"Scripts with female protagonists are rare, aren't they?" Polly Platt hurriedly read through it. This script was completely different from the usual Hollywood workplace business war dramas. The heroine was the center of the drama, and the men were more like vases and vases.

As a foil. The key to Tess's success is that she took the step herself.

"I like to make scripts about women. This is also a trend in America. In the 1980s, many company management positions were occupied by women. Their performance and management methods are no worse than men. I hope that the reality can be reflected in the film.

the trend of."

"Okay, I agreed." Polly agreed readily. In fact, many directors and producers who have worked with her in the industry know her working ability well, and many people think that she should transform into a director.

Or a producer. But the common gender issues in Hollywood have prevented her from finding a suitable opportunity.

The plot of Ronald's movie is very suitable to Polly's taste. Coupled with the favor of her benefactor Roger Corman, the kind words of her friend Penny Marshall, and more importantly, double the salary, she agreed

It happened that the filming was taking place in New York, and I could still find time to go home and spend time with my children.

"I'm so happy that you can join us. The art director and photography director, the two most important team members, are here."

Ronald jumped up from the sofa happily. He had previously interviewed Michael Ballhaus, a photographer recommended by Scorsese. Several of his workplace-themed photography works were very much to Ronald's liking, and there was a sense of awe.

As soon as people look at the picture, they will understand that it feels like New York.

Ronald feels good that two heavyweight artists have joined. It feels like he is surrounded by masters who are more capable than himself and provide support. This feeling is quite good.

"The most important thing in a workplace drama is to give people an immersive feeling. In addition to color management, the most important things are props, framing, costumes and distribution. Do you have a good costumer? Tess turned from secretary to manager, two

Each identity requires different clothing to match. You also need to find a good hairstylist."

"Do you have any recommendations? I want the best." Ronald asked quickly.

"Ann Roth is the best. She worked as a costume designer for Meryl Streep and Jane Fonda. For their Oscar-winning movies, Ann was the one who found the costumes."

"Very good, I'll go and invite you right away." Ronald wrote down the name.

"And the hairstylist...forget it, let me recommend him." Polly Platt looked at Ronald and said that he didn't have a regular staff.

"Alan D'Angelo, Italian, and J. Roy Holland, two of the best men in Hollywood with combed hair. Streep and Michelle Pfeiffer were all designated to do it.

Hair style.”

"Alan...Roy..." Ronald quickly wrote down the name of the hairstylist. It's good to have such an old mage. Everyone knows who is good and who is not. Polly's recommendations are all the best.

"Where's the accent coach?" Polly's abilities are all-round. As soon as she read the script, she knew that the actor needed to learn the smooth white-collar accent of Wall Street and the exaggerated blue-collar accent of the secretary.

"This is something I worked with," Ronald said in "Moonlight", and he hired supporting actress Julie Boisso to teach Cher how to speak a Brooklyn Italian accent.

"You can't do that. We need to be on Wall Street. How can you do it with a Brooklyn accent? Let me help. There are many pronunciation coaches on Broadway."

"You are so capable, I simply don't know what I would do without you." Ronald had just appointed Polly Platt as the art director. This woman who could actually be a producer took over many tasks.

All done.
Chapter completed!