Although Ronald has decided to move the indoor scenes to Toronto, Canada, some scenes involving indoor and outdoor interactions still have to be shot in New York.

If the indoor and outdoor scenes are shot separately in real locations in New York and in a Toronto studio, and finally combined on the editing table, there will be a technical difficulty. That is the different color temperatures of indoor and outdoor light.

In this way, different types of film will present different color styles. The naked eye can see obvious differences between the balanced color temperature of an outdoor lens under natural light and the balanced color temperature under indoor artificial lighting.

In order to ensure that the edited shots do not feel abrupt to the audience, very complex color correction is required in the post-production process. Especially if the gap between natural light and artificial lighting is too big, the audience will feel as if they are in another movie.

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This kind of feeling is something that any film director should try to avoid, because such a jump will pull the audience away from a daydream that the movie has finally weaved together, and the audience will have a feeling that this is a movie.

The idea will make the movie-watching experience drop several notches.

Therefore, rather than looking at the boring old-fashioned face of the union representative, Ronald went to the bakery on the corner of 502 Henry Street, Brooklyn, which was rented in advance, and began to shoot the first difficult scene.

Martin Scorsese's parents, Charles and Catherine Scorsese, wore Italian-style coats and were waiting to have their makeup done inside the facade of a small bakery.

Both of them had also been actors before, but their main occupation was opening a dry cleaning shop in Little Italy, Manhattan. Their father, Charles, ironed clothes, and their mother, Catherine, altered trousers. They raised Martin Scorsese, an important American director.

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The two also had cameos in their son's films. In "Taxi Driver," a photo of the two was included in a newspaper report as the parents of Jodie Foster's character. In "Raging Bull"

, the father Charles also played a named role.

But the couple has never actually appeared in a movie as a couple.

Ronald saw that they were a little nervous, but he didn't care. Anyway, they were two very small characters, and they were not the focus of the audience's attention. They were mainly used to lure Loretta, played by Cher, to Johnny's brother.

The story of Camarelli's bakery.

"Wonderful!" Ronald saw the two people's outfits. Charles was wearing a top hat and Catherine was wearing a down jacket with a fur collar. They went up and complimented him, "It's great. I now know Marty's artistic talent."

Where did it come from?"

"Ah, hahaha..." Mrs. Scorsese was more outgoing and was made to laugh by Ronald.

"At that time, the camera will give you a close-up, and then the girl playing the bakery clerk will hand you the bread. Mrs. Scorsese will take it and say goodbye to you. You just go to the bakery to buy it.

Just keep the same bread and ignore this big guy."

Ronald took a close-up shot of Chun inside the counter. He was a big guy, and amateur actors would inevitably be a little nervous.

"Just call me Catherine. When Marty made a short film before, he asked me to be the heroine. I know what to do." Mrs. Scorsese was very satisfied. This time both of them had close-ups. This of her son

His friends are really good, and they are much more important than the role he plays for his parents!

"a!"

After setting up the lights, Ronald called the start.

"Thank you, Mrs. Fogage. Here's your bread. See you tomorrow."

Catherine Scorsese took the bread. Facing the huge close-up, she was still nervous, her throat was a little itchy, and her voice became smaller, "Goodbye!"

Charles Scorsese became even more nervous and couldn't help but make a swallowing motion. He turned back and went out first, and then Catherine took the bread and followed him out.

"Ring, ring, ring..." The bell on the door reminded me that Loretta, played by Cher, still wearing the boring dark gray coat and black leather boots, passed by the Scorseses and walked in.

Cher walked in front of the counter and entered the close-up range. Ronald looked at the monitor and nodded to the director of photography, David Watkin, and there was no need to stop.

"Is Ronnie Camarelli here?"

"He's in the baking room, why are you looking for him?"

the clerk behind the counter asked, a bit hostile in his tone.

"I have something to talk to him about." Loretta, played by Cher, is of course much more sophisticated than the little girl's clerk. She knows where this hostility comes from. She has not seen her fiancé Johnny for several years but has not met her yet.

My younger brother Ronnie has another curiosity.

A female clerk with messy hair walked out of the counter and walked around Loretta.

Judging from the body shape, she is a very typical little Italian girl. She walks a little stiffly. She wears a floral jacket on the upper body, a white shirt underneath, a green skirt on the lower body, and woolen gray stockings on the feet.

A pair of bulky thick-heeled leather shoes.

At first glance, she looks like a young girl who has just begun to fall in love. She is not very good at dressing herself up, but she is invincible in her youth.

The clerk walked to the door, turned back to Loretta and shook his head, motioning for her to follow him to the bakery opposite to meet Ronnie Camarelli, who was baking bread there.

"cut!"

Ronald was very satisfied with the two's rivalry.

After consulting David Watkin, this article was left for printing.

"How did I perform?"

The female clerk ran over, opened her big eyes to Ronald, and asked for the director's opinion like a baby. She changed her dull look just now.

"Very good, perfect!" Ronald smiled and touched the actress's head.

