Reckitt Ralph I, Writer, Jennifer Lea discussed on Behind The Screen


And really how how do we execute that? And how can we make this story as tight as possible? And we are always brutal with our stories. So really, we just we invited. We empowered people to to start kicking the tires and go all right guys your stories not as good as it can make it better go harder. And I think honestly empowering more people. To have that role created a healthy robust healing for the last ten months of this production. It was balls to the wall. And I have never seen a crew of people work as hard as they have on this movie. It was a big movie, you know. But man, I'm I'm thrilled with what it became. And with the fact that I think so many people prove themselves by stepping up. Jennifer Lea who's now the chief creative at your company joined originally as a writer on ritual Ralph wreckage Ralph so what did she bring to the process, and how do you work with her? Now, I've met Jan the first day of film school at Columbia. We were classmates, and we were both older we started school while just before we were thirty. We're both married and our birthdays were like two days apart. So we we were instant friends, and when I met rich and started working on the first Reckitt Ralph I needed help. Writing the film. I was still living in New York and rich met Jan? And we both liked her and trusted her and thought she was a great writer. And so we brought her into the studio and honestly her job as CEO is. I don't think of it as radically different than what she would just do as our friend, which is push the story. Make the story better have good ideas challenges. Like, that's what we need. We richest been doing this for thirty years. He's no slouch. But what we want is not someone saying this is how you must do your job you want someone saying what about this you ever think of this house? Yes. And I think she's she's an excellent judge of material and just somehow is able to not take her ego of what she would do with the movie, but like what do you guys want? And how can I help you do that? Which is a unique sort of gift. I think because a lot of directors will include myself look at someone go. Well, I'd do it this way. I think you should do this. Could you give an example of maybe something that she suggested she obviously knows his characters very, well, she's great with editing cuts. So there was a moment in the in the movie where toward the end of the second act when everything's gone to hell with their friendship. Ralph went back home back home to the arcade, and sort of sad and his sorrow and moped for a right? They are they they had won the wheel the steering wheel at. Ebay had it's shipped back to the R Cade slaughtering was damaged from the bias that Ralph it put into they go back home. They're greeted as heroes sugar rushes saved. But Bonilla is now very depressed because she doesn't realize it was Ralph, you know, that that destroyed slaughtering and Jensen do they really need to go home. You know, do they really need to go back to the arcade. Do we really need to see that that sugar? Rush has been restored. Because that's not what we're concerned about right now. You know, we're we're concerned about that ticking time bomb of went. And she going to realize that Ralph was the one behind putting that bias into slaughter race. Let's take a look at that. And the more we kind of start to strip things out because that part of the movie was kind of getting kind of slow and low right there, and it should be finished should be accelerating like moving into that third act, and as we do with with these movies a lot we're like, let's try it..

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