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"Cut!" Adrian called, stopping the scene, and the two men sitting across the long table looked up. The surrounding diners and passersby also halted, all looking toward the camera.
"No, Tim, your expression is not right—it looks too solemn. It doesn't match the lightheartedness you should show coming out of solitary confinement," Adrian said, after checking the monitor. The scene depicts Andy, who had just been released from solitary for playing "The Marriage of Figaro," having a meal with an old friend while discussing hope, only for Red to warn him that hope can be dangerous.
It should have been an easy pass, but for some reason, Robbins just couldn't get it. He was either a half beat too slow or the expression was off, and they had already gone through more than ten takes.
After pacing around in a circle, Adrian walked over to Robbins and Freeman, considered a moment, and then suggested to Robbins, "Tim, maybe you should take a half-day break. How about we shoot the other scenes first and come back to this later?"
Robbins thought it over and agreed to the suggestion. He had been in a slump for several days, and although he was an outstanding actor, he was still human and subject to ups and downs. Besides, he and Freeman were the most important characters in the film, required in nearly every shot, so mistakes were understandable.
Therefore, Adrian didn't say much more, even though he wanted to hurry up and finish filming. There were plenty of fragmented scenes and shots that only needed Freeman, so they could just shoot those in the meantime.
"Well then, let's finish the rest of Dennis's scenes, shall we? Look at him; he seems anxious to get out of here," Adrian said, flipping through the schedule.
Light laughter erupted around them. Dennis raised his hands as if to say something, but in the end, he just ran his hands through his hair in frustration and sighed.
Quickly, the crew on the other end organized the prop room where the prisoners worked, and the next scene to film was the conversation between Tommy and Red, as well as what they realized after hearing Andy's story.
Although Dennis had a high NG rate in the past few days of shooting in the studio—mostly due to his distractedness, which was why Adrian teased him about wanting to leave—he was exceptionally focused and brilliant while filming these particular scenes.
"He caught his wife in bed with the golf coach and killed them," Freeman delivered the line, and the camera slowly zoomed in on Dennis. Dennis first showed a look of surprise, then became somewhat dazed, staring at Freeman as if unsure of what to say, until Freeman curiously asked, "What's wrong?"
"Very good!" Adrian couldn't help but clap and cheer. In his eyes, familiar with every scene from the previous life, Dennis's performance at this moment was ten times better than in the original version.
After finishing filming here, Robbins adjusted his state, and they shot the next scene. When Robbins began to feel off again, they went back to shooting the other shots. Although this cycle was somewhat bothersome, efficiency was slightly higher than the day before, proving the saying that there is always gain in loss.
Quickly, the day passed. After wrapping up work and discussing a bit with the assistant director and others, Adrian only packed up and left the set when most of the people had already gone.
"Hey, Ed, do you want me to give you a lift out?" Adrian heard familiar laughter as soon as he walked out the studio door. Dennis was sitting in a battery-operated cart parked by the roadside, clearly having waited for some time.
"You," Adrian shook his head with a smile. Without demurring, he hopped into the cart.
Private cars weren't usually allowed inside the studio lot, and transportation was mainly via battery-operated carts. Adrian was no exception, so every time he came, he parked his car at the outside parking lot and rented a battery-operated cart to get in.
"Got a party tonight?" Adrian asked as he watched the roadside scenery move in reverse.
Dennis chuckled, acknowledging with an implied nod.
"As I told you before, you need to figure out the rest on your own," Adrian couldn't help but roll his eyes. "Don't tell me you don't know how to woo a girl?"
"Don't worry, I've got it all figured out, really! I feel that just chatting with you for a bit helps me realize even more," Dennis said with a laugh.
Adrian shook his head with a wry smile. Realizing he couldn't get out now, he resigned himself to a fragmented conversation with Dennis. They didn't talk much, as the parking lot wasn't far from Studio 23, and Dennis wisely left after dropping him off.
Oh, Dennis, what do I ever say about you? Adrian sighed to himself while approaching his car. Just as he was about to open the car door, he spotted a familiar figure flitting by on the street outside the parking lot.
Squinting to see clearly, he was taken aback when he recognized her. After thinking for a few seconds, he put away the keys, picked up his briefcase, and walked toward the figure pacing on the street.
"Hey, Sarah, what brings you here?" Adrian called out in greeting from afar.
The small figure jerked, looking over in surprise. "You are... Mr. Adrian?"
