimes necessary. On set, only one person was in charge, and that was the director.
Billy approached Monica, who now waited for him on a small two-person chair, her feet resting on the armrests.
-One more scene, and we can head to San Jose,- Billy said, offering her a gentle kiss.
-Don't worry, my love,- Monica replied. - I've enjoyed watching how a renowned director makes everything look so difficult yet simple. Complicated yet straightforward. Those little details captivate me—it's glorious, far more so than runways or commercials. It's just beautiful.-
-We'll talk more about it later, - Billy said, taking a sip of water. Kate Winslet watched everything from afar. There was something about Billy she liked—something platonic. She didn't consider herself beautiful or charming.
Scene 31, Take 1.
INT. DINING ROOM.
A ballroom-like setting, vibrant and illuminated by a constellation of chandeliers, teeming with elegantly dressed people and the beautiful music of the small orchestra led by WALLACE HARTLEY. As Rose and Jack enter and make their way to their table, Cal and Ruth at their side, we hear...
Near Ruth.
RUTH: Tell us about third-class accommodations, Mr. Dawson. Are they quite good on this ship?
WIDER: THE TABLE. Jack is seated across from Rose, flanked by Cal and Thomas Andrews. Also at the table are Molly Brown, Ismay, Colonel Gracie, the Countess, Guggenheim, Madame Aubert, and the Astors.
JACK: Best I've seen, ma'am. Hardly any rats at all.
Rose subtly signals Jack to remove the napkin from the plate.
CAL: Mr. Dawson is joining us from the third class. Last night, he was of great assistance to my fiancée.
(Looking at Jack with disdain, the actor plays the condescension perfectly.)
This is foie gras—goose liver. We see whispers exchanged. Jack becomes the target of furtive glances. Now everyone feels daringly liberal.
GUGGENHEIM: (quietly, to Madame Aubert) What does Hockley hope to prove by bringing that... bohemian... here?
WAITER: How do you take your caviar, sir?
The waiter addresses Jack, but Cal answers.
CAL: Just a touch of lemon… (smiling at Jack) It pairs better with champagne.
JACK: No caviar for me, thanks. (Smiling at Cal) Never cared for it much.
He glances at Rose with a poker face, but she beams at him with admiration.
RUTH: Where do you live exactly, Mr. Dawson? Who is Jack Dawson?
JACK: Well, right now, my address is the RMS Titanic. After that, I'm on pretty good terms with wherever the wind takes me.
Salads are served. Jack picks up the fish fork. Rose watches and grabs the salad fork, signaling him with her gaze. Jack switches forks.
RUTH: Do you find that rootless existence appealing?
JACK: Well, the world's a big place, and I want to see it all before I go. My father always talked about seeing the ocean. He died in the town where he was born, never seeing it. You can't wait around because you never know what hand life will deal you next. You see, my parents died in a fire when I was fifteen, and I've been traveling ever since. That kind of thing teaches you to take life as it comes and make every day count.
Molly Brown raises her glass in a toast.
MOLLY: Well said, Jack.
COLONEL GRACIE: (raising his glass) Hear, hear.
Rose raises her glass and looks at Jack.
ROSE: To make it count.
Ruth, irritated by Jack's success in the conversation, presses him further.
RUTH: And how do you manage to travel, Mr. Dawson? What means do you have?
JACK: I get by working from place to place—steamships and the like. I won my Titanic ticket with a lucky hand at poker.
(Looking at Rose) The camera captures his gaze, making Kate tremble as she feels something primal in Billy.
"A very lucky hand," he concludes.
GRACIE: Life itself is a game of luck.
CAL: A true man makes his luck, Archie.
Rose notices Thomas Andrews sitting beside her, writing in his notebook, completely ignoring the conversation.
ROSE: Mr. Andrews, what are you doing? I see you everywhere jotting in that little book. (She grabs it and reads aloud.) "Increase the number of coat hook screws from two to three!" You've built the world's largest ship, and that's what worries you? – The girl's thoughts are spoken aloud in her final words. –
Andrews smiles bashfully.
ISMAY: He knows every detail of her, doesn't he, Thomas?
ANDREWS: Every one of them—three million.
ISMAY: His blood and soul are in this ship. On paper, she may be mine, but in God's eyes, she belongs to Thomas Andrews.
ROSE: Your ship is a marvel, Mr. Andrews, truly.
ANDREWS: Thank you, Rose.
We see Andrews falling under Rose's spell.
-Cut. -
...
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Chapitre 488: phrases
June 15.
These are more than just great presentations; the press was electrified by the acclaim Billy had garnered for The English Patient. The audience was mesmerized by Winona Ryder's performance, showcasing a kind of sensuality rarely seen in her films.
