Made In Hollywood

Over the next half month, aside from handling preparations for the advertisement, Duke met with Lily Fred, who was introduced by ICM, several times. They discussed the choreography for *Chicago* in detail, and Duke even visited her theater to see her work firsthand. After a comprehensive evaluation, Duke decided to hire her as the choreographer for the new project.

The details were left to Nancy Josephson, who would handle negotiations with Lily and her agent. With all the preparatory work complete, Duke shifted his focus back to the ad shoot.

By the time September rolled around, the massive ad for the Lauder Group had commenced shooting in the bustling Times Square.

Although the ad would depict a nighttime setting, filming took place in the relatively less crowded morning hours. Changing the background later was a simple post-production task for Duke.

In front of the AMG Theater in Times Square, journalists and photographers were gathered, and a long red carpet stretched far into the distance, lined by fans on both sides.

This wasn't a media event but rather the set for the commercial, with Elizabeth Hurley portraying a movie star in the ad.

Leaving the director's camera, Duke walked across the set one more time. After several adjustments, the set's layout was vivid and vibrant, with a strong visual impact even without the camera lens.

Crossing the red carpet, Duke arrived at the makeup trailer, where Elizabeth Hurley was adjusting her black velvet evening gown with the help of the costume designer. The gown's tight-fitting, backless design accentuated her sensuality.

Duke had never been particularly satisfied with Lauder's spokesperson. Perhaps it was her acting, or maybe her upbringing, but her attempts at elegance always came off as contrived. Fortunately, this was just a commercial, and no one would care about acting issues.

Standing at the trailer door, Duke crossed his arms, his hand resting on his chin as he scrutinized Elizabeth Hurley from head to toe. Since the ad would feature numerous close-ups, even the smallest flaw would be magnified. Elizabeth Hurley, experienced in commercial shoots, understood this and stood calmly, allowing Duke to examine her.

"Lisa, turn around!" Duke motioned for Elizabeth Hurley to show her back.

She turned, revealing the smooth skin of her back, but Duke frowned, feeling something was missing. After a moment's thought, he told the stylist, "Reverse the necklace and let it hang down her back."

The stylist found the necklace and immediately put it on Elizabeth Hurley. Satisfied, Duke nodded as he noticed the pendant, with the stylized "EL" logo of Estée Lauder's Pleasures fragrance, hanging elegantly down her back.

"You've got ten minutes," he said, turning and heading back to the camera.

Back at the camera, Duke gestured to the assistant director Anna Prince and photographer Ben Watts, whom he had specifically called in for the shoot.

"Anna, you're in charge of managing the extras and keeping order on either side of the red carpet."

Seeing the female director, recommended by Irene Lauder, nod seriously, Duke then turned to Ben Watts, with whom he had worked many times before. "Ben, focus on the close-ups—Elizabeth Hurley's back, her glance over her shoulder, her expression. And don't forget, she's wearing the Lauder logo necklace. Make sure you get a close-up of that."

"I got it!" Ben nodded confidently.

Waving them off, Duke noticed Elizabeth Hurley walking onto the red carpet and rushed over for some final instructions.

"Lisa," Duke's voice brooked no argument. "A brief but intense romance is left behind. You need to look deeply emotional, filled with longing. We're on a tight schedule!"

Without waiting for her response, Duke returned to the camera and told Tina Fey, who had been following him, "Notify all departments to finish preparations. We'll start the first take in five minutes!"

Other than Ben Watts, Duke was working with an unfamiliar crew. Even though he had directed four consecutive films, it was impossible to have instant synergy with everyone. The moment the first take began, Duke had to call for a stop.

"Lighting!" Duke shouted to the lighting technician, "Why is the artificial lighting dimming? Keep the lighting intense throughout, no more mistakes!"

With any new team, there are always issues. In the following two test takes, Duke solved minor problems with lighting and sound, but Elizabeth Hurley became the next source of trouble. The train of her vintage gown was too long, and at one point, she nearly tripped, possibly having stepped on the gown's lining.

Over half an hour passed as Duke worked tirelessly to coordinate the crew and find the right rhythm. Despite his vast experience, it still took seven consecutive NGs before they finally captured Elizabeth Hurley ascending the stairs in her gown.

