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(Robert Altman made one of his many trips to Seattle for that premiere, and hosted the world premiere of "3 Women" at the same theater.) "Choose Me" had also been a smash at the Seattle International Film Festival, of which I was a co-director/programmer. I can't remember how I had met Alan Rudolph, but I had interviewed him a few times and he had the world premiere his first film, "Welcome to L.A." (1977) in Seattle at the Harvard Exit Theater. Here's the behind-the-scenes set-up: I was having the time of my life booking first-run "art films" at my friend Ann Browder's 250-seat Market Theater, formerly the Pike Place Cinema in the cobblestone Lower Post Alley in Seattle's historic Pike Place Farmer's Market. But I did share screen space with Singer ("Footloose," "Short Cuts") - and Kristofferson, for at least a few 24 fps frames. Well, OK, I appeared in the background of a few shots. We have in the past examined my stunning and unforgettable cameo appearance in David Mamet's 1987 directorial debut feature "House of Games." What you may not know is that I also co-starred with Kris Kristofferson, Keith Carradine, Genevieve Bujold, Lori Singer, Joe Morton and Divine in Alan Rudolph's 1986 "Trouble in Mind," which was also shot in Seattle. An assistant is made to run (literally, and in high heels) for the mail, and then - before she even has a chance to catch her breath - to park an executive's car.
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The most powerful arrive by car high-end models pervade the mise-en-scène in all of the take's exterior moments. The political hierarchy is highlighted through dialog and interactions that expose the value system of Hollywood. Writers come and go (some invited, some not) as do executives, pages, and assistants. The camera tracks back to reveal its location on a Hollywood studio lot where movies are described not in accolades of quality, but of quantity with an oversized sign that reads, "Movies, now more than ever." action" informing the audience that the film should be viewed as a construct, a film. We hear the sounds of a film crew before a clapper pops into the frame. The first image in this extended opening shot is of a film set-a painting of one, to be precise. With its prolonged shot length, the take is also designed as a means to introduce the bevy of players who work on the lot and to setup the film's general plot-or at least its tone-as a thriller/murder mystery.
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The opening shot of Robert Altman's "The Player" establishes the film as a self-reflexive deconstruction of the Hollywood system and those who run it.