Hollywood Art: System of sunnys

January 17, 1996.

-Mr. Fincher, it's a pleasure that you are involved with the Alien movie. If you need any assistance, I'm willing to help, - Billy said, shaking the director's hand. Fincher suspected Billy's interest was tied to Monica being there, but Billy had a bigger plan: to create an animated series of Alien, bringing Pixar into the world of horror. However, it would be easier to achieve this with 2D animation for a series.

-Well, I hope the franchise develops just as I’ve envisioned, - David commented.

Billy, eager to assist, offered a small suggestion.

-I think your suspenseful lens could take the franchise to a new level... the first one was so anticipated for the fear it instilled, and your ability to twist things and pull people into that suspense is remarkable, - Billy remarked, bouncing ideas off David as they continued their conversation. The gathering was small by Hollywood standards, held at Winona’s house, but the place was packed with people.

Billy reflected on the idea of an Alien miniseries, introducing a reverse angle, similar to what the comics had done, a horror series that could be released around 2007—seven years later when technology and advancements would allow for the best series possible.

-A suspense series... that’s a good idea. I’ve been thinking of some things, but there’s a lot to consider. This franchise drives me to the edge, - David responded, clearly exhausted. The producers were strict, dissecting every word he said in a way that frustrated him.

-I recognize your talent. You're a person with immense skill... I know this won't be the end. Plus, the reviews for Se7en are fantastic. I think we’ve got a classic on our hands,- Billy said, offering his support to David Fincher.

Monica couldn’t stop fantasizing; Billy could see the sparkle in her eyes at the thought of being part of such a massive franchise... and, of course, earning her own money, from her pocket, only made her more at ease. With each step she took, her marine-style outfit highlighted her stunning figure. She was a vision of elegance, her beauty not lost on the crew members.

-I’ve got to head over to Regency, three blocks down... I’ll see you when filming wraps, darling, - Billy said, kissing Monica. She, as always, sweetly returned his affection, resting her head against his chest. Billy couldn’t resist giving her a few more kisses—three quick ones and two slow ones filled with love.

-There's an Italian restaurant... -

-We’ll go. Bring Winona if you’d like, or we can go alone. Get a reservation... or let Winona handle it, darling, - he said.

In the movie, Winona plays a cargo handler, and Monica is a rebellious pilot with a short, edgy haircut that showcases a stunning new look—bold and sharp, she is a true '90s angel. Together, they were like an iron curtain. Both gave stellar performances, improving with each scene. Their effort and dedication began to show real progress, step by step.

-Alright, let’s start the rehearsal, - David Fincher’s assistant announced. A project like this was designed specifically for green screen work and intricate sets, which required months of hard work. David planned to shoot some scenes in the first week to get a feel for the style, and then follow up with the selection of templates, color palettes, and CGI requests.

Two months later, they would film in a flash and wait as long as necessary to finalize all the CGI details. The movie was set for release on October 25, 1997, aligning with the festive season.

***

It’s impressive how a process, driven by the director and his producers, can lead to such a long-lasting, intense storyline—full of special activities, with a filming schedule that Billy considers one of the best in the business. He was eyeing Regency, or the owners of that company, for acquisition, with plans to boost their production of films. To surpass the big studios, he needed two or three smaller studios producing "independent" or "low-budget" films to generate content not only for his TV channels.

-Let’s do this! - they shouted before filming. It was a complete spectacle—everyone was cheering, some with strange, immature excitement. At the start of filming, everyone was calculating every single moment with mathematical precision.

Scene 39, Take 3

INT. HOLLYWOOD LIQUOR - DAY

The last time we saw the shop owner was on Christmas Eve. He looks up from a customer as Bud strides in, badge front and center, with Billy following. Billy’s face is contorted with anger, his irritation clear for all to see, captivating those around him with his intense expression.

BUD: I need an address for one of your clients. Her name was Lynn.

OWNER: That’s all I have to go on?

BUD: Yes. And I think you already know who I’m talking about, so just tell me.

Bud’s tone is sharp, and more aggressive than usual, a change in demeanor not typically seen from him.

OWNER: Lynn Bracken. There’s a billing address and a delivery address.

BUD: Give me both. Billing first.

Cut! – Curtis shouted.

As they quickly transitioned to the next scene, Kevin Spacey prepared for his fast takes. His scene was intense and fast-paced, set for later in the afternoon. Billy took the last scene at a rented mansion belonging to Anson Michan's friend.

