The aroma of freshly brewed coffee mingled with the unspoken tension of the room. Richard could feel the weight of his words hanging in the space between him and the renowned filmmaker seated across the table. Taking a sip of his coffee, he watched as Francis Ford Coppola read the script with an intensity that bordered on reverence.
“Well, Richard, I have to say, this is an excellent script. When Steven recommended it to me, I didn’t think it would be this good,” Coppola said, breaking the silence with a kind chuckle.
Richard smiled, grateful for the praise but trying to keep visible excitement in check. “As long as you liked it, Mr. Coppola.”
“Oh, I like the script alright,” he mused, placing the pages before him. “If there’s any problem, I will definitely direct it.”
“Great, happy cooperation, Mr. Coppola,” Richard replied, extending his hand for a shake, a simple gesture that felt monumental.
“Happily,” Coppola said, clasping Richard’s hand with the vigor of a man who had faced many battles in the industry.
The day after the celebration party, Steven received the script and was impressed. However, with another film project on his plate, he agreed to be a co-producer and recommended the script to Martin Scorsese.
However, Scorsese was already buried in a different project, and the script wound its way to Coppola, who was free and eager to take on new ventures.
When Coppola read the script synopsis, he was immediately intrigued and invited Richard and his team to his house to discuss the project further. As they sat down in his living room, Coppola got straight to the point. "So, what's the budget for this film?"
Richard took a deep breath 'Here comes the main part.'
Ari answers instead of him, "About 20 million. Half of it my client will invest and the other half will be invested by Amblin and Universal."
In Hollywood, secrets were hard to keep, and the news of Richard and Steven's collaboration on a new project, possibly directed by Scorsese, spread like wildfire.
Universal Pictures jumped at the opportunity, eager to get in on the ground floor before anyone else could react. Richard's last film with MGM had shown promising signs of success, and Universal was keen to capitalize on his rising star.
In a bold move, Universal offered to invest 5 million in the project, taking only the distribution rights and a 40% share of the movie. The remaining shares would be divided among Amblin (20%), the A-listed actor and director (20%), and Richard himself (20%). This was a generous offer, considering big production companies usually took a 50-70% share of the movie's profits.
"Have you made a decision on who will portray the child psychologist, his wife, and the mother?" the director asked.
Richard answered this time, "For the role of the child psychologist, I’d like to invite Al Pacino. We'll hold auditions for the role of his wife and the mother of the protagonist."
"That's a great choice; I can recommend it to him. For the wife, I suggest Diane Lane, but I think an audition would be best for the mother's role." Coppola gave an opinion.
"I'll consider that recommendation, as long as she's interested in the part."
Stolen from Royal Road, this story should be reported if encountered on Amazon.
After securing the director and with Coppola's recommendation, both Al Pacino and Diane Lane expressed their agreement after reading the script.
With the director and two main actors in place, the pre-production of the film proceeded smoothly.
The only role left to fill was that of the mother, a complex and nuanced character who required an actress with exceptional acting skills and a strong connection with Richard himself.
After a week of auditions, during which Richard was heavily involved, the role was finally offered to Jodie Foster.
It wasn't just Foster's impressive acting skills that won her the role, but also the instant connection she formed with Richard.
During the audition, Richard and Foster's acting amazed everyone present at that time. They pulled the scene so perfectly, that they thought Foster was Richard's actual mother. Fun fact, Hanna also thought the same at that time seeing their performance.
The casting choices had been finalized, the budget meticulously planned, and the gears of production set in motion. With the promise of a compelling narrative, backed by a stellar cast and seasoned director, the stage was set for a cinematic masterpiece to unfold before the eyes of audiences worldwide.
The film Sixth Sense started shooting on 10th November 1983.
The film is about a young boy named Cole Sear who is haunted by a dark secret: he is visited by ghosts. Cole is frightened by visitations from those with unresolved problems who appear from the shadows. He is too afraid to tell anyone about his anguish, except child psychologist Dr. Malcolm Crowe. With Crowe's help one day Cole finally talks to one of the ghosts, a very sick girl who appears in his bedroom. He finds out where the girl, Kyra Collins died due to poisoning. He helps her.
Later Cole confesses his secret to his mother, Lynn. Although his mother at first does not believe him, Cole soon tells Lynn about the case of his grandma and the answer to the question Lynn asked at the grave, Lynn tearfully accepts this as the truth.
Meanwhile, finally understanding the case of his ex-patient, Crowe went home only to discover he had been dead the whole time prompting him to tell his sleeping wife that he loved her. Releasing her to move on with her own life, he is free to leave behind the world of the living.
Richard gained popularity as both a screenwriter and actor following the success of E.T., with an Oscar further solidifying his status.
But to have it properly cemented he needs a story-driven film with an important child character. And also, he needs the project to truly captivate audiences and critics alike.
After much contemplation, Richard found himself drawn to a script that spoke to him on a deeper level - "Sixth Sense". It was a story-driven film with an important child character at its core.
This film lacks a grand scene; rather, it centers on interactions between just three or four characters. We see exchanges between the boy and the doctor, the boy and his mother, and the doctor and the wife, and Francis Coppola effectively captures the underlying theme. While marketed as a thriller, the true essence of the movie lies in its exploration of communication and family bonds.
Under Coppola's precise direction, the filming pace is steady—not too fast, yet not lingering—allowing actors like Al Pacino, Jodie Foster, and Diane Lane to grow convincingly into their roles as the story unfolds.
Richard faces considerable challenges as he embodies the unique character of Cole, which requires a deep emotional connection that he finds difficult to achieve. Although he shows improvement, he feels he's hit a plateau in his performance.
The following shot is pivotal in the film, depicting a crucial moment when Cole confronts his fears and engages with the ghost of a young girl.
After tending to his mother, Cole made his way to his room. Suddenly, a noise from the corridor startled him, prompting him to run back to the red tent. As he fled, he heard the clips that held the tent in place fall to the ground, causing him to shine a light on the commotion.
Instead of finding the fallen clip, he was taken aback to see a girl vomiting. Terrified, Cole dashed behind the couch, accidentally tearing the tent in the process.
Recalling Cowre's advice, Cole steeled himself and approached the red sheet once more. When he reached it, he hesitated for a moment before yanking the sheet down with force, only to come face-to-face with a little ghost.
"I feel better now," the ghost said, breaking the tension.
"Ca...can...can I help you with something?" Cole stammered, staring intently but steadily at her.
"Cut!"
Everyone turned to look at Francis, who was frowning at the screen.
"Again..."