"It's me. It's nice to see you here, Sarah," Adrian walked up and looked the girl up and down. She had grown taller since a few months ago, and her once round face was now more refined. She looked quite pretty in her bright clothes, though she carried the same air of melancholy.
"Nice to see you too, Mr. Adrian," Sarah replied politely, a stark contrast to the girl he once met at the restaurant.
"What are you doing here by yourself? Waiting for your mom again?" Adrian glanced around.
When "Memento" was about to premiere, he had written the girl a letter apologizing for cutting her scenes due to plot requirements. Sarah had replied to assure him it was fine and that she understood. They hadn't contacted each other since, yet here she was.
"Yes," Sarah forced a smile, "I have a small part in a crew at Studio 16. My mom was supposed to pick me up after filming, but I've been waiting for over an hour, and she hasn't shown up."
"I think..." Adrian looked at the girl. "Maybe your mom got delayed and is on her way."
"Yes, I know. She's working at a restaurant in Futelang District, and business is probably peaking right now, so it's understandable she's late," Sarah said, her voice trailing off as she looked down the road with a hint of resentment on her pretty face—though it was clearly not directed at her mother.
Adrian pondered for a moment before pulling a brick-sized cellphone from his briefcase. "Do you have the number for the restaurant where your mom works?"
"I do," Sarah began rummaging through her pockets. "555-7231289."
Adrian dialed, and the call connected quickly. "Hello, is this... Bedwell Restaurant? May I speak to Roselan Gela... Thank you."
After a couple of seconds, Roselan's voice came from the other end.
"Hello, Ms. Roselan, this is Adrian Cowell... Yes, the director from before. I just wrapped up shooting at the studio and saw your daughter here waiting for you... She's fine; don't worry... I understand. How about this, if you agree, I can give Sarah a ride home... Sure, no problem."
He handed the brick-sized phone to Sarah. "Your mom wants to talk to you, Sarah."
"Thank you, Mr. Adrian," Sarah said, taking the phone with both hands and stepping a few paces away to quietly chat with her mother.
Their conversation was brief, and the phone soon returned to Adrian.
"All settled then, Ms. Roselan," Adrian said after receiving confirmation, then smiled and gestured to Sarah as he spoke, "So, Princess Sarah, may I escort you home?"
Caught off guard, Sarah blinked, then burst into laughter. Although she restrained herself quickly, the amused expression was far more attractive than her earlier melancholy.
After getting in the car, Adrian watched as Sarah, seated in the passenger seat, fastened her seatbelt. He started the vehicle and drove away. Initially, neither spoke, and the atmosphere in the car was somewhat stilted. It wasn't until they'd passed a couple of intersections that Adrian commented on today's traffic, and Sarah replied that it was due to fewer traffic lights. Both laughed, and Adrian told a few jokes, finally livening the mood somewhat.
After a journey of several minutes, Adrian safely dropped Sarah at her home in Futelang District.
"Thank you, Mr. Adrian, for bringing me home," Sarah said with a soft sigh, unbuckling her seatbelt and looking at Adrian appreciatively.
"It was no trouble. By the way, I never got to apologize to you directly," Adrian shrugged.
"It's okay; it's understandable... Honestly, regarding that, I should be the one saying thank you," Sarah understood what he referred to, a complicated look flashing in her eyes.
Adrian smiled and said nothing further until Sarah opened the car door to leave. He stopped her. "Oh, Sarah, has it always been your mother acting as your manager?"
"Yes," Sarah nodded, puzzled by his question.
"I suggest finding a professional agent; they could get you more opportunities. If you're interested, I can introduce someone. Also, my film company will start preparing a family-oriented movie after the summer. There's a supporting role for a 13- or 14-year-old girl; I think you might be interested in auditioning," Adrian said earnestly.
Sarah pursed her lips, looking at Adrian for some time before nodding firmly. "I'll consider it, sir."
Watching the girl enter the house, Adrian started the car and drove away. Though "Casper" came to mind, the feasibility of executing it seemed promising. Late last year, he had Laverne secure the adaptation rights for the animated film and drafted an outline to deposit at the Screenwriters' Guild. Now, with new talented writers at the company, they can work on adapting it. A collaboration with Disney, known for family-oriented films, could be tremendously beneficial—securing Sarah in a role might be advantageous too.
(By the way, just a quick note: I couldn't find which company originally produced the "Casper" animation or who owned the rights, nor how it was initially adapted into a film, so just take this part lightly.)
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