EXT. 1184 GRETNA GREEN, BRENTWOOD (PATCHETT'S) - DAY

A large pink Spanish mansion adorned with many tiles. The last time we saw it was outside Hollywood Liquor on Christmas Eve. Pierce Patchett is in the front yard, hitting golf balls into a koi pond. They land in a tight cluster. As he lines up his shot:

BUD (O.S.): You must kill it at the country club.

Bud is halfway across the lawn. Patchett notices the handcuffs on Bud's belt. Patchett remains calm.

BUD: Are you Pierce Patchett?

PATCHETT: I am. Are you soliciting for police charities? Last time, you called my office.

BUD: I'm a homicide detective. Where were you last night?

PATCHETT: I was here, hosting a party. Who was killed, and why do you think I can help?

BUD: Richard Stensland.

PATCHETT: I don’t know him. Mr...?

BUD: Officer White. What about Susan Lefferts? Do you know her?

PATCHETT (sighs, gives in): You know I do, or you wouldn’t be here. How’d you find me?

The tension between them builds, and standing nearby is the stunning blonde, Kim Basinger.

BUD: We met at the door of Hollywood Liquor on Christmas Eve. This is where Lynn Bracken’s alcohol bills are sent.

PATCHETT: Of course...

BUD: Sue Lefferts was killed at the Nite Owl. I’m investigating.

Billy’s performance here was subtle but powerful, impressing the actor playing Patchett. For a fleeting moment, Patchett broke from his typically calm demeanor and raised an eyebrow—a brief but remarkable reaction, noted by Curtis, the director, as a standout moment.

Patchett studies Bud for a moment, weighing his options. Patchett’s hulking BODYGUARD steps out of the house.

BODYGUARD: Everything okay, Mr. Patchett?

PATCHETT (waves him off): It’s fine, Philip. Thanks.

BUD: Where’s the other guy? Buzz.

PATCHETT: He doesn’t work for me anymore.

(pauses)

Find Susan’s killer, Mr. White. I’ll reward you generously. Whatever you want.

If only Jack had been here to hear that.

BUD: Thanks, but no thanks.

PATCHETT: Against your code?

BUD: I don’t have one. Lefferts looked beaten up on Christmas Eve, but she didn’t act like it. How’s that possible?

PATCHETT: Are you interested in crimes peripheral to Susan’s murder?

BUD: No.

PATCHETT: So you wouldn’t feel obligated to report them?

BUD: Correct.

PATCHETT: Then listen carefully, because I’ll only say this once, and if it gets repeated, I’ll deny it. I run an escort service. Lynn Bracken is one of my girls, and so was Susan Lefferts. I treat my girls very well. I have grown daughters myself, and I don’t like the idea of women suffering. I believe you share that sentiment.

BUD (ignoring the comment): Why were Lefferts’ eyes blackened?

PATCHETT: I believe she was hit in the face with a tennis racket. She was... is... a big fan of doubles.

BUD: Want to go downtown and discuss this officially?

PATCHETT: Wait. Is our deal still in place?

Bud nods, his patience wearing thin.

PATCHETT: I needed a Rita Hayworth to complete my little collection.

BUD: What collection?

PATCHETT: There’s Gardner, Hepburn, Grable, Turner. Lynn Bracken is my Veronica Lake. I use girls who resemble movie stars. Sometimes, I hire a plastic surgeon.

BUD: That’s why her mother couldn’t identify her... God.

PATCHETT: No, Mr. White. Pierce Morehouse Patchett. I feel like you’re on your best behavior, but that’s all I’m giving you. If you push it, you’ll talk to my lawyer. Now, do you want Miss Bracken’s address? I doubt she knows anything, but...

BUD: I’ve got her address.

PATCHETT: Of course... this is personal for you, isn’t it, Mr. White?

Bud turns and heads down the path. Patchett hits his golf ball. It lands just beyond the koi pond, joining the others. Ice cold.

Cut!

...

It was fast and smooth—the scene wrapped with time to spare. This time, things took an unexpected turn. Billy had a pleasant conversation with the director, and through it, he saw another opportunity. Arnon Michan was the man Billy needed for his company. He was professional, no-nonsense, and not one to brown-nose, which didn’t always win him friends.

-Help me become a producer, - Billy said after a long conversation.

-What do you mean? - the calm, composed man asked.

-I have a few films to shoot, but not many good producers can handle everything. If your salary fits my independent project’s budget, I want you on board. I’m working on a fast-paced project, and your experience would be invaluable, - Billy explained.

-Oh, and what might this new project be that I may or may not be included in? - Anson asked.

-I’m still shaping it, but the proposal will be ready by the end of the year or early next,- Billy replied.

...