The film and distribution industries in France have a relatively well-developed industrial foundation and hold a certain position within the entire European cultural sphere.
After having breakfast, Lyman went out to look for money-making opportunities. He went to a corner newsstand and bought multiple copies of newspapers. Then Lyman found a secluded place to carefully browse through the job listings in the purchased newspapers, hoping to find a suitable position for himself.
His requirements were not high; as long as it was a related job in the film industry, it would do. As for the salary, it just needed to be enough to support himself. Considering his current situation, expanding his network in the film industry was the key. He thought that once he joined a film crew and demonstrated a certain level of ability, someone might be willing to mentor him.
The path had been chosen; now it was up to him to seize the opportunity.
...
After flipping through several newspapers, Lyman meticulously transcribed down several pieces of information that interested him. He would make plans later. When he reached the last newspaper, a large recruitment advertisement occupied the page. Lyman was instantly captivated.
A newly approved film was starting to assemble its crew, openly recruiting various positions such as art director, costume designer, and production assistant. The project was called "The Pianist"!
After reading the recruitment introduction in detail, Lyman was convinced that this was the classic war film. It would win the highest award, the Palme d'Or, at the next Cannes Film Festival and was also nominated for Best Picture at the Oscars that year. If he could join this crew, it would undoubtedly be a great opportunity to enhance his qualifications in the industry.
Just imagining the audience's praise and the honors that would come with the release of the film, how could he, as an insider, not bask in that glory?
Having made up his mind, Lyman immediately hailed a taxi and headed to the recruitment location mentioned in the newspaper.
Upon arrival, he realized that there were quite a few people coming and going. Undoubtedly, the competition was intense. After all, the director, Roman Polanski, was a seasoned filmmaker, having directed a series of acclaimed films such as "Knife in the Water", "Chinatown", and "The Tenant". The establishment of his new film project naturally attracted attention.
Moreover, a production like "The Pianist" with a publicized budget of over 35 million dollars would undoubtedly assemble a sizable crew. The number of behind-the-scenes staff alone would not be insignificant, which was the reason for the public recruitment. Talent agencies couldn't provide such a large number of miscellaneous workers.
"Line up, one by one. Fill out the form first, then proceed to the corresponding position for auditions." A person maintaining order shouted through a small loudspeaker. Upon hearing the announcement, Lyman quickly joined the line, standing at the back.
He roughly estimated that there were at least a few hundred people ahead of him. Such a long queue was like an insurmountable hurdle.
A long time passed, and finally, it was Lyman's turn. After registering his basic information at the reception desk, he received a number, 523, which, according to the receptionist, indicated that he had to go to Studio 3 for the audition.
Entering the large studio, Lyman headed towards the designated area while contemplating which position he should apply for. Considering his strengths and weaknesses, he ultimately decided to apply for the art department of the production crew.
Having watched the film "The Pianist", he was somewhat familiar with its cinematographic style, which could be considered an advantage. Additionally, his composition skills benefited from his dual experience, yielding impressive results. If he could produce a sketch that captured the essence of the film on the spot, it would undoubtedly earn him extra points. Lyman contemplated this silently.
Perhaps due to the relatively low number of people applying for this position, as soon as Lyman entered Studio 3, he was immediately informed by the staff that he could proceed with the interview. It was worth noting that when he arrived, there were still many people waiting outside the main hall.
Gently tapping on the door of an office, Lyman entered after hearing the voice saying "Please come in."
Inside, there were only three people: a middle-aged woman with chestnut-colored short hair, a slightly overweight middle-aged man with some white hair, and a younger man who appeared younger than the previous two. Lyman surmised that he must be the one who had said "Please come in" earlier.
"This way," said the relatively young man, pointing to the chair opposite him, indicating for Lyman to sit down.
"Thank you," Lyman politely responded.
It was apparent that this man held a lower position than the other two, "I am Noé Coriz, responsible for the art and props department of the production crew," he introduced himself and then reiterated the introductions of the other two.
Lyman's guess was correct. The slightly overweight man with white hair was a production manager in charge of coordinating logistical matters on set, while the middle-aged woman was the specific person in charge of the art department.
"Hello, M. Coriz. Hello, Mme. Damiel. Hello, M. Borden," Lyman greeted them all politely.
The two of them merely nodded in response, and Noé Coriz continued, "Let's begin now. First, briefly introduce yourself."