She is clearly Diane Lane, who will be making a cameo appearance as the storegirl for the next two days.

Ronald was generous with his praise, and Diane's acting skills exceeded his expectations. After applying makeup, Diane not only looked like an Italian girl, but her walking figure was also clearly designed carefully and full of life details.

The culture surrounding Cher's role clearly contained the anger that the girl knew in her heart about a woman coming to find her crush.

But when she heard that the other party wanted to see Ronnie for something, she quickly fulfilled her duties as a store clerk and did not take matters into her own hands. She was very much like the kind of good girl who works in a store owned by relatives, friends and elders.

It can be said that this performance is beyond the acting skills required for a small cameo role. Ronald was deeply moved by the serious preparation that Diane made for this role.

If Coppola hadn't delayed her three movies in a row, if Diane had this kind of acting skills, appearance, and the fans she had accumulated in the past, she would definitely be the heroine of every major production.

"This character is a little too young for you, but because it is a love story for middle-aged people, so..."

Ronald admired Diane's performance very much. Her acting skills, playing a small role, can greatly enhance the immersive weight of the movie itself.

Just like Roger Corman's The Student, Jonathan Demme said, the whole movie is integrated. For any small role, if you can carefully find an actor that the audience likes, then the overall grade of the movie can be improved.

One level.

Although it is not intentional to use high-profile actors to play low-profile supporting roles, the actual effect is that in "Moonlight", any supporting role has the acting skills to play the protagonist in other movies.

"Don't say that, I'm already very happy. This role is very enjoyable to play."

"It's hard for you to wear such ugly clothes." Ronald adjusted her collar and signaled that he would continue.

"Oh", Diane stopped chatting with Ronald and ran to the side to wait for the next shot. Her eyes were always on Ronald's body.

"Ronnie is still interesting." Diane was actually quite happy.

This small role is not a simple cameo. And it is not a vase-like role, but a role with content. Although the makeup does not highlight her beauty, and she does not have beautiful clothes to wear, the three simple scenes will leave an impression on the audience.

Very deep impression.

It can be said that among all the small roles in this movie, this role is the one that impressed the audience the most. I have acted in several not-so-good movies. With a movie like this that fully utilizes my acting skills, maybe any film critic can recognize it.

How about saying something about yourself?

The next scene was shot on the roadside.

Chrissy, played by Diane, reluctantly takes a woman (Loretta) to meet her crush Ronnie.

After leaving the store, she strode in front because she didn't want to talk to Loretta. Such an awkward mentality made her walk stiff, as if she wanted to escape her crush Ronnie and meet other women. This was unmistakable.

reality.

Loretta, played by Cher, followed behind. The two of them turned a corner and reached another road that intersected at the corner of the street. They walked into the barbecue room through the entrance of a basement.

"Cut! Very good, very good! Let's have another one."

In order to have more protection, Ronald called the second one. In fact, from a performance point of view, this is not necessary. This kind of play that is performed as soon as it is performed without careful rehearsal is the most emotionally charged.

Standing far away behind the camera, Ronald could smell the unwillingness emanating from Diane.

Soon it was time for lunch, and the Screen Actors Guild representative came again and pointed at his watch to signal Ronald to stop filming to ensure the right of all actors and staff on the crew to eat.

Ronald no longer wanted to argue with him, pulled down his New York Yankees baseball cap, sat on the director's chair, closed his eyes and meditated.

Diane brought him a burger and a can of Coke, and pushed him. Ronald woke up, picked up his own burger and Coke, made a toast gesture with Diane, and started eating.

"Cheers!" Diane laughed out loud, and actually came up to bump the Coke can with Ronald, and then took a few sips as well.

"Oh, it's rude to disturb other people's sleep, beautiful lady."

Next to him is director of photography David Watkin, who is actually sleeping in a chair.

"Sorry, we woke you up," Ronald apologized to the hilarious Watkin, with whom he worked in Sweden on a Saab commercial and with Walter Murch in Britain on "Return to Oz."

When he was young, Ronald knew the habits of this old man who had a great personality and liked classical music more than being a cinematographer.

When he is on the set, he especially likes to sleep at every opportunity. This is also because Watkin's level is so high that he can immediately make plans for many lighting arrangements with just one glance, and the lighting team will meet the requirements immediately after they come up with them.

Of course, this is also because of David Watkin's special thinking habits. He always likes to simplify things rather than complicate them.

For example, for indoor lighting, he likes to simplify it to a single light source to achieve the effect, rather than a complex multi-light system. In Hollywood's stacked bed-frame lighting method, if the lens is deflected fifteen degrees, the lighting must be re-arranged to maintain the effect.

Consistent. And with his single light source lighting method, no matter how the camera is moved indoors, there is no need to re-set the scene.

Diane looked at Watkin and then at Ronald, very confused. "Mr. Watkin, do you always sleep when you are on the set?" Coppola's crew, he and photography knew the history.

When working with Steve Baran, I wanted to discuss light and camera movement in every shooting break.
To be continued...