America achieves both fame and fortune

Chapter 851 The Best of Times

"What does the academy mean by this?"

Upon receiving the latest news, Martin was somewhat puzzled and asked the two women in the room, "Is this a complaint that this year's Oscar competition is too lackluster?"

After reading the newspaper, Julie said, "It's obvious that the Academy is getting anxious because the Oscars aren't getting enough attention."

Aniston picked up her clothes and put them on, saying, "If our public relations efforts aren't strong enough, the college won't be satisfied; if we put in too much effort, the college still won't be satisfied. It's too difficult."

Martin pondered for a moment: "The Oscars' influence is not what it used to be. The Academy Executive Committee may have data feedback for this year's Oscars, and the data is probably not good... Judging from this, the public relations environment for the next few Oscars will be much more relaxed."

Julie knew immediately that Martin had something on his mind, and asked, "What are you planning to do?"

Martin said, "I have a bet with that bastard Leonardo about the Oscars, a very important bet. The loser has to solve a century-old problem for the rest of his life, so I can't lose."

Aniston asked in surprise, "The Oscar for Best Actor?"

"Pretty much. Leo is the Best Actor, and I'm the Best Director." Martin briefly explained the bet: "You should know that in the history of the Oscars, no one has ever won both Best Actor and Best Director at the same time. In over eighty years, no one has ever held both the Best Actor and Best Director Oscars simultaneously."

This was the first time Julie had heard Martin mention this, and she gasped in surprise, "You want to be a director?"

Martin shrugged: "Actually, the script for the project is already finished, the female lead has been chosen, and preparations will begin soon."

Julie touched her face: "Actually, I'm also planning to become a director, just to give it a try."

Martin encouraged him, "You absolutely can try; you have the ability to do it."

Ignoring Jolie's issue, Aniston continued the previous topic, asking Martin, "Do you really want to win the Oscar for Best Director?"

Martin said, "The problem of the century is for Leonardo to solve."

"It's a bit difficult." Aniston's idea was relatively conservative.

Julie, however, saw it differently: "Off-stage factors have a huge impact on Oscar wins, and Martin is a master at manipulating these off-stage factors."

She picked up the newspaper and waved it: "It's not hard to analyze from the news above that the college will loosen its control over public relations in the next few years, which will also benefit Martin's performance."

Aniston is no newcomer to the industry and is certainly aware of the growing influence of off-stage factors on the Oscars, saying, "If the Academy does loosen its restrictions on public relations, it would be a really good opportunity."

Martin couldn't help but laugh: "You guys have that much faith in me?"

Julie said, "I have confidence in the resources you have and your off-field abilities. As for your directing skills... hehehe, they're about the same as mine, right?"

Martin, unusually, did not refute this.

Aniston understood what Jolie meant. Martin was WMA's number one client, and he owned a well-funded film company capable of independent production. He could assemble an experienced production team whenever he wanted.

As long as Martin has a complete idea for the film and doesn't want to make a particularly complex and personal film, he only needs to give orders, and these people can shoot the shots he wants and edit and produce the film effects he wants.

Even without a complete creative concept, one can still produce a film if they are willing to spend a lot of money.

WMA certainly doesn't lack such clients and manpower.

Martin said, "I've already spoken to WMA, and the filming and production team will be assembled this month."

Julie glanced at the time and said, "I'm leaving for the Middle East this afternoon, and I might be staying for a long time. Hurry up, come a few more times, and make sure you finish all the paperwork for the coming period."

She looked at Aniston: "Jenny, push hard from behind."

Aniston, who had a love-hate relationship with her, replied, "Okay, I've been working out, I guarantee I'll be top-notch."

The three of them got busy.

Martin transformed into a battering ram, roaring as it started up and quickly smashed open a passage through the city gate.

…………

Century City, WMA Headquarters.

Steven Downton sat in his agent's office, seriously considering something.

Agent Collier said, "You have extensive experience in shooting horror thrillers, having served as assistant director on films such as Scream, The Hills Have Eyes, Piranha and The Descent. This Shallows is a project of Davis Studios, produced by the renowned producer Louise Lyle, with superstar Martin Davis serving as production manager and director."

Steven Downton worked as an assistant director in Hollywood for nearly ten years. He was unknown among movie fans and not very famous in the Hollywood industry, but among WMA's many assistant director clients, he was the one with the most experience in shooting horror and thriller films.

As a senior partner at the firm, Thomas Lane had no difficulty selecting the right person for Martin's project from among WMA's thousands of clients.

Steven Downton has never directed a film independently, but all the directors who have worked with him have praised his ability as an assistant.

Besides the assistant director, Thomas also contacted many key figures and their agents.

"Martin as a director?" Steven Downton certainly knew Martin. He remembered working with Martin on "The Hills Have Eyes" ten years ago. At that time, he was a member of the assistant director team, while Martin was the male lead. The two had quite a few interactions.

Without a doubt, Martin is a good actor, possessing not only strong market appeal but also high professional ethics.

Kohler thought it was normal, saying, "There are many examples of actors becoming directors."

Steven Downton wasn't too surprised, and said, "My position? My salary?"

"The first assistant director, who mainly assisted Martin in managing the set, was paid $35," Correll said.

This figure gave Steven Downton a boost; he had never received such a high salary before.

Steven Downton could roughly guess that he, as an experienced assistant director, would likely have a heavy workload on set.

But if the money is right, what's there to complain about in a job like this?

Steven Downton stated directly, "I'll take the job. You can go and discuss the contract with Davis's studio."

The agent said, "It was a wise choice."

In the same office lobby on this floor, many brokers who were not of high enough status or rank, like Thomas back then, could only work in individual cubicles.