"My name is Lyman Lattes, a local resident of Cannes. I have directed a feature film..."
Lyman quickly recounted his carefully designed resume in concise sentences. With his previous experience in the film industry and the foundation he had built, these experiences were additional points in his favor.
After finishing his introduction, Lyman quietly sat in the chair, awaiting the judgment of the three individuals.
"Is he lying? Would a director with directing experience come here to compete for a small position like an assistant art director?" the middle-aged woman couldn't help but murmur to the slightly overweight man.
"Let's ask," the slightly overweight man didn't draw conclusions too easily. He turned to Lyman and asked, "Could you provide some information about your feature film?"
"Yes..."
Then, Lyman proceeded to provide basic information about the film he had directed from his memory. He even took out the film distribution contract he had signed with Miramax from his document bag to substantiate his claims.
Lyman hadn't anticipated that these documents would come in handy at this moment. He was somewhat relieved that he had the foresight to bring these seemingly useless things with him when he left.
The three individuals took the documents, flipping through them to confirm that Lyman was not lying. "It's true," whispered the slightly overweight man with white hair. Returning the documents, the middle-aged woman carefully examined the applicant in front of her.
She was beholding a young man with a tall and strong physique. Even while sitting there, he exuded a certain pressure derived from his height. His slightly elongated face had ordinary features, and his nose was slightly large, giving his appearance a somewhat uneven quality. His chestnut-colored short hair revealed his forehead completely, and his hairstyle was quite unimpressive.
As a woman, she spent some time observing and automatically noticed many flaws in his appearance.
"Then, why do you want to join the crew of "The Pianist" as an assistant art director when you have directed films yourself?" the middle-aged woman asked, implying her thoughts.
Lyman understood the implication in the middle-aged woman's words. He explained, "After the completion of that film, it took a while for the profits to come in. Combined with my current financial difficulties, joining the crew of "The Pianist" would allow me to gain more production experience. So, I hope I can be a part of such a project."
He lied. The film actually incurred losses, but the three individuals before him were unaware of that fact. It was only reasonable to create a small advantage for himself. He continued to argue, "This is an opportunity that would be greatly beneficial to me. I really want to join this crew and learn from successful individuals like you." Flattering words effortlessly spilled from Lyman's mouth without hesitation.
Noé Coriz nodded lightly. If the decision was in his hands, this person before him was fully qualified to join the crew.
Polite, experienced, and articulate—giving him a chance was not unreasonable.
While Noé Coriz was lost in his thoughts, Mme. Damiel's voice came from the side. "Are you willing to accept a meager salary?" Lyman could tell that the interviewer had a favorable impression of him. As long as he could accept the salary conditions, he would probably be able to join the crew of "The Pianist".
As Mme. Damiel continued, "The shooting will last for approximately four months. During the first two weeks, you will be in an internship position without any salary. After that, you will be paid €300 per week. Meals will be provided by the crew, but accommodation will not be provided for local shoots. Accommodation will be provided for shoots in other locations."
Upon hearing this, Lyman became anxious. Was this labor exploitation? He spoke up, "Mme. Damiel, I have ample experience in art department work; I'm not a novice."
"I know, but the crew budget is tight, and we are only hiring assistant interns for the art department," Mme. Damiel slowly said. "Although the salary is low, the art department workload is not heavy. You will have plenty of free time to wander around the set and learn more about the shooting process of a film like this."
Mme. Damiel's expression, which seemed to be in his favor, made Lyman feel somewhat ridiculous. He had worked on large film productions before, even ones with more staff. He had previously worked as a production assistant in his past life and was very familiar with how a production crew operates. What he said, which was initially meant to secure his entry into the crew, ended up restricting him.
In this situation, what could Lyman say? He was here for his future survival, but how could anyone live on such salary conditions? And to work for free for the first two weeks? It all seemed like a trap. What if he finished the two weeks and was then kicked out of the crew? Lyman had seen such tactics before in his past life, and if that were to happen, it would undoubtedly make his situation even more dire.
"Mme. Damiel, are there any other opportunities available?" Lyman spoke again, unwilling to give up.
"No, these are the conditions for the art department. Perhaps other positions have better conditions," Mme. Damiel responded.
Hearing this, Lyman regained a bit of confidence.
He quickly bid farewell to the three individuals and left the office to inquire about other job openings. However, the results were consistent: a unified response of "no", as the crew had already filled all the positions.