Made In Hollywood Chapter 225: Stealing the Scene

"Ladies and gentlen, the Chicago Theatre is honored to be the first to invite... the infamous Chicago murderer, Miss Sin..."

As the passionate voice of the Black actor introduced the scene, dazzling lights illuminated the stage constructed within the studio. The main cara, under the control of John Schwartzman, focused straight ahead as the stage gradually rose. Blonde-haired Roxie and black-haired Velma stood back-to-back, dressed in silver-white leather outfits.

The scene being fild was the final duet performance of the movie. Due to a lack of professional expertise, Duke’s script only provided a brief outline for this part. The choreography and musical arrangent were designed entirely by Lily Fred, incorporating jazz songs like Nowadays and a lively dance piece Hot. While the arrangent and choreography were revamped, they largely followed the progression of the original Chicago stage musical.

This film leaned heavily into nostalgia, which Duke had no objections to. However, as he watched the two female leads on stage, his brow furrowed.

It was the second ti filming this scene, and just like the first, Naomi Watts and Catherine Zeta-Jones perford exceptionally well. Their drive to outshine one another was evident. While the story largely revolved around Roxie’s imagination, it was clear the film had a dual-protagonist structure. Yet, both actresses seed determined to eclipse the other and claim the spotlight as the primary lead.

"Sure, you can be satisfied with the life you have, or you can chase the life you want—even marry Harry..."

Naomi Watts and Catherine Zeta-Jones had turned around, now facing the cara. From the footage captured, their makeup, though flashy and evocative of the 1930s, highlighted their natural assets. With so post-production enhancents, their beauty would undoubtedly captivate audiences.

Beautiful and glamorous won were undoubtedly one of the film’s selling points. Duke had never intended to create an artistic, highbrow musical. This was ant to be a comrcial film with nostalgic elents, and it would cater to the audience’s tastes just as the original Chicago had, which was also steeped in comrcial appeal.

Onstage, Naomi Watts and Catherine Zeta-Jones continued their performance, but Duke’s frown deepened. He lightly tapped the armrest of his chair, hesitating for a mont but ultimately refrained from calling "cut."

The imbalance in their performance was glaring. Zeta-Jones was being overshadowed by Naomi Watts.

The song Nowadays was inherently a Roxie-style piece, carrying a coquettish and languid vibe distinct from Velma’s bold and forthright nature. Despite her efforts, Zeta-Jones’s singing was dominated by Watts.

This imbalance mirrored the reverse of what Duke rembered from the original Chicago. In that version, Zeta-Jones, with her musical theatre background and striking presence, completely outshone the unremarkable Renée Zellweger in shared scenes, creating a significant disparity between the two characters.

Although Zellweger managed to snag a Golden Globe over Zeta-Jones, she was decisively defeated at the more prestigious Oscars.

Watts and Zeta-Jones, while not as skilled as their predecessors, had youth and vitality on their side. Their exceptional appearances were more captivating during musical performances.

When Nowadays ended, the two actresses shed their extravagant leather coats, revealing form-fitting silver mini dresses underneath. As Hot began, the dynamic shifted dramatically.

No matter how hard Naomi Watts tried, her performance couldn’t match that of a forr British dance champion. Zeta-Jones seed intent on reclaiming the spotlight, exuding boundless energy and passion.

The two actresses, dressed similarly, might have appeared harmonious and complentary at first glance. However, a closer look revealed that Roxie was being led entirely by Velma in this dance, with Zeta-Jones’s stage presence exuding power and wildness.

"Cut!"

As the two leads retreated backstage to prepare for their next scene, Duke called for a halt. Watts and Zeta-Jones descended from the stage without acknowledging each other, walking off in opposite directions.

"It’s the sa issue again!" Sophia Coppola approached, arms crossed behind a chair. "What do you think, Duke?"

"If there’s an issue, we solve it."

Tapping the armrest lightly, Duke raised his voice slightly. "Naomi, Kate, co over here."

The two leads, dressed in eye-catching mini dresses, clicked their heels toward the monitor. From Duke’s expression, they could tell he wasn’t satisfied with their performances.

Duke’s sharp gaze swept over them before he replayed the footage. "Watch closely and see where the problem lies."

After a few minutes of playback, Watts and Zeta-Jones remained silent. Duke turned to them. "I don’t care how you sort this out. I want the result I need. If you can’t achieve it, I’ll keep shooting until you do."

Zeta-Jones seed ready to say sothing but wisely stayed quiet when Duke gestured for silence. Like Watts, she left without a word.

"Fifteen minutes break, then we’ll start again!"

Taking a coffee from Tina Fey, Duke sipped it slowly.

From the start of filming in early April, the production had already been underway for fifty days and was behind schedule. Despite having a dedicated choreography team, Duke’s lack of professional expertise posed challenges, even making him question if choosing this project had been a mistake.

No director can be proficient at everything. Duke excelled in managing chaotic action scenes, a skill honed through his previous films. However, the intricate choreography of musicals forced him to rely more on experts, making it harder to streamline the process compared to his earlier projects.

Every director has their own style. A jack-of-all-trades director doesn’t exist. Over the past month, Duke beca more self-aware, realizing that he wasn’t suited for purely artistic films. Even if given a completely artistic project, he would inevitably turn it into a comrcially viable production with popular elents.

Fortunately, Chicago, though carrying a hint of artistry, was inherently a comrcial musical.

"What’s on your mind?"

Seeing Duke deep in thought, Sophia Coppola asked, "Trying to figure out how to make these fa-hungry actresses cooperate?"

Duke shrugged, saying nothing.

"I have a suggestion."

Sophia, one of the few people who dared to joke with Duke on set, said, "Take them to the dressing room, tie them together, and whip them hard with your belt!"

Duke glared at her, then turned his attention back to the stage.

Although he hadn’t ntioned it, his relationship with Naomi Watts had grown distant over the past year. With Chicago’s promotional strategy in mind, Duke didn’t want to maintain any personal ties beyond work. Like most forr Hollywood couples, when mutual benefits no longer existed, they simply went their separate ways.

The only reason he had inford Watts about auditioning for Chicago was to repay an old favor from the fire incident.

After quickly reorganizing, the crew resud filming.

"Cut!"

As Watts and Zeta-Jones rose to the stage and began singing, Duke called another halt. "Start over!"

The actresses returned below the stage, props and lighting were reset, and shooting began anew.

This ti was slightly better; Duke didn’t interrupt until two-thirds into the performance. While it might have passed on a Broadway stage, the cara and big screen magnified even the smallest flaws. The perspectives of film and theatre audiences also differed significantly.

Over the next hour, Duke called "cut" three more tis. The repeated interruptions created a tense and frustrated atmosphere on set.

Once again, Duke summoned Watts and Zeta-Jones. "You’ve been rehearsing together for nearly six months. I don’t care what issues you have, and I don’t want to know. Go to the dressing room and talk it out. If you can’t resolve this, I’ll minimize your close-ups in this scene."

An hour later, the two actresses erged from the dressing room. While the results of the next shoot didn’t completely satisfy Duke, the improvent was noticeable.

That evening, Duke convened Naomi Watts, Catherine Zeta-Jones, dance coach Lily Fred, and a few others to rework the choreography. The following day, after an entire day of shooting, they finally completed the scene.

The production of Chicago was now further behind schedule.

Competition between actresses was notoriously troubleso in Hollywood. While Duke maintained strict control over the set, Watts and Zeta-Jones didn’t dare escalate their rivalry into overt sabotage. In the following week, the team finished their shared scenes and moved on to shooting individual performances.