Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 461, page 459: Casting Issues
Los Angeles in 2003 began with a delicate mix of anticipation and unease.

The confetti from the New Year's party hadn't been completely swept away yet, and the palm trees in Beverly Hills swayed in the slightly chilly sunlight, while in the conference rooms of major Hollywood studios, the battle for the future was already in full swing.

For Wang Sheng, the next few days were like an intense marathon. His time was precisely divided, allocated to New Line Cinema's "Mr. & Mrs. Spy" and Disney's "The Pursuit of Happyness".

In the conference room at New Line Cinema, discussions surrounding "Spy Kids" entered a more substantive phase. The script outline was approved, but the devil was in the details.

“Wang, about the scene where John and Jane first discover each other’s identities and have their showdown,” Toby Emmerich pointed to the storyboard sketch, “we felt we could take the destructive aspects a bit further. Imagine, from the smart home system going out of control to the arsenal hidden behind the abstract paintings opening, the entire modern mansion turning into a battlefield full of dark humor…”

Wang Sheng listened patiently, nodding occasionally, but would decisively intervene at crucial moments: "Destructiveness can be strong, but the logic must be sound. Every piece of furniture destroyed, every bullet that goes astray, should stem from their attempt to use espionage skills to cover it up, but they made a mess of it because they were concerned about each other's 'ordinary' identities. That's the core of comedy and tension, not just smashing things."

Regarding the casting, New Line Cinema's casting department provided a long list.

"For the male lead, we considered Brad Pitt, who had just gained experience with 'Spy Game,' and who has both star power and action skills; or Matt Damon, whose 'The Bourne Identity' made him a rising star in realistic action films," Kevin Brown listed.

“Pitt’s demands for salary and box office revenue sharing will be very high, possibly exceeding our current budget framework,” Michael De Luca added, acknowledging practical considerations.

Wang Sheng pondered for a moment: "Pitt's superstar aura is very strong, but it might be too dazzling and weaken the 'ordinary husband' aspect. Matt Damon's temperament is more reserved and he has more potential. We can approach him first. Also, what about George Clooney? His elegant roguishness and comedic rhythm are also very suitable."

“Clooney is a good choice. He just proved his appeal in Ocean's Eleven. Although his salary is high, it's more realistic than Pitt’s,” Mark Riddell agreed.

"Regarding the female lead," Wang Sheng continued, "we need someone who can fight, act, and showcase intelligence and sex appeal, and... preferably someone whose salary isn't too outrageous." He knew that in early 2003, some future superstar actresses had not yet seen their value skyrocket.

New Line Cinema recommended Angelina Jolie, who, thanks to "Lara Croft: Tomb Raider," has become a representative of action actresses, but her salary is hefty. They also mentioned Charlize Theron, who is seeking a breakthrough from being merely a pretty face to a respected actress.

Wang Sheng, however, had a bolder idea in mind: "Could we consider Kate Beckinsale? She just finished filming Pearl Harbor, so she has some fame, but not yet at an exorbitant price. Her performance in Underworld proved that she can handle action scenes, and her British background might bring a different kind of elegance and dry humor to the role."

This proposal caught the eye of the executives at Newline. Beckinsale was indeed a choice that offered excellent value for money and potential.

While working closely with New Line Cinema to refine the script details and cast of "Spy Kids," Wang Sheng also had to take half a day to go to the Disney Animation Studios building to continue the casting meeting for "The Pursuit of Happyness."

……

The collaboration with Disney is more like a meticulous cultural and commercial exchange. Under Wang Sheng's insistence, the script has been steered towards a more authentic and restrained expression of emotion. Now, the focus is on the actors.

Robert Geller and Sarah Miller revealed their favorite names. Unsurprisingly, Will Smith was at the top of the list.

“Will is undoubtedly the first choice,” Geller said confidently. “His global appeal, charisma, and ability to portray inspirational characters are unmatched. He himself is a symbol of the ‘American Dream.’” Sarah Miller added, “Moreover, having him and his real-life son, Jaden Smith, play father and son would be a fantastic publicity point. The genuine emotion between father and son is irreplaceable by any performance.”

Wang Sheng certainly knew that the success of the original version was inseparable from Will Smith's brilliant performance.

But he also had to consider reality—in 2003, Will Smith, with a series of blockbusters such as Independence Day, Men in Black, and Enemy of the State, was already one of the highest-paid stars in Hollywood, with his salary plus commission for a single film possibly reaching more than $2000 million.

This presents a huge cost pressure for an inspirational film with a serious tone that is not a traditional commercial blockbuster.

“Will is indeed the ideal candidate,” Wang Sheng said slowly, “but his salary and profit-sharing demands may take up a large part of our budget and affect the quality of other production stages. We must have alternative plans.”

He looked at Zhu Yongde, who responded tacitly: "Shanghai Film Group also tends to control costs while ensuring quality. We need to assess the balance between the added value brought by Will Smith and the costs."

“So, what about alternatives?” Geller asked, understanding the concerns of his partners.

Sarah Miller listed a few names: "Jamie Foxx? He's a great actor, and his musical background has something in common with the struggles of the protagonist's real-life counterpart, Chris Gardner (who used to be a bone density scanner salesman), but his current box office appeal is a bit weaker."

"What about Don Cheadle? He was a very respected actor."

“Or… shall we consider a younger option with a more reasonable salary?” Wang Sheng suggested a direction. “For example, Ryan Gosling? His performance in ‘The Believer’ was impressive, and he is extremely versatile. Although he is not as well-known as Will Smith, his salary may only be one-tenth, or even less.”

There was a moment of silence in the meeting room. In early 2003, Ryan Gosling was primarily known for independent and art-house films, and his commercial value had not yet been widely validated.

“The risk is,” Geller bluntly stated, “that without big stars, a successful start in the North American market might be more difficult.”

“But the advantage is,” Wang Sheng argued, “that we can invest more of the budget in production and post-production promotion, and a less ‘Will Smith’ face might allow the audience to immerse themselves in the story itself and believe that it is an ordinary person’s struggle, rather than a superstar cosplay. This is crucial to the ‘realism’ that the film strives for.”

If we don't use Jaden Smith, the range of choices becomes much wider.

In Wang Sheng's memory, there were many outstanding child stars in this age group, such as Dakota Fanning (I Am Sam) and Freddie Highmore (Finding Neverland, which is about to be released). They were all choices with natural acting skills and relatively reasonable salaries.

The meeting did not make a decision on the spot, but it clarified the direction: on the one hand, to contact Will Smith's team to explore their conditions and willingness; on the other hand, to simultaneously evaluate other more cost-effective actor combinations, especially the possibility of Ryan Gosling being paired with an excellent child star, as mentioned by Wang Sheng.

(End of this chapter)