The selection of scripts by actors can be motivated by various reasons, and one of them is the "collaborators". It could be because of a particular director, a certain screenwriter, or perhaps a fellow actor. They readily agree to take on a role without any conditions.
When Tony Leung agreed to star in "Happy Together", it was exactly for that reason. He knew nothing about the director Wong Kar-wai, the script, the genre, or the characters. In fact, he believed it was a film about family. However, on the first day of shooting, he found himself in an intimate scene with Leslie Cheung, completely unprepared. After the shoot, he sat on the sidelines for hours, pondering life.
For many actors, Quentin Tarantino was one of those directors they would work with unconditionally. It wasn't about the acting, the script, or the role. It was the rich, personal touch in Tarantino's work that made it intriguing.
Is "Django Unchained" a great work? Yes. But is it suitable for Renly? Not necessarily. As Roy put it, it all depends on whether Renly is interested in Tarantino. If he is, then there's no issue. If he isn't, then there's no need to discuss this project.
That's why Roy had placed it in the "unsure" category. He had never discussed Renly's thoughts on Tarantino's style.
However, as Roy discreetly observed Renly, he couldn't discern anything. Renly's calm and composed demeanor revealed nothing. Strangely, Roy thought of those reporters who often faced rejection, and his nervousness seemed to settle. He temporarily set aside his desire to inquire about Renly's thoughts. This was a test for him, and he needed to prove himself first.
Taking a sip of coffee, the scalding liquid burned his tongue, and Roy realized his own nervousness. After rolling in the American actors' guild for so many years, he thought he had weathered countless storms and become accustomed to all sorts of challenges. Apparently, he had overestimated himself. This realization made Roy chuckle, and his tense nerves relaxed as he regained his composure.
Roy organized his thoughts and, without waiting for Renly to begin reading, offered his perspective. "These two scripts can actually be discussed together. They're both typical commercial blockbusters, where the stories can't withstand much scrutiny, and special effects are key. On the other hand, the actors need to display heroism and their own uniqueness. It's a test of their personal charisma."
"However, there are some differences between the two scripts. One leans more toward "Transformers", which I personally have reservations about. You're not Shia LaBeouf. The other is closer to "Star Wars", relying more on the lead actor's personal performance and character development. It depends on whether you can become the next Harrison Ford." Roy's words were succinct yet pinpointed the key aspects.
Renly glanced at the two scripts in his hands and made a quick deduction: "Battleship" corresponded to "Transformers", while "John Carter" aligned with "Star Wars".
Roy's gaze remained fixed on Renly, and he immediately noticed a subtle smile forming on Renly's lips. It was the first time Renly had shown a discernible expression since their conversation began. Did this mean Renly liked these scripts, or perhaps he liked one of them?
Then, Roy heard Renly inquire, "From your tone, it seems you have a preference. So why have you placed them in the "unsure" category?"
As everyone knew, in "Transformers", the main characters were not humans but the Transformers themselves. To be more precise, the protagonist was director Michael Bay, followed by the Transformers, and finally, humans. Therefore, the actors who participated were essentially decorative, and Megan Fox rose to fame as one such decoration. Undoubtedly, this type of film was better suited for youthful, idol actors.
Since "Battleship" and "Transformers" were of the same style, Roy's tone hinted at his skepticism towards this project. In contrast, his admiration for "John Carter" was somewhat higher.
Roy had anticipated such a question and calmly responded, "Because they are commercial blockbusters, the criteria for judgment are different. Their strengths and weaknesses are obvious, but I need to have a face-to-face conversation with you to further understand your thoughts. Additionally, I'll need Andy to gather information on the director, visual effects, co-actors, and other aspects to make a judgment."
The term "commercial blockbuster" had its conventions and couldn't be applied to just any work.
Firstly, there were investment requirements. Currently, the minimum standard in North America was $100M, but generally, a budget of $150M was necessary to really just qualify. Films with budgets ranging from $100M to $150M, like "Fast 5", "Captain America", and "Thor", were merely big-budget productions.
Secondly, the genre had specific requirements. Science fiction, action, superheroes, adventure, fantasy, and war genres fell into the category of commercial blockbusters. For example, "Snow White and the Huntsman" had a budget of $170M but didn't qualify as a commercial blockbuster; it was merely a commercial work.
