[Chapter 107: Cliche Love Triangle]
Sophia's footage was beautiful and exquisite, showcasing remarkable artistry. However, this was a documentary, and the most crucial element was its authenticity. Only through authenticity could viewers believe that the stories portrayed in the film were true, and only by believing could they genuinely feel the suspense.
But Sophia's shots were too polished and composed, resembling a woman meticulously presented; beautiful yet artificial, overly stylized. It lacked any realness.
"Come on! Don't just sit there. Say something!" Sophia nudged his shoulder.
"What does this mean? Why are Renee and Matt exchanging glances? They look a bit too close," Link pointed at the screen.
"They're young people. Isn't it normal for them to develop feelings for each other while traveling?" Link's lips twitched.
"And what about Ben's expression? Why does he look so displeased?"
"My idea is that the female lead, Annie, likes the male lead, Mike, while the second male lead, Charlie, has a crush on Annie. Mike and Charlie are friends, and he doesn't want to see Charlie heartbroken, so he intentionally pretends not to notice Annie's feelings."
"What a convoluted mess! This is supposed to be a horror film, not a romance. Who said to insert a romantic subplot, especially such a cliche love triangle? Apart from distracting the audience, what purpose does it serve?"
"I have to do this. Your script has a weak storyline. The first few minutes consist of walking, chatting, or interviewing locals -- it's too monotonous and lacks any dramatic tension. At this rate, no one will want to watch this film."
Sophia stood firm. Link rubbed his forehead. "You might be right. Adding different elements could indeed enhance the film's appeal; many films do this. But in this case, it doesn't fit.
The film's concept is simple: three college students, driven by curiosity, visit Wilton to explore the legend of the Blair Witch. It's a documentary -- two keywords matter: authenticity and suspense. Aside from those points, everything else is expendable."
"No acting required?"
"Sure, as long as those three can deliver a more thrilling storyline while filming. They can act however they want as long as it serves the suspense. All the nitty-gritty details can be cast aside."
"Sophia, you need to understand that we're making an experimental film, not some classic art-house piece or blockbuster. There's no need to overthink things or attribute excessive meaning, ideals, or goals to it. Films at this budget can't support too much weight. Overdoing it will just lead to a collapse, and it'll drive you crazy too."
"Alright, have it your way. I had originally planned to be your assistant on this shoot, but you wanted me to direct. Since you think I can't do it, you take over, and I'll see what you really come up with."
"It's not that I think your work is subpar; it's just not suited for this film. The audience we're targeting is teens and young adults with a strong sense of curiosity who enjoy quick entertainment. They like supernatural stories, not the highbrow elite who would scoff at witch lore. Even the best-crafted piece wouldn't draw their attention," Link explained patiently.
"So that's the reason my dad's The Godfather didn't perform as well as E.T. or Jaws or Home Alone?" Sophia pondered aloud.
"Exactly. It's the same principle."
"Okay, we'll follow your script, but my expectations for your film are way too low. I don't think that audience will be tricked into theaters."
"Who knows," Link shrugged, leaving further explanations aside.
...
Link led Sophia back to the set, finding Renee Zellweger and Matt Damon among the crew, informing them there were issues with the previous footage that needed to be reshot.
However, it wouldn't be a complete redo. Some of Sophia's shots had been good and didn't need reshooting.
...
"Another take?" Ben Affleck didn't express any immediate objections but whispered to Matt Damon.
"I feel this film is going downhill."
"Why's that?"
Matt flipped through the script, which rendered Sophia's earlier version obsolete. Following the original script meant they needed to relearn their lines.
"I've been in Hollywood for over a year and haven't heard of a crew completely reshooting a film post-wrap. This isn't a game. You don't get a second shot if the first goes wrong. If Link is doing this, it's bound to end badly."
"Well, you're just not used to the scene."
Renee chimed in.
"You've only been in Hollywood for six months. Have you really seen many crews do this kind of back-and-forth?"
Ben smirked at Renee's skepticism.
Renee smiled gently, tucking a loose strand of hair behind her ear as she glanced at Link busy in front of the camera. "Guess how many times they shot Paranormal Activity?"
"Wait, could it be more than once?" Matt and Ben asked, surprised.
Suddenly, they recalled that Renee had played a key role in Paranormal Activity and surely knew the ins and outs of that production.
"Of course, it was shot more than once. The initial male lead was Link, and then lead was changed," Renee shared with a grin.
"Link was the lead in the first version, while Jeremy Northam took over for the second. That means Paranormal Activity was shot twice?" Ben asked in disbelief.
"Not quite; based on what I observed, it should've been three times. The film actually has three versions."
"Three versions?!"
"A movie shot three times?!" Matt and Ben were taken aback, nearly shouting.
"Three takes for one film? Is Link making a movie or conducting an experiment on which version ends up the best?" Ben quipped.
"Link openly stated before filming Paranormal Activity that it was an experimental project to hone his skills and gauge audience preferences. It's not unusual for experimental films to be shot two or three times," Renee explained.
"Is that really how films are made?" Ben's eyes brightened, visibly intrigued.
*****
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