–You're one of Hollywood's rising stars. Your roles might still fit on two hands, but each one is a powerhouse that fills the screen with new stories. Every character you've chosen breathes life into the narrative. Critics recognize your glorious talent… blah, blah, blah. Billy Carson surprises us with his upcoming performances. On your list of films, A Time to Kill, premiering in September, and L.A. Confidential, releasing in December, are strong contenders for the big showdown of 1996.–
–The next pages detail your prowess in animation and then explain how you're the owner of the company of the moment,– Monica remarked, holding a cigarette in one hand and wearing white tights that left little to the imagination. She was draped in a white robe that revealed her dark, lively, and free nipples.
–Talk about how lucky I am to have a stunning brunette by my side,– Billy said, kissing her neck.
–My love, you need to get to your recording,– the brunette tried to say but faltered as she left her neck exposed. The kisses were gentle yet a weakness, making her tilt her head back, surrendering to the moment.
–Let me sleep. You've got wet hair, and it's freezing. Let me sleep a bit longer—it's too early,– Monica murmured.
–I need to write and draw, but filming starts a little later. The production team thinks next week's schedule will be adjusted to nighttime shoots, so at least the evenings will be entirely ours,– Billy said, placing a light kiss on her lips.
For now, the remaining shoots would focus on secondary scenes where he played Jack, while the studio prepared the set for more extensive night shoots as the production progressed.
–Always drawing,– Monica muttered, finding a spot on the bed and mumbling incomprehensible words.
Richard Boll worked tirelessly, spending countless hours watching the company's latest video games in action. He tested how the games performed across various consoles, from the PlayStation 1 to the Nintendo 64. Despite the releases, the programmers often needed time to unleash their creativity. Playing was part of the process—observing, enjoying, and relaxing. The company encouraged this culture as it fostered the development of outstanding series.
Updates were underway for titles such as Doom, Wolfenstein, Pokémon FireRed, Tomb Raider, Resident Evil, Forza Horizon, and the latest Tony Hawk. The teams had been working relentlessly, going above and beyond to push these projects forward. Meanwhile, the second team focused on Silent Hill, a horror game featuring a first-person perspective.
ID Software collaborated with Epic Games, Raven Software, and its own Atlanta branch to refine software design, improve functionality, and elevate games to their peak performance.
The second team delivered two projects: one entirely original Crash Bandicoot by Billy, with two parts—one based on Crash and one mad professor. Both told origin stories through dimensional gameplay, incorporating minigames and a simpler plot compared to the main Crash Bandicoot series. Another designer created a game inspired by Mario, featuring a map with portals leading to various tasks across changing worlds. This game, Crash Underworld, revolved around a castle dungeon.
The third team tackled Doom, Quake 3, and Coliseum, three series spearheaded by "the two maniacs," John Romero and John Carmack. The duo had signed contracts for six games and delivered five so far. They recently extended their agreement for another game, complete with lucrative commissions and executive-level salaries. Each earned at least $500,000 in bonuses, commanding teams of 30 members each.
Their third series, Coliseum, depicted intergalactic battles in an arena, resembling Street Fighter. Characters included ancient warriors like Achilles and Spartacus, alongside lore-specific creations inspired by barbarian warlords. Billy also hired a writer to craft stories for publication, archiving them in the grand science fiction and fantasy library.
The fourth team worked closely with Parallax Software and Epic Games, which had established a robust office in Texas resembling a corporate fortress. This setup included fast-food subsidiaries—T-Box Burgers, Pizza Box, and Sushi Box—offering employees perks and integrating into the corporate ecosystem.
Their projects included Lux Party: Minigames, Lux Smash: Combat, and Lux Karts. A fourth game, Luxury, combined RPG-style labyrinth exploration, turn-based battles, and open-field skirmishes. Its story revolved around an original character, a tiny fairy mage with a yellow wizard's hat and control over wind, rain, and water. The character was set to become a franchise icon.
Finally, the fifth team was developing a One Piece fighting game focused on the East Blue saga and early League of Legends concepts under the Runeterra banner.
Parallax handled Spyro, while Raven took charge of Max Payne and the Divinity series. With a combined workforce of 270, all five teams were dedicated to delivering exceptional games.
–We just need to create extraordinary games,– Richard Boll told Tommy Summers, the creative lead overseeing character design, graphic details, and collaboration with Pixar and Epic Games.
–The design for Luxury, one of the potential mascots, draws inspiration from Zelda, Mario, Resident Evil, and Crash. Our protagonist is a fairy mage with elemental powers. The water world is in testing, and so far, everything is on track,– Tommy Summers explained.
–Excellent. Let's keep creating fantastic characters,– Richard said, reviewing the designs.
...
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