Mike felt like he had caught the attention of the heavens themselves.
His gaze remained fixed on Lyman's face, sensing an unusual closeness with this man.
What had he just said? Something about Christian bulking up.
Heavens, he didn't even know the script yet, and the investors were already making demands.
What did this mean? Unless it was a jest, they must be earmarking roles.
But he had only received a callback from CAA yesterday, for a screen test.
The wind of change seemed unusually swift.
Could it be that headquarters had thrown its weight behind this? It didn't seem likely.
If CAA truly valued the two of them, they wouldn't have wasted so many years.
After eliminating ten thousand possibilities, there was only one answer left: the director or the investors admired Christian, and they wanted to lock him into a role.
In this fleeting moment, Mike truly wanted to thank the heavens for finally taking notice.
"I currently weigh 142 pounds. I guarantee that I can bulk up to 170 pounds in a week. Is that sufficient?"
Christian declared with conviction, his eyes filled with eagerness.
Lyman waved a dismissive hand, a smile on his face. "No need to rush. If you can reach around 160 pounds in two weeks and don't look too lean, that will meet the criteria."
Christian nodded, appearing confident.
Lyman didn't think weight control would be an issue for someone like Christian, who could gain dozens of pounds in a week, a testament to his unwavering determination.
For his role in "The Vice", he had done just that.
Perhaps this was also why he had never truly become a star. He didn't meticulously maintain his image, fluctuating between thin and fat, making it hard for people to remember him.
"This is the script; take a look."
"A zombie movie?" Christian opened the script, briefly perusing the storyline. He looked somewhat surprised. "The backdrop for this is intriguing."
"Why, not interested in the role?"
Christian immediately shook his head.
It wasn't that he had an issue with the character, but rather the genre itself. When he entered the film industry, he mostly received scripts from the art-house side of cinema, and the characters were often abnormal, such as the mentally ill character in "American Psycho" or the insomniac in "The Machinist". He rarely got offered normal roles like this one, which struck him as odd.
He had also attempted to break into mainstream cinema. Spielberg's production "Empire of the Sun" had garnered critical acclaim. Furthermore, he had a role in Disney's "Treasure Island". Yet, after these films, people still preferred casting him in niche, art-house productions. Audiences couldn't seem to remember him, as if he were doomed to challenge himself, forever typecast from the beginning, unable to break free.
Christian smiled helplessly. "I don't have much experience with this type of film."
"Don't worry; the director handles the filming. You just need to portray the role well. So, what do you think?"
"I have no objections, of course. When is the production scheduled?"
"In about two weeks. The crew is still scouting locations and making preparations."
With that, Lyman gestured to his agent, Mike, and the three of them huddled together to discuss Christian's compensation.
In the end, after various negotiations, the agreed salary was $3M.
Christian had a long and diverse career, with numerous roles under his belt. While he didn't possess exceptional star power, he was far from lacking in the industry. It was all a matter of comparison; after over a decade in the business, his worth hadn't reached the pinnacle, but it comfortably matched the mid-tier.
This guy had already pocketed a $2M paycheck three years ago.
For his recent role in "The Mechanic", he had settled for $1.5M, largely due to personal connections playing a significant role.
But his star power had always been there, and this price tag was commensurate with his stature.
The mainstream film industry was a bit more market-driven and fair than the independent circuit.
After negotiating with his agent, Mike, Christian was more than satisfied with this figure and promptly signed his name on the performance contract.
Once the contract was finalized, the director, Zack, breathed a sigh of relief.
If they didn't sort out the main cast soon, the production start date would surely be pushed back. This was not a situation he wanted to see.
Besides, he genuinely approved of Lyman's casting choices. At first glance, the worn-out aura that Christian carried seemed to perfectly fit the protagonist in "Train to New York", a character who had been repressed since his divorce. He was a man weighed down by the burdens of life, much like Christian himself.
As time flew by, it was already late April.
With props, costumes, and locations sorted out one by one, the set design aspects of the project were also falling into place.
The extras, supporting roles, including the zombies and the train passengers, were all snapped up by some lesser-known actors signed with CAA.
In Hollywood, these bit parts were typically easy to cast, with generally low salaries. However, they also had to share a portion of their earnings with CAA, leaving them with little to boast about.
The role of the antagonist, the selfish executive of the train company responsible for the deaths of many passengers, was equally straightforward. He was filled by the cold-faced and talented veteran actor, Peter Stormare, who agreed to the role for a salary of $750,000.
Then there was the wrestler role, for which ICM recommended a candidate, former professional wrestler Dwayne Johnson. His father had also been a professional wrestler, and he had won wrestling championships himself. He was a perfect fit for the casting requirements—tall, distinctive appearance, and some acting experience. In 2001, he had even starred in the movie "The Scorpion King", playing the lead role. While his acting skills weren't particularly strong, his muscles were real, making his portrayal of a wrestler genuine. Furthermore, his salary was quite reasonable, quoting only $1.1M.
Given his conditions, and after just one audition, Zack had decided to cast him.
Finally, there was the role of the male lead's daughter, initially set at around 6 years old. However, for child actors, their ages could be adjusted upwards for practical filming purposes. Generally, for such young actors, everyone was cautious, and having them a bit older was considered more reliable.
After a thorough selection process, a young girl named Dakota Fanning, known for her exceptional audition performance, caught Zack's eye. She was born in 1994, just turning 10 this year and was already a child star. She had started appearing in television dramas in the early 2000s and in 2001, co-starred in the film "I Am Sam" alongside Sean Penn. She possessed a sweet and endearing appearance, which was her strength.
After the roles were all finalized, it was already April 27th.
Firefly Films officially announced their shooting schedule.
The New York Daily News cooperated by publishing the news.
Audiences and fans didn't show much reaction, as Zack didn't have any significant works, and the actors didn't have a large fan base. However, the industry paid a little more attention.
With a production budget of a whopping $70M, it was among the top-tier projects in the second-tier production category.
But it was just a casual glance from the industry and nothing more.