Chapter 73. A Test of Fate?

The gusty wind left no trace in the Nevada desert, where seven V-22 Osprey helicopters, carrying American soldiers, were headed toward the military base.

While empty helicopters might have sufficed, military consultant Lieutenant Colonel Freeman insisted on accuracy, explaining that the flight dynamics of an empty helicopter differ significantly from those of a loaded one. Although the average viewer might not notice the difference, professionals certainly would.

So Eric decided to fully load each helicopter, with about 20 soldiers on board each. In total, around 200 armed American soldiers participated in the filming. Fortunately, this was free labor; otherwise, the costs for extras would have been substantial.

The soldiers, in turn, were thrilled. First, this was their first time participating in a film, which was novel and exciting. Second, being involved in the filming exempted them from training.

Their joy was comparable to that of schoolchildren who are excused from classes to perform some task—a moment every student eagerly anticipates. In the end, it was a mutually beneficial arrangement.

Leading the formation was a Black Hawk helicopter, aboard which were Eric and the camera operator. Other Black Hawks flew alongside and above the Ospreys, carrying additional camera crew members.

In the sky, it's different from on the ground, and multi-camera shooting is impossible, so they had to use the simplest method.

As he observed the Osprey formation, Eric felt something was missing.

"Joe, tell the pilot of V5012 to fly slower and fall back one spot from V5013, and V5015 should move forward," Eric instructed.

The pilot, a man in his thirties named Joe West, relayed Eric's orders through the communication channel.

The Osprey formation immediately adjusted its positions, and now the arrangement looked much better.

"Good, 'Transformers,' take one, action!"

...

Meanwhile, on the ground, preparations for filming were in full swing. Under Colonel Adams' orders, the base was actively involved: dozens of M60 and M1 Abrams tanks were lined up on either side of the road, and numerous armed helicopters and military vehicles were positioned in open areas.

High up on a crane stood the second director, Patty Jenkins, holding a megaphone and coordinating the actions.

"Place the prop in the designated spot," she commanded.

At her direction, a truck arrived, and its rear door opened as wide ramps were lowered to the ground. Everyone waited in anticipation as an 8-meter-tall metal Transformer rolled out of the truck.

A team of prop handlers quickly secured it with hidden locking mechanisms to ensure it stood steadily on the ground. This Transformer was none other than Blackout, the Decepticon that destroys the military base at the beginning of the movie.

To shoot the film at a high level, aside from the special effects by Weta Digital, MGM had invested significant resources into creating props, producing full-scale Transformers. This not only facilitated the filming process but also reduced the costs associated with special effects.

Props were one of the few areas where MGM still maintained the highest standards.

The appearance of Blackout caused a sensation on set. Everyone not involved in handling the props couldn't take their eyes off this impressive Decepticon.

"No way, we're going to work with this?" Gal Gadot exclaimed, her mouth open in amazement.

"I think so. I'm going to go touch it. Are you coming?" said Chris Evans, running toward Blackout.

Everyone followed his lead, including many soldiers who abandoned their tasks and rushed toward the giant robot.

They circled around Blackout, occasionally touching it. If the military didn't prohibit the use of mobile phones, everyone would have spent the day taking selfies, and no work would have been done.

"There will be plenty of opportunities for photos later; don't worry. Please, let us finish setting up first!" Patty Jenkins shouted through the loudspeaker.

However, the young soldiers, most of whom were in their twenties, were so excited by the sight of the Transformer that they didn't listen to her until a lieutenant stepped in to restore order.

"You are soldiers, stop embarrassing yourselves. Follow orders, understood?"

"Yes, sir!"

"Now, according to the instructions of this lady, everyone, return to your positions!"

"Yes, sir!"

Under the authoritative direction of the lieutenant, order was quickly restored.

Patty Jenkins sighed in relief, looking at the lieutenant, who reminded her of scenes from the movie Full Metal Jacket.

At that moment, the roar of rotors filled the air as Eric, along with 11 helicopters, flew over the filming location several times until they captured the perfect shots.

As the Black Hawks began to descend, Eric and the camera operator felt a slight dizziness.

"The flight lasted too long; you need to lie down and rest for a bit. You'll feel better in half an hour," remarked pilot Joe.

When the seven Ospreys landed, Patty shouted through the loudspeaker at maximum volume, "'Transformers,' take two, action!"

The crane quickly rose, and the camera operator on it aimed the camera at the opening hatch of the aircraft, while two cameras on the roofs of SUVs filmed the scene from the sides.

The Osprey doors swung open, and the first shot showed Ryan Reynolds, holding an M16, jumping down. His face and clothes were smeared with dirt, giving the impression that he had just returned from a mission.

He was followed by Michael Fassbender, Tom Hardy, and Ben Foster, who looked tired but determined.

Unfortunately, unlike the actors, the soldiers around them appeared too cheerful, which didn't fit the image of warriors who had just fought in a battle.

"Cut! The expressions are all wrong!" Patty Jenkins yelled, and the director immediately ran over to explain the soldiers' roles to them. After a few minutes, they attempted to shoot the scene again.

But Patty yelled again, "Cut! The faces are still wrong!"

"Guys, I know you don't have acting experience, but try to imagine you've been training all day. If you can't manage that, just lower your heads and don't show any emotion."

"Alright, let's try again. 'Transformers,' take two, action!"

With this small adjustment, the scene was finally shot successfully.

Patty Jenkins continued with the filming. She was an excellent director, and most importantly, Eric had created very detailed storyboards, so she just had to follow the script, and everything went smoothly.

About half an hour later, when the dizziness passed, Eric lifted his head from Gal Gadot's lap.

Feeling her legs, he was the first to leave the resting area.

It was already February, and in just two months, this beauty would be entirely his. Just a little more patience. Let Chloë Sevigny join the filming soon.

Outside, it was already dark. Eric headed to the monitors to review the footage. Everything was perfect, just as he had envisioned.

"Great job, Patty!"

Patty Jenkins smiled, "It's thanks to your excellent storyboards; I just have to follow them. I'm curious, did you really never study directing?"

"Are you suggesting I'm lying? Haven't the media already confirmed that my university doesn't have a film department?"

"Alright, I just don't get it. Do geniuses like you really exist?"

Eric pointed to himself, "Am I not proof?"

"It's a shame this is a military base, and journalists can't be allowed in here. Otherwise, they'd help clear things up, and no one would ever dare to doubt you again."

"Don't worry; when we leave here, you'll have that opportunity."

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