The next part of the shoot was the most critical. Though Elizabeth Hurley wasn't known for her acting, she managed to handle the commercial with few issues. Duke had to pause the shoot several times due to her mannerisms, but after some coaching, the fifth take was good enough to call it a wrap.

Afterward, Irene Lauder, responsible for external coordination, communicated with representatives from the New York City government, allowing the crew to move to the center of Times Square. As Duke busily directed the setup, he instructed Tina Fey to ensure that Elizabeth Hurley changed costumes.

Shooting in such a public location inevitably attracted crowds of onlookers, something Duke had prepared for. Most of the footage would be processed in post-production using montage techniques, creating the commercial from a series of ultra-short clips.

This is, after all, a defining feature of all advertisements. With the limited runtime, ads need to convey as much information as possible in a short period. Strong visual impact and ultra-short clips are essential.

Moreover, advertisements are designed for the masses and must appeal to mainstream tastes. Many cinematic techniques and creative ideas don't work for commercials. Concepts that are too avant-garde or unconventional often lead to failure.

Take, for instance, the ad Duke was preparing. Despite being a grand, luxury production for the Lauder Group, it was, in reality, based on a rather cliché theme.

Elizabeth Hurley played a sought-after movie star, while Leonardo DiCaprio portrayed an ordinary, poor young man.

As for the storyline, it followed a formulaic but widely popular plot.

A movie star enters Times Square to attend an event but, overwhelmed by the media, hops into a taxi and meets an ordinary yet charming man. She follows him to a modest apartment on the top floor of a building, and as they sit atop the "EL" logo on the terrace, they are drawn to each other, and a brief but intense romance unfolds.

After several *Roman Holiday*-esque scenes, the movie star realizes the world is searching for her. She ultimately decides to return to her life, and as she walks the red carpet in Times Square, she looks back with deep emotion at the "EL" on the building. It seems only the fragrance will forever remember their brief but unforgettable love—a love as enduring as Pleasures itself.

The story of a poor boy and a rich girl, or a prince and Cinderella, has always been a timeless theme and remains the safest bet.

Originally, Duke had two ideas, one involving family, but the Lauder Group chose this more conventional concept without hesitation.

Of course, the ad wouldn't end with the couple's separation. The final lines, read by Irene Lauder, would appear at the end, leaving hope for tomorrow.

It's not just a commercial. The Pleasures ad series will evolve from here.

For example, the scene where Elizabeth Hurley is relentlessly pursued by the media is meant to imply that wearing Pleasures fragrance will make any woman the object of everyone's desire.

The still image from the red carpet scene will be the key for the Lauder Group's print ad campaign: Elizabeth Hurley in a black velvet gown, her sensual back adorned with the diamond-studded "EL" necklace, perfectly capturing the essence of Pleasures.

It took a full day to finish the outdoor scenes. The next day, the crew moved to an indoor set, temporarily built in a Long Island gym, to film Leonardo's solo scenes and his interactions with Elizabeth Hurley.

This pace was in line with Duke's plan. Working with a relatively unfamiliar team, they had managed to achieve a decent level of efficiency, and the ad shoot was nearing completion, leaving little time for further collaboration.

Having worked with Duke before, Leonardo understood many of his habits, making the shoot smoother. Leonardo was the perfect model for the ad. Sitting on the "L" of the "EL" logo, with the wind blowing through his golden-brown hair and light shining on his chiseled face, many on the set, especially the women, couldn't help but admire him.

"He's so handsome!"

"Absolutely gorgeous!"

"I want to invite him home tonight."

But as soon as the camera started rolling, all the chatter ceased. Even though it was a temporary crew, they worked hard to accommodate Duke's direction. No one showed any visible resistance. This is the difference between a famous director and an ordinary one.

Without even trying, Duke commanded the respect of everyone, including Elizabeth Hurley and Leonardo DiCaprio.

The second day's shoot went much smoother, and the atmosphere on set was more relaxed. By mid-afternoon, after capturing the scene of Elizabeth Hurley and Leonardo DiCaprio sharing a passionate kiss, the commercial shoot was officially wrapped.

While the pre-production phase had taken more than two weeks, the actual shooting lasted just two days. Duke had no plans to rest. He instructed Irene Lauder to inform the post-production studio to prepare to start the next day. Elizabeth Hurley and Leonardo DiCaprio still needed to record voiceovers and couldn't leave New York just yet.

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