What is the most crucial element of a film project? It's not the script, nor the director, but the funding.
At a critical juncture, Martin reached out to the Georgia support team again.
Over the phone, he unveiled this new project to Vincent and Sophia.
Then, he dialed Kelly Gray's number.
"As long as 'The Hills Have Eye' succeeds at the box office, count me in for your new project's investment fund," Kelly stipulated, but she had two conditions: "I have two requirements." Martin eagerly awaited the specifics: "Please, go on."
Kelly's first request was quite standard: "Since it's a project led by you and Dracula, would it be acceptable to shoot it in Atlanta? We could sign a venue rental contract with Atlanta's top film and television production base."
Considering Georgia's tax incentives, Martin replied, "That was my plan, which is why I called you."
Then, in a hushed tone, Kelly dropped her second condition: "Another thing, bring Louise to Atlanta. I want revenge. That woman dared to make me listen for half the night! I want you to tie her up, not just make her listen but also make her watch all night!" Martin couldn't help but think about the industry's hidden rules.
If he ever wrote an autobiography, its title might well be: "The Man Who Leveraged Women for Power."
For the sake of his future and success, Martin had to accept these unwritten rules! He boldly agreed, "No problem."
Kelly's tone dripped with disdain, "We have a deal. If you fail to deliver, don't blame me if we fall out, and I toss you into the Atlantic Ocean as fish food." After she hung up, Martin was left pondering the blood-soaked history of Kelly and Louise's rise to power—a history filled with tears and sacrifice.
As for luring Louise to Atlanta, there was no hurry; the project was already in motion.
...
Hulk Mansion Strip Club.
Sophia rushed to the club after receiving Vincent's call.
On her way up the stairs, Scott, carrying a bag, leisurely strolled past her, one leg crossed over the other.
At the bar, Hart was sipping on a drink. When he spotted Scott, he pulled out a high stool, saying, "Dude, have a seat."
Scott waved his hands, declining, "No, I can't sit right now."
"We've always wanted to go to Thailand," Hart mused while taking a gulp of beer. "But you don't even need to go to Thailand."
Scott asserted stylishly, "You don't understand the joy in it. This is true love."
Hart struggled to keep himself from spitting out his beer. He hurried backstage.
On the second floor office, Vincent provided a detailed account of Martin's situation.
Sofia massaged her temples and commented, "I observed the filming of 'The Hills Have Eyes,' and it matches Martin's description. The crew is putting in tremendous effort."
Vincent tipped up his cowboy hat and said, "The global box office for 'House of Wax' has exceeded $80 million, and Martin is gaining popularity." He handed Sofia some newspapers, saying, "Entertainment newspapers in California are showering him with praise—Hollywood supernova, Hollywood's new force, Hollywood's number one leading man; there are many such reports."
"It seems like Martin is quite popular," Sofia observed. She inquired, "Has 'The Hills Have Eye' confirmed its release date?"
Vincent handed her a report. "It's scheduled for the weekend after the Super Bowl, and Warner Bros. is showing a lot of interest. They plan to advertise it during the Super Bowl."
After a quick glance, Sofia nodded. "Martin remains reliable."
Vincent asked, "Shall we continue to invest?"
Sofia's response remained consistent. "Why not? We need to allocate our funds somewhere."
Vincent thought this was the safest approach. "We'll wait until 'The Hills Have Eyes' is released."
"I'm about to leave on vacation, so don't disturb me unless it's urgent," Sofia stated as she prepared to leave.
Vincent offered a parting reminder, "Change your approach; don't ruin the guy."
Sofia didn't seem concerned. "You don't understand Scott."
With that, she departed, leaving Vincent to compose a letter to Martin.
After several successful collaborations, trust had been established between the two parties.
Martin sought out Louise for assistance, pushing forward with the pre-planning as quickly as possible—starting with the script.
In Hollywood, screenwriters held a lower status, but scripts were the foundation of film projects.
Upon securing the rights to "Wanted," Martin promptly got in touch with the original project planner, Michael Bradett, who had been involved in the production of two successful films.
On the day they had scheduled to meet at Pacific Pictures, Martin greeted Bradett, saying, "Hello, Michael. I watched 'Fast and Furious 2' and 'Catch the Thief,' and they were outstanding works." Martin had intentionally watched Bradett's movies to gain insight into the screenwriter's style.
Louise extended a polite handshake to Bradett and took the initiative to step aside, saying, "Why don't you two talk."
Brandt got straight to the point, "I'm surprised you acquired the copyright so swiftly."
Martin didn't beat around the bush either, "The original comic has quite a cult following, but I don't believe it's suitable for a movie adaptation. In the comic, the male protagonist Wesley conquers the world, and all the good guys are eliminated. Creating a movie with such a premise is doomed to fail. I recall our last discussion about the clear distinction between good and evil, and I believe you were onto something there."
