Thursday had arrived, and all production activities were running as usual. However, one issue continued to irritate Eric: Michael Jackson's haters kept leaving derogatory comments on MGM's official website.
Moreover, many classic MGM films like Gone with the Wind, Ben-Hur, and Tom and Jerry were being deliberately downvoted. Some local TV channels even received letters urging them to boycott these films.
These ignorant people didn't seem to realize that most of the films they were boycotting no longer belonged to MGM but were owned by Warner Bros. It was both laughable and sad.
Meanwhile, the casting for the low-budget thriller Don't Breathe was completed. A British trio had auditioned for the roles of the two male burglars.
These roles didn't require any special skills, so almost any young actor could have played them. There was no need to adhere to the original film's casting; if the characters didn't quite fit, they could simply be altered.
These roles were far from high-caliber villains like Hannibal or powerful machines like the T-800, who leave lasting impressions. These characters were easily replaceable.
Ultimately, Tom Hardy, who exuded a certain roughness and roguish charm, successfully landed the role of the "psycho" Alex, one of the burglars. Michael Fassbender was cast as the impulsive burglar Money, the first to meet his end. Evangeline Lilly took on the role of the female burglar Rocky. At the time, she wasn't well-known, and her debut as the superhero Wasp in the Marvel Cinematic Universe was still more than a decade away.
The previous year, she had only started appearing on television, landing minor roles in films. However, she managed to play a small part in the popular film Freddy vs. Jason, where her character was killed by Jason.
Landing a lead role in Don't Breathe was a huge achievement for her, and she was thrilled.
The three actors signed a four-film contract with MGM, effectively binding them to the studio. For up-and-coming actors, this was a great opportunity.
The most significant role in the film, that of the blind war veteran, was offered to Dolph Lundgren. To say he "won" the role wasn't entirely accurate; he was simply sent the script and invited to a reading, which he accepted.
He commanded the highest fee in the film—$1.8 million—while Fassbender and Hardy received $70,000 each, and Lilly was paid only $20,000.
Some might have thought that for an old action star like Lundgren, taking on such a low-budget film was a step down. However, that assumption would be wrong. The golden age of action films starring actors like Lundgren had passed. The '80s and '90s were their heyday.
At this point, Lundgren was 46, and the movies he appeared in no longer made it to theaters but were released directly to TV or DVD. Among the old guard of action heroes, only a few, like Bruce Willis and Sylvester Stallone, could still land leading roles in major films.
Times had changed!
As for the director, there were several candidates. Even a few well-known thriller directors had considered the project, but upon seeing the budget, they lost interest.
Even $10 million for production wasn't enough to entice them. They would only be drawn in by profit shares if they believed the film could become the next Blair Witch Project or Saw.
Ultimately, the director's role went to Tim Miller, who had released his first short film the previous year. Although he wasn't yet well-known, he would go on to direct and produce successful projects like Deadpool and Love, Death & Robots.
Today on the MGM lot, they were shooting the scene of Emma and Adèle's first encounter on the street. This fleeting glance would become one of the most iconic moments in lesbian cinema, ensuring the characters' immortal fame.
The scene was significant, though not long. Filming on location would have been too costly, so they decided to rent space at Universal Studios.
Although MGM had its own studio, it didn't have as large a production facility.
Andrea walked around the set, checking the readiness of various departments. Over the past few days, she had grown accustomed to Eric's rhythm. He would direct for half the day and then leave to attend to other matters, providing necessary instructions only by phone.
Andrea, who had never seen this approach from a lead director, was amazed. It was her first experience directing a feature film, and she felt both nervous and excited.
Following the storyboard, she shot everything exactly as scripted. Fortunately, Eric approved of her work and praised the additional touches she had introduced.
Andrea, who was over forty, felt a sense of relief. Although she was twice Eric's age, the difference in their status and experience in the industry made her extremely cautious.
After a successful day of filming, she finally managed to relax and felt more confident working with the team.
"James, what have you been up to lately?" Eric asked.
James McAvoy pointed eastward.
"Eric, after finishing my role in Transformers, I went back to England. Patty was in charge of the shoot, so I didn't bother you then."
"When I got back, I rehearsed a play, but unfortunately, we only performed it three times in a small theater, and almost no one came."
McAvoy lowered his head, embarrassed.
"Don't worry, theater is an excellent way to hone your acting skills. Even if the result isn't always visible, it's a step in the right direction," Eric reassured him.
"Yes, I think so too. Eric, are there any new projects at MGM that I could join?"
"I'm not insisting on just films; I'd be up for a series too. I've been watching The Walking Dead and haven't missed a single episode."
McAvoy looked at Eric hopefully. He had already heard from Tom Hardy that both he and Michael Fassbender had signed contracts with MGM, meaning they no longer had to worry about roles or staying in the spotlight.
However, James hadn't passed the casting, and after Blue is the Warmest Colour wrapped up, he would have to return to England. Perhaps by the end of the year, when Transformers came out, he would be invited back. But what would he do for the next six months? Would he really have to spend all that time in theater school or with a temporary troupe?
McAvoy knew he had only a few days to secure a chance. And everything depended on this young and talented director.
Eric thought for a moment but couldn't come up with a suitable role for McAvoy. The lead role in "Happy Death Day" might have fit, but it had already been taken by Benjamin McKenzie, and the contract was signed.
"Sorry, James, I don't have a role for you at the moment," Eric admitted.