Compared to ordinary agents, Thomas's former assistant Natasha had a separate cubicle and received relatively better treatment.

A director who had just turned thirty, with a full beard that made him look ten years older, sat on a bench near the partition, waiting for Natasha to summon him.

After Natasha finished talking with Clara and told the others to go back and prepare for the new role, she waved to the bench and said, "Robert, come here."

Robert Eggers followed him into the private room, pulled out a stool, sat down, and asked, "Did you call me here for something?"

Natasha handed him a form: "Take a look at this job. If you're willing to do it, I'll handle the negotiations with Davis's studio."

Robert Eggers looked at it closely; it was a job posting for an assistant director for a film production called The Shallows at Davis Studios.

This didn't align with Eggers' self-perception, and he immediately refused: "I want to be a director, not an assistant director."

Natasha turned to look at Eggers and said, "So far, you've only directed two experimental short films that you wrote yourself, worked as a costume designer on a thriller, and served as an art director and assistant director on an animated film."

She emphasized, "Robert, please tell me, what are your assets for producing a feature film? I need to convince the investors and studios."

Eggers opened his briefcase: "I've written a horror thriller script, and if I were to direct it, I'm confident I could make it a classic horror film."

Natasha said, "I submitted your script to the company's internal script library and sent it to every production company I could reach, but I haven't received a reply yet."

Her words were both helpless and realistic: "Hollywood is never short of scripts. Of the many film projects approved each year, those with investments exceeding one million, most are adaptations. Of the rest, nine out of ten are projects where the project comes first, and then the script is written based on the project's needs—original scripts..."

Eggers looked somber. His script was original, but then he thought for a moment and said, "No, my script is an adaptation based on real events that occurred before the Salem witch hunt."

Natasha realized that he hadn't grasped the main point and said, "Robert, please listen to me first, okay?"

Eggers stroked his beard to calm himself down: "Go on, tell me."

Natasha took the job posting and slapped it in front of Eggers: "What I mean is, you should join this crew as a regular assistant director. Since you're so capable, prove yourself on set."

She pointed to the name on the screen: "The Shallows is Martin's project. I used to be Martin's agent Thomas's assistant, so I know Martin very well. He especially appreciates talented people. If you work in front of Martin and can gain his appreciation, the problems you face can be easily solved."

Eggers began to consider it carefully.

The client has more options than the agent, so Natasha didn't rush him. Ignoring Eggers's thoughts, she busied herself with other tasks.

After a long while, Eggers said, "Okay, I'll go to this film crew."

Natasha said, "I've asked. The interview is next week. I'll make the arrangements for you. You can just go directly to the Disney studio then."

Eggers scratched his beard: "Do I still need an interview?"

"What do you think?" Natasha took Eggers' resume from a drawer and handed it to him, saying, "You first need to prove your abilities in the interview."

Eggers packed up his resume and said, "I will."

Natasha urged them to stop: "That's enough for today."

Eggers left alone and went to the company's lobby on the first floor. He turned around and saw the portrait on the poster in the lobby.

That's WMA's signature figure—Martin Davis!

Eggers glanced at his resume and knew that the next step was to demonstrate his abilities on Martin's film set.

Upstairs is the office area for senior partners.

Thomas was on the phone in a spacious office with a separate reception area.

He contacted an agent for a director of photography.

The director of photography is Dan Rostens, the director of photography for the "John Wick" series.

John Wick 3 is currently in post-production, the film crew is on vacation, and Martin has already reached an agreement with Dan Rostenson.

Other roles, such as music composition, art direction, and props, have also found suitable supervisors.

With top-notch producer Louise, a capable and experienced assistant, and a long-term collaborator in photography, the basic framework of the production team has been established.

After several meetings and discussions, Martin and Louise began interviewing the selected candidates. By mid-February, contracts had been signed with all key departments, including the directing team, filming crew, art department, and props team.

Martin also sent out a location shooting crew to find suitable filming locations.

Louise came over to the office and saw Martin sitting at his desk, intently drawing storyboard sketches.

He did a lot of these things on the sets of David Fincher and Christopher Nolan.

But compared to these two actors' films, The Shallows' scenes are much simpler, perhaps not even a tenth the size of Interstellar's.

Martin is very aware that he would be completely lost during the preparation work for any film that is too complicated, let alone making it.

More than half an hour later, Martin put down his carbon pen, raised his head, and stretched his neck.

Louise picked up the storyboard and looked at it. Martin's drawing skills were mediocre, but the simple lines of the characters and scenes were enough for her to tell that it was a long-haired woman wearing a bikini, standing alone on a buoy signal tower in the sea, with a triangular shark fin protruding from the surface of the water.

Martin said, "I've been busy with storyboards lately, and I've finished more than half of them."

Louise continued watching, saying as she did so, "You already have a complete visual concept for the film?"

"Pretty much." Martin got up and went to the window, gazing into the distance. "Directors Nolan, Chad, and David Fincher all told me that before a film is in pre-production, a director should have a clear vision of the final product, know what shots he wants to shoot, and then unify the work goals of the entire crew and mobilize manpower to achieve the desired effect."

Louise knew that this was Martin's first time directing, so she said directly, "You focus on making the film, and leave all the other miscellaneous tasks to me."

Martin didn't mince words with her, saying, "Things like insurance, salary, vehicles, accommodation, and venues should definitely be left to the production team. With you here, I feel the film's success rate has increased by twenty percent."

Louise asked curiously, "What do you think the success rate is now?"

Martin said, "Half and half."

Louise nodded: "The project investment is limited, and there are overseas investments, so it doesn't matter if it fails. We can afford to take the risk."

If this film fails, based on her understanding of Martin, he will have given up on directing.

(End of this chapter)