"Ten, nine, eight..."

  The vast plain fell into absolute silence. Everyone took their positions, moving according to the pre-arranged plan I had set.

  "Three, two, one, action!" I shouted, and the two opposing forces charged at each other with a deafening roar. The oil barrels buried in the ground were ignited in an instant, sending thick black smoke billowing into the sky. The battlefield was engulfed in chaos, transforming the tranquil plain into a scene of war.

  The Northern Army struggled under the fierce assault of the Southern Army, gradually falling into a disadvantageous position and appearing on the verge of defeat.

  "Camera one, ready—action!"

  At my command, George Bush led his troops in a flanking maneuver from the hillside, charging at the Southern Army. The tide of battle shifted immediately. The Northern Army, which had seemed doomed, found renewed hope. Bush led the charge, his troops following closely behind. The Southern Army was thrown into disarray and ultimately forced into retreat.

  The entire battle scene was wrapped up in less than half an hour.

  I gathered the team to review the footage. James and the others were astounded by my decision to use four cameras for a single battle sequence. In Hollywood at that time, 90% of films were shot with only one camera, with only a select few directors daring to use two. My decision to employ four cameras simultaneously not only captured multiple perspectives of the war but also allowed for in-depth character portrayal and a more immersive depiction of the battle. More importantly, I was working with a limited budget—reshooting such large-scale battle scenes multiple times was out of the question. Using four cameras to film one battle sequence was far more cost-effective than shooting the same battle four times with a single camera. It was an efficient and economical approach—why wouldn’t I do it?

  Among the four cameras, only the one placed within the Southern Army’s ranks had a minor issue. The other three performed exceptionally well, especially Berg’s camera. He had followed my storyboard to the letter and managed to shoot an impressive five-minute-long continuous take. While long takes might be common in the 21st century, back then, when the average Hollywood shot lasted only a few seconds, such a shot would leave a lasting impression.

  Overall, the filming progressed smoothly.

  Next, we moved on to filming scenes in both military camps. Howard, Tim, and Valente played their roles naturally, while James, a seasoned actor, delivered flawless performances. Most scenes were completed in a single take. By the time we wrapped up, it wasn’t even noon.

  "Boss! I have to hand it to you! I’ve been in Hollywood for years, and I’ve never seen a director shoot with such efficiency and precision!" James, covered in dust, gave me a thumbs-up.

  This battle sequence solidified my authority as the director. My calm command, ability to coordinate complex scenes, mastery of cinematography, and skill in guiding actors had earned everyone’s respect—including James’.

  This story has been unlawfully obtained without the author's consent. Report any appearances on Amazon.

  I simply smiled at his praise. If this were the 21st century, even an average second-tier director could pull this off.

  "Berg, what’s on the schedule for this afternoon?" Still eager to continue, I turned to Berg.

  The chubby cinematographer flipped through the storyboard and grinned. "We’re shooting the scene where Bush meets Dietrich at the theater, followed by their bedroom scene later tonight."

  I nodded and instructed Gans, "Wrap up here and call Grant. Let him know we’ll be filming at the city government’s theater this afternoon."

  Gans agreed and set off to prepare the set. He also needed to gather the extras, who would transform from battlefield soldiers into elegant theatergoers.

  Back at the office, I shrugged off my coat and collapsed onto the couch, closing my eyes for a brief rest. My first day as a director had already involved a large-scale battle scene, and I couldn’t help but feel exhilarated. Even with my eyes closed, my mind was filled with images from the storyboard.

  "Boss, may I come in?" A gentle voice drifted in.

  I sat up and saw Julie standing before me.

  "What’s the matter?"

  Julie clutched the script nervously. "I’m a little worried about my scenes this afternoon and evening."

  I took a sip of tea and turned to her. "Why?"

  "I don’t think I’ll do well," she admitted, anxiety written all over her face.

  I gestured for her to sit on the couch and smiled reassuringly. "Julie, acting is simple. You just have to immerse yourself in the role. When I call ‘action,’ imagine yourself as Dietrich—that’s all. Honestly, the afternoon scene isn’t too difficult, but the bedroom scene tonight will be a challenge for you. The key is to relax. Trust me, I’ll be there to guide you through it." I kept encouraging her, and gradually, the tension in her face eased. She thanked me and left to continue studying her lines.

  I lay back down again, but not long after, the phone rang.

  It was Grant. The old man informed me that he had successfully arranged the city government’s theater for our shoot, and Gans had already arrived there. The afternoon shoot could proceed as planned—but there was one issue.

  "What is it?" I asked.

  "The film board wants to observe the shoot."

  D*mn! We had only just started filming, and they already wanted to inspect the set? While I wasn’t worried about their presence, Julie lacked acting experience, and having those officials looming over her would only increase her pressure.

  More importantly, I was concerned about the bedroom scene. Although there wouldn’t be any nudity in the final film, Julie would have to remove her clothes during filming. I didn’t want a bunch of bored officials ogling my actress under the pretense of "observation." So, I told Grant they could observe the afternoon shoot, but the evening scene was off-limits.

  Grant understood and assured me they would be there on time without interfering with the shoot.

  I hung up the phone, exhaled in relief, and headed out for lunch.

  Julie had cooked the meal herself. It was simple but delicious—much better than anything Berg could make.

  After eating, the team rushed to the theater. By the time we arrived, Gans had everything set up and ready to go.

  "Grant said he’ll be here at two with the officials. Should we wait for them before we start?" Berg asked.

  I shook my head. "We’ll shoot as planned. We don’t need to wait for them."

  The scene involved Bush watching a play at the theater when Dietrich approached him. Meanwhile, an assassin from the Southern Army attempted to kill Bush, but Dietrich saved him. This sparked his interest in her, leading them to share a meal and eventually spend the night together.

  Once everyone was in position, I sat behind the monitor and called for action. The theater fell silent, with only the stage performers’ voices echoing through the space. Julie performed exceptionally well, showing no signs of stage fright. For James, a veteran actor, this was effortless. In just over an hour, we wrapped up all the theater shots.

  "Boss, should we wait for the film board officials before shooting the dinner scene?" Berg came over to ask again.

  "There are thirteen shots in this sequence. Let’s start filming—they’ll probably arrive while we’re working," I instructed, leading the crew outside the theater.

  The restaurant scene was set right outside the theater. We had only shot four or five takes when a convoy of sedans pulled up outside.