[Chapter 141: On Set]
Link did not agree with the prevailing viewpoint. He loved movies, especially classic films, and aspired to create many timeless masterpieces in the future. However, at this stage, he did not pursue artistic integrity in film-making because he lacked the time and funds for such ambitious projects. He believed that with sufficient financial backing, his aspirations would elevate as well, enabling him to craft films that would both resonate with audiences and earn accolades from industry peers.
"Link, you mentioned that shooting low-budget films was a necessity due to limited funding. Does that mean if you had enough money, you could make much better films?" Lesley Stahl asked, holding her notepad.
"Yes, I have complete confidence in that," he replied.
"Link, based on your previous interviews, it seems your film-making skills are primarily self-taught, as you haven't formally studied directing. Where does this confidence come from?"
"Because I'm a genius. Just kidding! After working on a couple of films, I've gained a deeper understanding of the director's role and accumulated some experience. I know how to effectively direct and create films that audiences enjoy. Compared to when I was making Buried, I could practically teach my past self now."
Link said this with confidence. Lesley smiled slightly, "You just mentioned the experience from two films, but some media claim that The Blair Witch Project is also your film. What's your take on that?"
"That's a misconception. I was the planner and investor for that documentary, but not the director. That credit goes to Ed Merrick, who did a fantastic job with The Blair Witch Project," Link chuckled.
Seeing he refused to concede, Lesley began to ask for his views on the future of the film industry and his thoughts on the now-popular 'Link-style films' in Hollywood. Link believed that with the Cold War coming to an end, the global film market was on the brink of rapid growth. The U.S. was the most developed country, boasting the largest film production base and box office market, so he felt that the American and global film industries were only going to improve. The growth in North American box office revenues over recent years supported his perspective.
However, he was skeptical about the rumored 'Link-style' narrative, arguing that excessive pursuit of the trend would lead to a serious lack of uniqueness in films and intensified competition, which he felt would not bode well for the industry. He advised caution in imitating this so-called 'Link model.'
Lesley asked a few more questions, and Link answered them in a composed manner. The interview lasted about 80 minutes. After finishing the CBS interview, Link took a short break before receiving a visit from Graydon Carter, editor-in-chief of Vanity Fair.
---
After several busy days in Los Angeles, facing savvy media representatives, Link felt both mentally and physically drained. Once all the interviews were completed, he briefly left Los Angeles for a vacation in Miami, where he could also check in on the production of Ace Ventura: Pet Detective.
"Hey, superstar! It's great to see you! You've been all over the papers and TV lately. How did you find the time to fly over to the set? Oh wait, you're here to see Monica, right?" Jim Carrey welcomed him enthusiastically as Link arrived on set.
Carrey wore a colorful shirt, paired with black striped pants and styled his hair into an extravagant pompadour, which matched his character's flamboyant persona. Getting into character, Carrey made exaggerated expressions and quirky tones while speaking.
"Yes, I'm here to visit the set. How's the movie going? Any difficulties?" Link inquired.
"No problems with the production itself. The only thing slowing us down is the heat. Just standing here for a bit has me sweating," Jim remarked, wiping his forehead. He was about to wipe his sweat on Link's shirt but suddenly remembered he was speaking with the film's investor, pulling his hand back with a grin.
"Hey there, darling!" Monica approached with a radiant smile, throwing herself into his arms for a passionate kiss.
Monica was also filming today, playing a two-faced character: on the surface, she was Lt. Lois Einhorn, but secretly, she was the mastermind behind the dolphin's kidnapping in the film. Dressed in a tailored gray suit with a white blouse, she exhibited an alluring presence, with an hourglass figure that complemented her red-brown, slightly curly hair, reflecting both professionalism and the essence of a tough cop.
Link hugged her tight, savoring the moment. Seeing they would not wrap up anytime soon, Carrey discreetly stepped aside, stopping director Tom Shadyac from interrupting Link and Monica's intimate moment.
After catching up with Monica and Carrey, the crew resumed shooting.
...
"Scene 34, take one, action!" The sound technician clapped the slate to mark the shot.
Under Shadyac's direction, the cameraman began his work.
"Who let Dr. Doolittle in?" Monica shot an annoyed look at Carrey's character, Ventura, and questioned her associate.
"Ah, Lieutenant. He came with Miss Robinson," came the response.
In the current storyline, Ventura, the pet detective, was investigating the abduction of the dolphin mascot, while Miami Dolphins' team leader, Podacter, had just been murdered. Ventura showed up on the scene, drawing the ire of Lieutenant Einhorn, who expressed her irritation.
Miss Robinson was played by Courteney Cox, who would later become known for her role as Monica Geller in Friends. She was cast after auditions, and both Carrey and director Shadyac thought she was a perfect fit, and Link didn't object.
"This is official police business. We'll let you know if the coroner finds any ticks," Monica said coolly.
The police officers on set burst into laughter, mocking Ventura's profession.
"I just thought since Melissa," one of Ventura's friends advised him.
"E, forget it. She's right. Besides, I wouldn't want someone tracing my steps and pointing out all the mistakes I made," Carrey exaggeratedly stated as he dramatically flipped his hair and left the set.
Monica looked around, her expression a mix of confusion and amusement.
...
"Cut!"
"Jim, keep your facial expressions in check. We're going again," Shadyac called from behind the monitor.
"Tom, why do you always say we're doing it again without telling me where I messed up? How am I supposed to improve if you don't point it out?" Carrey complained, making a funny face.
"How can I help you? Every time, your expression is different. If you could reproduce the same expressions from previous takes, I could guide you, but can you actually replicate what you've done before?" Shadyac replied.
Carrey frowned, looking troubled; clearly, he couldn't achieve that consistency.
He had a habit of becoming overly expressive once he began performing, making exaggerated faces and silly gestures, often improvising. According to him, this style stemmed from his childhood, where he frequently made funny faces to entertain his family. Later, as an actor, he found himself unconsciously adopting these flamboyant expressions in front of the camera.
This quirky acting style was evident in all his works, including The Mask and The Truman Show. While some found it hilarious and entertaining, others thought it was over-the-top and off-putting. This comedic flair established him as a Hollywood A-lister yet also limited his growth.
...
The crew continued filming. During the second take, Carrey's performance proved distinct from the first but remained just as amusing, occasionally eliciting laughter from the crew. Meanwhile, Monica, portraying the antagonist, preserved her icy demeanor towards Ventura, ever wary of him discovering any crucial clues. This character had a complex duality, and Monica, aspiring to hone her craft as a serious actress, worked diligently to deliver a strong performance in this role.
*****
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