With the copyright now in the hands of the other party, Bradett was more forthright, "The film I envision is a stylish action-packed gun battle, akin to 'The Matrix,' the first one, not the lackluster sequels." He placed two cups on the coffee table, one on each side, and continued, "Therefore, we'll have to intercept and modify parts of the comic's content and settings to adhere to the traditional Hollywood model of a clear divide between good and evil."
As Martin reflected on the movies he'd seen recently, he couldn't recall much besides curved bullets, a vengeful male protagonist named Wesley, Julie, and a weaving loom. The rest had faded from his memory, except for fleeting memories of scenes reminiscent of "The Matrix's" Bullet Time.
Bradett elaborated, "I stumbled upon this project in the first half of the year. Numerous production companies considered it, but it went unnoticed. The original comic's limited fame and cult status meant it would likely take five or even ten years, until more comic readers emerged, for anyone to truly notice it."
After discussing some story ideas, Martin found Bradett's ideas in alignment with his own. So he straightforwardly proposed, "Michael, I'd like to invite you to be the screenwriter for this project and adapt the comics into a script suitable for mainstream commercial cinema."
Bradett exuded confidence, "You've found the right person. I've been considering this adaptation since the beginning of the year. In three months, tops, I'll have the first draft of the script ready."
Understanding the need for patience, Martin pressed, "I'd like to see the first draft within three months."
Bradett readily agreed, "No problem."
With an initial agreement in place, the professionals would handle the specifics of the contract negotiations.
One of Louise's production managers, experienced in business matters, took charge of the early planning details.
"I suggest that if 'A Hills Have Eye' succeeds, you continue to collaborate with Warner Bros.," Louise recommended. "With me on board, I can at least ensure a steady income stream for you." She had extensive experience and a long-standing relationship with Warner Bros., a fact Martin was well aware of.
Martin nodded in agreement, "Introducing Warner Bros. would indeed provide assurance."
He recognized that navigating the Big Six in Hollywood was akin to traversing a minefield.
Louise added, "The condition, of course, is the success of 'The Hills Have Eye.' If you achieve success in two consecutive films, Warner Bros. will naturally elevate their evaluation of you, and they'll be more than willing to continue collaborating."
Martin inquired, "Regarding the early-stage investment, is it all included in the film's budget?"
Louise nodded slightly, "Just like before, we'll establish a separate film studio."
Martin had a candidate in mind to register the studio under: Mene.
As long as Mene was offered a supporting role in a leading position, he should be satisfied.
Martin gathered the necessary information and asked, "What's Angelina Jolie's current salary?"
"Do you want her to star in 'Fox'?" Louise inquired, having overheard Martin and Bradett discussing the plot. "Jolie and Pitt recently completed 'Mr. and Mrs. Smith,' and she received a salary of $10 million."
After a brief pause, she continued, "Following the failure of 'Tomb Raider 2,' Jolie's box office appeal is somewhat questionable."
Martin had a general recollection of the turning point in Jolie's Hollywood career, which had been not the Oscars but the movie "Mr. and Mrs. Smith." From that point forward, she had skyrocketed in popularity.
Sometimes, scandalous affairs weren't necessarily detrimental to Hollywood stars.
Louise offered a reminder, "You should pay more attention to the director. The script, as important as it is, doesn't mean everything. Over the past decade, well-written scripts have turned into terrible movies, and poorly written scripts have become box office hits. I've seen plenty of both. Ever wonder why screenwriters have such a low status? It's because, regardless of how well a script is written, it's still just words on paper, not visual images."
Martin inquired, "Do you have any suitable candidates in mind?"
Louise replied matter-of-factly, "For a stylish action and gunfight movie, Michael Bay would be my first choice. The Wachowski brothers might also fit, but they aren't the best fit, and their fees are quite high."
Understanding the director's critical role in film production, Martin stated, "I'll put out a notice to the Directors Guild... Oh, I asked Thomas to report on the project to WMA, the talent agency. They might have suitable candidates internally. And let's also release some news abroad."
After all, who really remembered the original director?
This being an action-packed gunfight film, another crucial role to consider was the "action director" or "stunt coordinator."
Louise suggested, "You should have Bruce submit the notice to the Directors Guild."
Martin promptly called Bruce, and together, they discussed the matter. Bruce gathered the necessary materials and left.
The following day, the Directors Guild's recruitment notice board featured openings for two positions: "action shootout director" and "action director."
Experience in relevant roles was naturally required.
After some brief negotiations, Brandt officially joined the project as the screenwriter tasked with adapting the script.
Furthermore, once the project received official approval, he would also be credited as an executive producer, with total remuneration of $120,000.