Furthermore, scale had its demands, including the visual effects team, post-production crew, and prop team. For a production like "Transformers", the fixed staff with recognizable names alone numbered over three hundred. This didn't even account for extras, local temporary workers, and if you counted them all, it easily exceeded a thousand.
In the summer of this year, only three films could be deemed true super blockbusters: "Harry Potter and the Deathly Hallows: Part 2", "Pirates of the Caribbean: On Stranger Tides", and "Transformers: Dark of the Moon". Others couldn't be deemed "super". It was precisely for this reason that the production processes, collaboration steps, and filming conditions for super blockbusters were entirely different and couldn't be measured against ordinary works.
"Battleship" and "John Carter" were genuine commercial blockbusters.
The former had a budget of $210M and was produced by Universal Pictures, adapted from the board game "Battleship". It had a connection with "Transformers" through the studio. Peter Berg was confirmed as the director, known for works like "Hancock" and "Friday Night Lights". "Battleship" was eager to replicate the commercial success of "Transformers" and "G.I. Joe".
The latter had a budget of $250M, with Disney handling production. It had an even more prestigious background, adapted from the science fiction pioneer Edgar Rice Burroughs' novel, one of the founders of the genre. The director was confirmed as Andrew Stanton, who had secured his place in Hollywood with "Finding Nemo" and "WALL-E". This would be his first live-action film.
It was worth mentioning that Edgar's most famous character was Tarzan, but his series "John Carter of Mars" was even more renowned. George Lucas admitted that this series served as the inspiration for "Star Wars", and James Cameron openly stated that "Avatar" was crafted based on this novel.
It is no exaggeration to say that "Battleship" and "John Carter" were undeniably fighter jets among blockbusters. In the current market where $150M became mainstream, they casually boasted budgets of $200M, not inferior to works like "Pirates of the Caribbean" or "Superman Returns". Moreover, they had already locked in their directors before production, ensuring that the director and screenwriter together set the tone and style of the work, guaranteeing the cohesion of the entire team and the quality of the production.
Looking at the backgrounds of these two projects, any one of them would be the focus of everyone's attention. They were like rising stars, poised for success, seemingly within easy reach. For any actor, this was an irresistible temptation.
Even for Renly, this was the case. Both films served as platforms to showcase his charisma and at the same time were mediums to exhibit their commercial potential. On one hand, they continued the trend of robust, powerful, yet profound character portrayals from "Fast 5". On the other hand, they took on the weight of a super blockbuster. Once it all came together, it would signify a fundamental leap in his career.
Andy had an eye for these two scripts, and Renly wasn't surprised at all. Since the negotiations for the "Fast & Furious" sequel weren't starting off well, Andy naturally needed to have a backup plan. Whether it was Warner Bros., which still hadn't provided any updates, or "Battleship" and "John Carter", if Renly could secure the lead role in either of them, his salary would undoubtedly rise to a new level.
However, "Battleship" was also produced by Universal Pictures. People like Michael Fottrell and Neal H. Moritz were not involved. Different production teams were naturally responsible for different works. The crucial point was still Ron Meyer's attitude.
While Renly casually flipped through the script for "Battleship", his attention remained fixed on Roy. He asked, without revealing any emotions, "What if we solely judge them based on the script? Do you think these two scripts are worth recommending, or should they be declined?"
Roy looked directly at Renly, realizing that commercial blockbusters couldn't be judged solely based on the script. It was a comprehensive consideration, just like "Transformers", a work with a straightforward script that still managed to dominate the box office, or "Rise of the Planet of the Apes", a commercial film rich in depth and substance but not guaranteed to surpass "Fast 5" in box office earnings.
Roy believed that Renly couldn't possibly be unaware of this, but Renly still chose to focus on the script. It was a difficult test, and Roy knew Renly was doing it on purpose.
"I would decline "Battleship" and choose "John Carter"," Roy replied without hesitation or artful persuasion. Then Roy saw a meaningful smile appear on Renly's lips once again. However, Roy couldn't fathom its significance, and this feeling of uncertainty was truly uncomfortable. So, he directly asked, "What's the matter? Do you have a judgment?"
This was the first time Roy had taken the initiative in their conversation today. Because he knew this was Renly's test for him and Andy's probe, he accepted it calmly. However, after discussing all nine projects today, Roy still couldn't make sense of Renly's attitude. This feeling was not good, not good at all.