The dailies were the raw results of the previous day's filming, developed overnight and printed for review. They were uncolored, unedited, and brutally honest.
On the screen, a clapperboard appeared. CLACK
That was Jane, the Script Supervisor, Ronald noted.
The first shot was directed by Allen Arkush and Joe Dante.
The scene played out. Dey Young, playing the "Good Girl" Kate, stood stiffly. When no one called "cut" for a long time, she broke character, glancing nervously at the camera lens.
Then, Ronald's voice barked from the speakers: "Cut!"
Immediately following was the second take, the one Ronald had directed.
CLACK
The action began. It was similar to the previous take, but this time, when the football team thundered past, Dey Young flinched, taking a small, instinctive half-step back. Her expression wasn't just nervous; it was guarded. It was genuine.
It wasn't just Ronald feeling good about it. He heard Julie Corman, the boss's wife, whisper from the front row: "The second take is better."
Next came the scene of Principal Togar threatening the students.
"SCATTER!"
The extras, filmed at 20 frames per second and projected at 24, fled the playground in slightly fast-motion. They looked like characters from a silent Keystone Kops movie...jerky, frantic, bumping into each other. It was chaotic and hilarious.
"That take is very good," Joe Dante said aloud.
Roger Corman, sitting in the center seat, turned around. "Was that your idea, Joe? or Allen's?"
"The undercranking was Jim's idea," Ronald spoke up from the back. "Having them run in opposite directions to create the collision was mine."
"Oh?" Roger raised an eyebrow. "Very interesting..."
He was cut off by another CLACK on screen.
In the dark screening room, Ronald couldn't see faces, but the low murmurs sounded positive.
Then came the dance sequence. Kris and Marla filled the screen, hair flying, hips shaking to the silent beat.
Jerry Zucker, the Second Unit Director, let out a loud "Whoa!" and whistled.
Roger turned around again. "Are these the girls I saw yesterday? They are very photogenic."
"That was Scilla, the choreographer," Ronald said. "She found them among the extras. I thought they popped on camera, so I gave them close-ups."
The next shot showed Vincent Van Patten (Tom) walking out of the building. He moved through the frantic crowd with a stiff, dreamlike slowness, eventually sitting down to eat his breakfast in total isolation.
Roger Corman shifted in his seat. He turned all the way around to look at Ronald.
"That is a brilliant shot," Roger said. "The isolation is palpable. How did you do it?"
"I locked the camera on Vincent," Ronald explained, his voice steady. "I had him move half a beat slower than reality, while everyone else moved at normal speed. It puts him in his own time zone."
The dailies continued.
Finally, the shot of P.J. Soles and Dey Young walking away into the sunset played. The golden rim light caught their hair perfectly. As they faded into the distance, the screen went black, and the overhead lights snapped on.
Roger Corman looked pleased.
Joe Dante stood up, walked over to Ronald, and hugged him. "Well shot, kid. Good work."
"Thanks, Joe."
"Which film school did you go to? USC? NYU?"
It was Jerry Zucker. He leaned over the seat back, grinning.
"Me?" Ronald blinked. "I didn't go to film school. I'm a high school graduate."
"What? High school?" Jerry laughed, loud and incredulous. "You gotta be kidding me. Was your art teacher Spielberg? Did you date Coppola's sister? Is your grandfather John Ford?"
Ronald wasn't sure if he was being praised or mocked.
"I'm kidding," Jerry said, seeing Ronald's expression. But he didn't stop. "Seriously though. Did daddy buy you a Super 8 camera? Did you make movies in the backyard with the cheerleaders? Hahahaha."
Super 8 film cost five dollars a roll, a fortune to Ronald's Aunt Karen.
"No, I don't have...."
"Hahaha, I know! Your family owns a movie theater! You grew up in the projection booth! 'Two tickets, large popcorn, five dollars please!'"
Jerry Zucker was a machine of rapid-fire jokes. He was manic, interrupting before Ronald could finish a sentence. Ronald felt his blood pressure rising.
Jerry, with his receding hairline and prominent teeth, leaned in close, clapping a hand on Ronald's shoulder. "Come on, tell me the secret!"
Ronald felt the heat rushing to his ears. His wrestler's instinct flared. He wanted to grab Jerry's wrist and twist.
Fortunately, reason prevailed. He froze, simply blocking Jerry's arm from wrapping around his neck.
Julie Corman stepped in.
"That's enough, Jerry," she said smoothly, separating them. She turned to Ronald with a warm smile.
"Very well shot, Ronald. I haven't seen such an impressive debut since I produced Boxcar Bertha for Martin Scorsese. He drew beautiful storyboards, just like you."
Ronald flushed, embarrassed by the comparison to Scorsese. "Thank you, Mrs. Corman. You're too kind."
"After we finish the business discussion, come to Roger's office," Julie whispered. "He wants to talk to you."
She patted Ronald's shoulder, signaling for him and Jim to leave. The inner circle needed to discuss the budget and schedule privately.
Ronald and Jim walked out.
Gale Anne Hurd slipped out behind them. She held the door open with her foot and whispered, "Ronnie, Julie really likes you. If you want a credit on this picture, her vote is the one that counts."
Ronald nodded his thanks, and Gale slipped back inside.
Out in the courtyard, Ronald looked at Jim. "So... our dailies weren't bad?"
"Bad? They were excellent," Jim said, lighting a cigarette. "I didn't expect a master shot of a guy eating breakfast to have that much... emotion. It reminded me of Kubrick."
"Roger seemed satisfied. Maybe he'll give us more work."
"Have you decided what you want to do?" Ronald asked.
"I've always been obsessed with special effects," Jim said, exhaling smoke. "I study how Kubrick did the zero-gravity scenes in 2001. Did you know he built a massive centrifuge Ferris wheel for the jogging scene?"
Jim lowered his voice. "Gale told me Roger is planning a big-budget sci-fi film next year. He wants to cash in on Star Wars. I want to be the Special Effects Designer on that crew."
"Really? What's the movie?" Ronald asked, excited for his friend.
"It's called Battle Beyond the Stars," Jim said. "Basically Seven Samurai in space."
"Seven Samurai?" Ronald looked blank.
"Kurosawa? The Japanese director?" Jim sighed. "Okay, have you seen The Magnificent Seven?"
"With the cowboy music? Dun-dun-dun, dun-da-dun, dun-dun-dun..." Ronald hummed the iconic Elmer Bernstein theme.
"Yes. The Magnificent Seven is a remake of Seven Samurai. And we're going to remake it again, but with spaceships."
Jim offered the pack. "Want one?"
"No thanks."
"What about you?" Jim asked. "What's the plan?"
"I think I've got the gig as the Unit Photographer for Rock 'n' Roll High School. I'll take stills for the marketing department. It pays better than PA work, and I can put the photos in my portfolio."
"Sounds solid," Jim said.
"Hey," Ronald grinned. "Let's take a photo together. Call Gale out here."
Authors Note:-
That's chapter 17.
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