Domination in America, Starting from being a Boxing Champion-Chapter 462 - 380 Filming Captain America_2

Jennifer became an Academy Award-winning actress with "Silver Linings Playbook" and rocketed to the top tier of Hollywood actresses with "The Hunger Games Trilogy," earning a paycheck of over twenty million.

When Jennifer made money, it meant Palm Bay Talent Agency made money too.

Link thought it appropriate to give Catherine a heads-up to see which movie company owned the film rights.

After breakfast, Jennifer headed to director Russell's studio in New York to discuss her role, while Link drove her there before continuing to Brooklyn to resume filming "Captain America."

At the beginning of the movie, Captain America Steve Rogers is a skinny, sickly young man who has applied to join the American military several times and keeps getting rejected due to his poor health, often being bullied by others.

Because Link was tall and strong, even losing weight didn't make him look thin and frail enough.

To solve this issue, the crew initially wanted to use CG effects to alter his physique, but after several trials, they found the results unsatisfactory. They had to find two body doubles who were thin and frail and then splice together their performances with Link's through editing techniques.

This led to slow progress in the early stages of filming; they could only shoot one or two scenes a day. Link had been on set for nearly ten days and had only completed eight scenes.

"Scene 9, shot 3, take 1, action!"

On a long street in the Brooklyn set of the "Captain America" crew, Link sat in a car from the World War II era, gazing out at the alley through the window, and said to Agent Peggy Carter beside him,

"I don't understand why a dame like you would join the army, oh, no, I mean a lady, an agent, not a dame, you're very pretty, but..."

Link stuttered out nervously.

Dressed in a military uniform, Ms. Peggy Carter turned to look at him, "You have no idea how to talk to a woman, do you?"

"That's the longest sentence I've ever said to a woman."

Link looked down at his fingers, feeling downcast and somewhat insecure, and said, "Girls wouldn't want to dance with someone who steps on their feet."

"You could give it a try,"

said Ms. Carter.

"No, just the thought of asking a girl to dance is terrifying. I've been waiting for years."

"Waiting for what?"

"The right partner."

Link hesitated before saying.

"Cut!"

"Let's keep that one and go for another take."

"Link, make your voice softer. In Steve's eyes, Agent Carter is like a goddess. He's feeling insecure and sensitive when he's with Ms. Carter. Your voice is too strong and could ruin that feeling,"

director Joe Johnston called out after reviewing the take.

"OK!"

Link nodded and went back to the car to perform again.

Director Johnston rested his chin in his hand, continuing to watch Link's performance with Hayley Atwell.

Actually, Link hadn't performed badly just now, but before collaborating with Link, he had specially called Director Woody Allen to ask about his approach to working with Link.

With gritted teeth, Director Woody Allen told him that Link was the type of actor who needed to be squeezed like an olive; the more pressure applied, the better he would perform. If he were coddled, he would become a third-rate actor. So, when working with him, one must never go easy on him.

After listening, Director Johnston had an epiphany, realizing that working with Link would probably be quite strenuous.

Every director has their style: some are good-tempered, others bad-tempered; some swear at actors when things don't go smoothly on set, others prefer to give them the cold shoulder.

Director Johnston believed himself to be rather even-tempered, but trying to press down a superstar every day on set was challenging work.

For this, he had sought advice from several directors known for their temper.

He asked them how to critique actors in a way that was harsh, yet wouldn't hurt their self-esteem.

Some directors said one thing, others something else; the ones he was on good terms with directly cursed him, accusing him of mocking them.

Director Johnston did a lot of preparation before shooting, but once filming started, he found that there was no need for it.

Link's performance had matured a lot since "Fighter." Simple scenes required only one take to get right, which was no worse than some seasoned actors from the same crew, leaving no need for repression.

This left Director Johnston both relieved and somewhat disappointed.

However, to prevent Link from becoming complacent, he was more demanding during shooting, offering comments after each take to put a little pressure on Link.

After a few scenes together, he found this method to be quite effective. Amid the constant pressure, Link's performance steadily improved, and occasionally, he gave an explosive performance.

Besides, during filming, he discovered that Link's emotional scenes were more nuanced and explosive than his action scenes, which surprised him. How could a world boxing champion excel more at emotional acting?

Director Johnston shook his head as he watched Link and Hayley Atwell's performance on the monitor, and suddenly remembered something. He called over his assistant, Doug Coleman, and instructed him to keep an eye on Link to make sure he didn't get too close to Hayley. He also alerted both of their agents, hoping the two would maintain a distance until the film wrapped.

In this film, Captain America and Agent Carter are the kind of lovers who yearn for each other without fulfillment. By preventing Link and Hayley from getting intimate during shooting, he could better maintain that sense of longing.

If they really ended up in bed, Director Johnston was worried that their performance in romantic scenes would be compromised.

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"Cut!"

"Keep it! Next scene!"

After wrapping up in the afternoon, Link changed out of his military uniform, ready to chat with Miss Atwell about tomorrow's scenes, but they were soon pulled apart by their respective agents.

Ms. Anna told him that it was Director Johnston's instructions; given his reputation as a playboy, he should stay away from the leading lady during shooting to avoid any scandals and aid the completion of their upcoming scenes.

Link felt helpless upon hearing this. He was only a person with strong desires, not a cad who flirted with every woman he saw. Director Johnston's arrangements seemed quite unnecessary, and on this matter, he also saw the shadow of Director Woody Allen.

He called Allen to ask about the post-production of "Midnight in Paris" and when it would be released. Allen's reply was simple, saying it was early days and to just wait.

Link asked about his own performance and whether he had a chance at the Oscars. If so, he'd like to have Harvey Weinstein do some lobbying.

Allen told him he was dreaming; actor Peter O'Toole had been nominated for Best Actor eight times without winning. With Link's situation, he'd need at least eighteen nominations before having a chance at winning, and he should not be in a hurry.