章 118: Chapter 117: Start of Filming for The Rock
"I heard Sean Connery is starring in Braveheart, and Mel Gibson is aiming for the Oscars," Sofia Coppola said with interest, looking at Gilbert.
Gilbert shrugged indifferently. "It's not releasing at the same time as mine, so what does it matter if he's going for the Oscars?"
"With CAA's two big stars in it, if they face off with you in the summer season, it'll be quite the scene," Sofia said with a hint of schadenfreude.
"Hey, Sofia, you're my assistant director. It sounds like you're rooting for Mel Gibson and Sean Connery."
Sofia shrugged and said nothing more. She was often blunt and not very good at giving compliments.
She mentioned this to Gilbert as a reminder to pay attention to Mel Gibson, Sean Connery, and the forces behind them, including Martin Bob.
Since crossing paths with Gilbert, CAA—especially Martin Bob's faction—had been unlucky and bore a lot of grudges. If there's a chance for payback, Martin Bob certainly wouldn't pass it up.
But, on the other hand, Gilbert had fought his way to being a top Hollywood director by surviving intense competition. If he feared challenges and ambushes, he might as well leave the industry and go home.
As they chatted, the set was ready for filming.
The first scene was outside a hotel in San Francisco. Because it was in a busy area, a crowd naturally gathered to watch.
Especially when Gilbert appeared, the cheers and shouts from the crowd were almost deafening. Though the film didn't have any major stars, Gilbert's fame and appeal were more than enough.
If Sean Connery had shown up, there wouldn't have been this kind of effect. Outdated, expensive, and still wanting a cut of the profits—he must be dreaming.
Assistant director Annie Burton held a megaphone, calling out, "Please keep quiet and don't disturb the filming. After the shoot, the crew will interact with everyone, signing autographs and taking photos."
Fans were satisfied just seeing Gilbert, so everyone behaved, quieting down to watch the filming.
With so many people around, keeping everything under wraps was practically impossible, so Gilbert didn't bother clearing the crowd. These few shots didn't reveal much and weren't at risk of spoilers.
Naturally, the film's debut had drawn attention from entertainment reporters as well.
Before shooting began, the three lead actors—Roger Moore, Nicolas Cage, and Ed Harris—gave brief interviews.
The main attraction, of course, was Gilbert, and he was happy to let the spotlight fall on the leads while he stayed in the background. However, the media still focused on him the most.
One reporter asked, "Director Gilbert, after Speed, you're doing another action film. Do you think it can surpass Speed?"
A month earlier, Empire magazine had ranked Speed among the best action films of the last ten years, showing the film's strong reputation among both critics and fans.
Gilbert confidently replied, "There's no need to surpass anything. I promise the film will be thrilling and won't disappoint audiences."
"Fans have high expectations for this movie. Does that pressure you?"
"Not at all. Pressure is motivation. I hope this film will meet fans' expectations."
After giving a signal to the publicist, the media interview ended.
The production crew then pushed the crowd back about 200 meters to avoid any interference with the filming.
The assistant directors arranged the extras' positions and briefed each of them on how to move.
This scene was shot outside a hotel, and Gilbert worked with the cinematography team on the camera placements.
"Sofia, coordinate with the hotel. I need several angles from within their property," Gilbert said.
Sofia checked her watch and reminded him, "Gilbert, our time at the hotel is limited. We need to move quickly."
"I know. Everyone, let's pick up the pace," Gilbert said, clapping his hands. He then told assistant director Annie, "The lighting's too dim. I need it brighter. Coordinate with the lighting team."
Gilbert continued giving instructions, then conferred with cinematographer Dur Randolph. "Position Camera 1 on the left, using a track for close-ups. Camera 2 goes at the hotel entrance; it's in your hands."
Randolph nodded and handed over Camera 2's operation to John Schwartzman while taking charge of Camera 1 himself.
Gilbert gave Roger Moore final directions, "When you start, put on a serious look, pull the person aside, and go straight to the Hummer. Don't worry about anything else."
Moore signaled he understood, and Gilbert sat down at the monitor, ready to begin filming.
"Clear the set?"
"Clear."
"Quiet on set…"
"Quiet…"
"OK, The Rock, Scene 17, Take 1, action…"
At Gilbert's command, Moore, playing Captain Mason, dashed out of the hotel. He quickly noticed the Hummer parked outside, shoved the valet aside, and got in.
One of the extras playing the car owner protested, "That's my prized Hummer! If you scratch or dent it, I won't forgive you!"
