Hollywood:Starting out as an MV director

Rob had never anticipated such an astonishing outcome. They had reviewed the footage five times, yet they couldn't detect any flaws.

It was as if Ethan's camera had genuinely followed the stagehand the entire time, never once deviating.

This led them to question if what they had just seen was even real.

"Wow, darling, how did you pull that off?" Colleen stood beside Ethan, her astonishment evident.

The crew members surrounding them turned their attention toward Ethan, their gazes filled with curiosity.

They had assumed Ethan was just an ordinary cameraman, but now it was clear he was anything but. This young man of mixed heritage was evidently extraordinary.

Ethan noticed everyone's gaze and explained, "This technique is simple. It's about transitioning movement into movement. When the audience watches a film, their attention is weakest during a transition where the camera moves between two shots without content. This makes it the best time to connect scenes seamlessly."

"Oh!" Everyone nodded in understanding but immediately followed with wry smiles.

The crew members weren't strangers to cinematography; their experience on various sets had given them some expertise.

Ethan's explanation sounded straightforward, but achieving such a level of mastery was anything but easy.

Even a single 270-degree camera turn was enough to demonstrate Ethan's skill.

Rob Marshall approached Ethan, patting his arm. "Great job. During the actual shoot, this shot will be yours to operate."

Then, he turned to the head cinematographer. "Dion, what do you think?"

Dion walked over, his expression carrying a reluctant smile. "It's excellent. At least I can finally catch a break."

"Haha!" Everyone laughed, though it was hard to tell who was genuine and who wasn't.

The following day, the actors began arriving on set. Richard Gere was the first. He had spent three months learning tap dance for the role and was eager to showcase his skills.

But he wasn't the only one who had made sacrifices; the actresses had given even more.

For instance, Renée Zellweger had undergone intense weight loss for the role, while Catherine Zeta-Jones was performing while pregnant.

Everyone had come together for this adaptation of a classic Broadway show, not only for its artistic merit but also with hopes of Oscar recognition.

By mid-afternoon, the two female leads joined the production. However, Ethan noticed that their relationship seemed less than amicable.

Whether speaking or interacting, there was a palpable sense of rivalry.

It wasn't surprising, given that in Chicago, both women were essentially co-leads. Renée's character provided the film's backbone, while Catherine's added its flair and substance.

Both were indispensable, yet their on-screen and off-screen dynamics mirrored each other. According to Colleen, they had been vying for the title of lead actress since the film's inception.

The media had been rife with stories of their competition, but none of that concerned Ethan.

Once filming began, Ethan immersed himself in work—completing a series of opening long takes and reshooting various fragmented scenes.

By the time those tasks were done, it was already the third day. That day, they were scheduled to shoot the first dance sequence, set in a nightclub.

Catherine's solo performance took center stage in this scene.

However, when everything was prepared and Catherine began her dance, Rob Marshall stroked his chin, feeling that something was amiss.

"Dion, Ethan, come here and take a look." He waved them over to the monitor. "I feel like something's missing, like... it lacks a certain atmosphere."

Dion watched for a moment and suggested, "Maybe it's a lighting issue? We could add a couple more spotlights to brighten her face."

"Hmm, worth trying... Ethan, what do you think?" Rob Marshall's trust in Ethan was evident. Despite Ethan's youth and lack of formal filmmaking experience, his steady demeanor and problem-solving abilities had won the director over.

Ethan didn't hesitate, offering his insight. "I think it lacks sexual tension."

"Sexual tension?" Rob Marshall blinked, as if grasping the concept but not fully understanding it.

"Exactly. Catherine's shots need not only a sense of wildness but also an almost fatal sexual allure," Ethan explained. "At this point in the story, Catherine's character has already killed her sister and boyfriend. She knows she can't escape her fate, and this dance is her swan song."

Catherine, who had stepped down from the stage to join the discussion, listened intently. Upon hearing Ethan's interpretation, her eyes lit up.

"Go on. Why emphasize sexual allure?" Rob Marshall had caught the thread of inspiration and needed only a little more to spark a full idea.

Ethan's mind raced through the film's storyline. The plot of Chicago was simple yet compelling.

Catherine's character, a dancer, kills her unfaithful boyfriend and her sister. After performing on stage, she is arrested. Meanwhile, Renée's character, a housewife idolizing Catherine's glamorous life, has an affair in hopes of achieving stardom. Betrayed by her lover, she shoots him in a fit of rage and ends up in prison.

The two meet in jail, where Renée's admiration for Catherine is met with cold rejection.

Desperate to escape trial, Renée aligns with Richard Gere's charming lawyer, renowned for his undefeated record. He transforms his clients into sympathetic media sensations, winning the public's favor and securing their acquittals.

Both Catherine and Renée become his clients, but Renée's rising stardom in prison eclipses Catherine's former glory.

However, during Renée's trial, a sensational new crime diverts media attention, leaving her forgotten. In the end, the two women team up as a performance duo, reclaiming public admiration.

The narrative wasn't overly complex, but the original stage play's longevity stemmed from its sharp satire of 20th-century Chicago and its reflection of societal truths.

Even in modern America, such phenomena were not uncommon, and Ethan suspected they might grow more prevalent in the future.

Ethan smiled at Rob Marshall. "Because she's unafraid. Catherine's dance is an assertion of her allure, a defiance of the betrayal she suffered. She's proving that she's more captivating than her sister, even if it costs her everything."

Catherine nodded. "That's exactly how I feel—like I'm dancing for my life."

"Not just for survival," Ethan added. "She's out to prove herself. Her boyfriend's infidelity wasn't just betrayal; it was an insult to her self-worth. This dance is her ultimate statement."

"Exactly!" Rob Marshall exclaimed, finally grasping the missing element. "We need to highlight Catherine's seductive side."

"Absolutely. We should frame her with low-angle shots for a sense of dominance," Ethan suggested.

"I love that term—'fatal attraction.' So, who's shooting this next take? Ethan?" Catherine smiled approvingly at him.

"Uh..." Rob Marshall hesitated. He preferred Dion for the task but couldn't ignore Ethan's compelling vision.

After a brief pause, he asked, "Ethan, can you handle it?"

"Of course. No problem at all."

The decision was made in seconds, and Ethan took over the camera.

Dion, standing off to the side, clenched his jaw, arms crossed.

This wasn't just about technique or lighting—it was about understanding the story's core.

Although the topic wasn't initially his concern, the situation left him feeling sidelined.

The crew's warmth toward Ethan contrasted sharply with their interactions with him, making Dion feel isolated.

And it didn't end there. After watching the new footage, Rob Marshall praised Ethan and made an unexpected announcement.

"From now on, Ethan, you'll be my assistant. I need your creativity."

The crew accepted this decision without resistance; they had all benefited from Ethan's help over the past few days.

But Dion, unable to contain his frustration, kicked a prop box in anger.

He had never seen a director elevate a cameraman to assistant status before. Now, even he might have to take orders from Ethan.

Damn it! He might as well hand over his position as cinematographer entirely!

....

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