McAvoy sighed in disappointment:
"That's alright, Eric. After all, this is Hollywood—every day, dozens of new films start production. I'm sure I'll find something. And if not, I'll head back to England and do some theater work."
Eric patted him on the shoulder:
"If something comes up, I'll definitely let you know."
"Thanks, Eric."
At that moment, Neil Blomkamp approached:
"Eric, we're ready to start."
James McAvoy went back to his place and sat down on a small chair.
"Blue Is the Warmest Color," Scene Nine, take one!
The set, previously quiet, suddenly came to life. Cars drove by, and extras moved around like real passersby.
At this point in the story, Adele was going through a period of coming to terms with her sexual orientation, but her friend had deceived her, playing with her emotions. She felt empty inside, and her steps were full of distraction.
The camera followed Ashley, who, with a backpack slung over one shoulder, exited the revolving door and hurried away. At first, the focus was on her feet, her brisk pace emphasizing her impatience and anxiety.
Then, the camera panned up to her face, showing her irritated glances around.
"Cut! Ashley, your expression isn't right. I need it to be more distracted, helpless—not so sharp," Eric instructed.
Ashley gave the "OK" gesture, and filming resumed.
On screen, her expression became more distant, as if she had just woken up, creating a sense of confusion.
"Cut! That's too much. You're just confused, not startled from sleep. Frown a little—give me a subtle sadness."
They reshot the scene, and Ashley's expression changed, though now it looked too sad.
"Cut! Not bad, but try to make it a little less sad. Also, what's going on with your hair? It's too smooth—make it a bit messier."
"Mary, your hairstyle also needs a tweak. It should be neater. We're contrasting your states of being, understand?"
Four makeup artists rushed over to adjust the actresses' hair. A few minutes later, everything was corrected.
Shooting an art-house film takes much more effort than a commercial one. If Eric were filming Transformers, he wouldn't focus on such small details.
After nineteen takes of the walking scene, Eric was finally satisfied.
"Alright, take five."
Everyone breathed a sigh of relief.
Ashley rubbed her face:
"He's being extra strict today—my facial muscles are starting to hurt."
"Maybe you're not acting well? We just had that professional acting workshop," Mary teased.
Ashley glanced at her sister:
"Oh yeah? Well, let's see how you do next."
Just then, Judy appeared:
"Ashley, are your facial muscles sore? Let me help—I'm trained in professional massage."
Ashley took a step back:
"No thanks, I can manage on my own."
She had already heard from the crew about Judy's preferences and now understood why Judy always looked at her with a strange expression.
"It's no big deal. Let me help," Judy said, already placing her hands on Ashley's cheeks and gently massaging them.
"I told you I know what I'm doing. I used to work at a fitness center where massage was part of my main duties."
Ashley squinted, enjoying the sensations. She did feel better, and decided Judy's help wasn't so bad after all.
"Mmm…"
Five minutes later, filming resumed.
"Blue Is the Warmest Color," Scene Ten, take one!
Ashley approached the edge of the sidewalk, where her attention was drawn to a girl with blue hair, who was openly embracing another girl, clearly showing their romantic connection.
The camera zoomed in. Mary first whispered something softly to the extras, then lifted her head and flashed a dazzling smile.
"Perfect! That's exactly the smile I wanted. One more time, but make it even brighter."
In the second take, Mary smiled even more freely and confidently. Her short blue hair and jacket highlighted her sunny, self-assured personality.
The camera switched back to Ashley, who showed a hint of surprise, as if pondering how someone could so openly express their orientation in public.
"Good, that take works. Moving to the next shot!"
Two takes, and the scene was complete. Mary felt a sense of inner satisfaction.
"Not so hard, and Ashley had to redo it nineteen times. It was exhausting to watch."
Now it was time for the iconic scene where their eyes meet. The crew set up several cameras to capture every detail.
The traffic light turned green, and the two girls began walking toward each other. But they had only taken a few steps when Eric called for a halt.
"Mary, your expression and movements are crucial here. Don't just walk—make a gesture, like you're fixing your hair."
In the second take, Mary complied, elegantly tucking a strand of hair behind her ear, revealing her smooth chin.
"Cut! Something's off with your face," Eric interrupted again.
Mary looked puzzled:
"What's wrong, director?"
Eric stared at the monitor for a few seconds before replying:
"Take off those earrings. You're playing the dominant role in the relationship, and those earrings are too soft. Swap them for something sharper."
The props team quickly approached, and after a discussion with Eric and Andrea, they selected new earrings.
Is this shot really that important? In the context of an art-house film, this might seem overly strict. But for Eric, this moment was too significant to leave unchecked.
After the earrings were swapped, filming resumed.
This time, they captured the eye-contact moment, but the scene was stopped again.
"Mary, your gaze needs to be more seductive. You need to understand that Adele is just like you."
"Mary, put your hand in your pocket—add some coolness."
"Mary, take your hand out of your pocket—be a bit more relaxed."
"Mary, hold the look longer; your actions are too quick!"
"Mary, your facial expression? Lift the corners of your lips, but not too much—I want a slight smile."
"Mary, are you trying to eat her? Soften the look."
"Mary…"
"Mary…"
"Mary…"
After twenty-five takes of the scene, Andrea reminded:
"Director, let's take a break. We need to let everyone relax and reset the mood."
Eric glanced at the monitor. Mary's face had started twitching involuntarily; he realized she was close to her limit.
"Ten-minute break!" he called out.
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