But before he could finish, the Hummer roared to life and sped off.
"CUT. Good. That's a wrap on this one."
Though it was just a test shoot, Moore easily settled into his role, and the scene was complete.
The Hummer, of course, was a sponsored product, courtesy of the brand paying for placement. Since Speed, Gilbert's movies were well-funded by sponsors.
Moore's acting was decent—not Oscar-worthy, but fitting for this role.
With the first shot done in one take, things were off to a good start.
Scarlett Johansson's cameo wouldn't be filmed for a few days, but the young actress enjoyed the set and showed up on the first day.
After the scene, Scarlett curiously asked, "Why did you say it was Scene 17 when it was the first scene?"
Gilbert smiled and explained, "Scarlett, that's because the scene number follows the script, where this is the 17th scene. We often shoot scenes out of order."
The girl looked confused and wondered why they didn't just shoot in order.
But that's impractical. Shooting scenes out of order saves time. For instance, if two scenes happen at the same location but at different points in the story, it makes sense to film them together rather than return later.
Scarlett muttered that the set was pretty chaotic.
Actors need to adapt their performances accordingly, and directors' skills come into play here. That's also why film directors hold a higher position than those in TV.
A TV series can have several directors, but a film, except under unavoidable circumstances, typically doesn't switch directors.
As for Gilbert, he not only directed but also invested in his own films and had the studio's full trust. Anyone suggesting a director switch would likely be replaced before Gilbert.
After a few more scenes, the first day's shoot wrapped up.
When filming ended, reporters swarmed in, and fans surrounded the lead actors for autographs and photos.
Gilbert was no exception, and many of his fans were women.
One female fan, wearing a tank top and nothing underneath, asked him to sign her chest. Gilbert kept his hand steady and signed.
Scarlett watched this with a frown, muttering about shameless fans.
Another male fan asked Nicolas Cage to sign a private area, which Cage refused.
Interacting with fans and press took about half an hour, and the crew left under security's protection.
Naturally, this wasn't coincidental; it was part of the film's promotion strategy. Good marketing matters, but so does the quality of the film itself.
Gilbert focused on the movie, leaving publicity to the experts. To make the summer deadline, he still had a lot of work ahead.
Producing one major film a year is tough enough, as each requires an entire team's effort, not just the director's.
The next day, the crew moved to a cemetery in San Francisco. The local government and church were supportive, and a priest performed a blessing for the deceased before the crew began shooting.
This time, Ed Harris, playing General Hummel, filmed a straightforward scene in the rain. Dressed in uniform and covered in medals, he walked down the cemetery path as a guard saluted him.
"I miss you…" Hummel placed flowers on his wife's grave, his face filled with longing.
Gilbert had instructed Harris to rely on his expression without excess movement.
"General Hummel is a soldier—strict and serious. He won't have exaggerated gestures."
Harris asked, "How should I convey his determination and anger?"
"Use your eyes. The eyes are a window, revealing different emotions. I'll give you close-ups," Gilbert said.
Harris, a seasoned actor, followed this direction, delivering a solid performance.
Gilbert preferred live recordings on set, which capture the actors' voices and expressions in sync.
Some environmental noise was present, but Hollywood actors generally re-recorded their lines if needed, unlike some productions in China where voice actors dub over the original actors.
In this case, Harris's lines were recorded live.
Back to the shoot, Harris continued his scene.
"I need to do something, Barbara. Something I couldn't do while you were here," Hummel looked off into the distance with resolve.
"I tried everything. Maybe this will make them listen."
"Whatever happens," he gently placed his first Navy medal on the grave and kissed it, "please don't despise me."
"CUT. Nice job, General Hummel. We'll keep this take and do one more."
The second take was even better, and Gilbert declared it wrap.
While Ed Harris was wiping off the water, Gilbert had a sudden idea: "We could get a shot from the perspective of the tombstone, watching your back as you walk away. How does that sound?"
Ed Harris thought for a moment and replied, "Yes, that's a great idea for this scene."
So, without any time for rest, the newly added shot was set up and began filming again.
From the tombstone's perspective, General Hammer's determined steps as he left were captured, further highlighting the resolve in his previous words and General Hammer's strong determination.
This is a shot that wasn't in the original film, or perhaps Michael Bay had filmed it but chose not to include it.
Gilbert didn't just replicate the original; he added his own ideas into it.
He made particularly significant changes to the character of John Mason, the British secret agent.
....
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