The crew's convoy rumbled out of the sprawling Atlanta metropolitan area and headed south, soon leaving the cityscape behind. It wasn't long before the horizon gave way to vast expanses of cornfields, their golden hues shimmering under the afternoon sun. One particular farm stood out, with corn stalks towering significantly taller than those on neighboring plots, already at the heading and pollination stage.
The convoy pulled to a halt in an open space near a weathered barn, and the team sprang into action. People from various departments scattered, setting up equipment, checking props, and arranging the scene.
Martin came out from the makeup trailer, his sleeves rolled up on a worn plaid shirt, and made his way to the center of the set. Standing on the creaky steps of an old wooden house, he surveyed the familiar landscape of corn.
"This place seems familiar. Have we been here before?" he mused aloud, his eyes narrowing as he tried to recall the past.
Bruce, always a repository of production history, replied, "You filmed the horse scene in 'The Man from the City' here. Back then, there were stables and pastures. Now, it's all cornfields."
Martin nodded, a smile playing on his lips as he pointed to a slope near the forest. "I remember now. It was right there that Robert, the high priest of the Coke Cult, showed his power for the first time. He used bottled Coke smeared with olive oil to help me kill my competitors."
He chuckled, "Feels like I'm returning to the place where my dream began."
Nolan, who had been walking by, paused at Martin's words. He contemplated the scene for a moment before turning on his heel and beckoning to Anderson, the assistant director.
During the filming of The Dark Knight, Anderson had been an anonymous screenwriter, capturing real behind-the-scenes moments. His keen observation skills had impressed Nolan, leading to his promotion to assistant director for 'Inception'.
Aware of his limitations in orchestrating filming logistics, Anderson excelled in his role as Nolan's scribe. As soon as he saw Nolan's signal, he hurried over, paper and pen at the ready.
Nolan spoke briskly, blending reality with the narrative for promotional depth. "The farm scene we're shooting is the same location where Martin filmed his first scene ever. I don't recall the name of that late-night scene. Check on it later and add the detail. Martin mentioned he feels like he's returned to the place where his dream began."
Anderson jotted it down swiftly, capturing the essence of the moment.
Meanwhile, Martin was preparing for the shoot when a striking blonde actress walked onto the set. She had fair skin, a beautiful face, and long legs, but Martin didn't recognize her from rehearsals.
She approached with a friendly smile. "Hello, Martin, I'm Charlotte Kirk. I play your deceased wife in the film."
Martin shook her hand warmly. "Nice to meet you."
It made sense why they hadn't met before; their characters never shared a scene. Her presence was confined to the male protagonist's memories.
Nolan returned and gathered Martin along with two younger actors near the cornfield to discuss the upcoming scene. The setting sun cast long shadows over the fields, adding a dramatic touch to their preparations. The day was just beginning for the crew, as they delved into the intricate dance of bringing their story to life.
Charlotte Kirk's gaze drifted over to the bustling set. Kevin Tsujihara, the CEO of Warner Bros., had emphasized repeatedly that she should join the crew and carefully observe Martin Davis. He insisted there was something to learn from the seasoned actor.
As the crew prepared for the next scene, the assistant director's shout to clear the set rang out. Charlotte had no scenes to film at the moment, so she retreated to the rest area. However, her attention remained fixed on Martin, eager to uncover what made him so special.
Martin climbed into the Dodge pickup truck alongside young actors Mackenzie Foy and Timothée Chalamet. The engine roared to life, signaling the start of filming. The truck moved a short distance before coming to a halt.
Director Nolan approached the vehicle, gesturing animatedly as he discussed the scene with the actors. Charlotte strained to catch snippets of their conversation but was too far away to hear clearly.
Determined not to waste the opportunity, she pulled out a small notebook and pen, jotting down the time and a few observations.
"Martin Davis shares a very good rapport with director Nolan. Nolan respects his opinions during filming."
It wasn't much, but it was a start. Charlotte harbored some frustration towards Kevin Tsujihara. After all, she had compromised a lot to secure this role. He had promised her an important part, and while being in a Nolan production was a coup, her role was largely confined to flashbacks.
Playing the protagonist's wife sounded prestigious, but she only existed in the male lead's memories. Tsujihara, with his influential position, had struck her as somewhat stingy in fulfilling his promises.
Charlotte knew she wasn't one to cling to grievances. She had chosen this path and was determined to make the best of it. Her eyes flitted between Martin and Nolan, contemplating her next steps to stay in Tsujihara's good graces.
On set, the pickup truck moved and halted repeatedly, inching its way along the dirt road for nearly two hours. Finally, Nolan called for a twenty-minute break.
Martin was the first to leap out of the truck, immediately turning to Mackenzie Foy, who looked pale and uncomfortable.
"Are you okay?" he asked, concern etched on his face.
Mackenzie shook her head slightly. "Just a bit carsick."
Martin extended a hand to help her out of the vehicle. As they walked back to the rest area, Timothée Chalamet, still seated in the truck, watched them with a hint of annoyance.
Over the past few days, Timothée had noticed that all the attractive actresses on set, Jessica Chastain, Anne Hathaway, Mackenzie Foy, seemed to gravitate towards Martin during their downtime. It irked him, feeding into his rebellious streak.
But he remembered his agent's stern advice: the one person not to cross on this set was Martin Davis. He sighed, burying his irritation and focusing instead on the next scene, where he hoped to prove himself without stepping on any toes.
Even if Nolan gets angry, it's manageable, but crossing Martin Davis could have severe consequences.
The stage manager set up some chairs, creating a makeshift rest area by the roadside. Mackenzie Foy sipped water, gradually feeling better. She glanced at Martin, who sat a few seats away, lost in his thoughts.
Her mother, Mrs. Foy, leaned in and whispered encouragingly, "What do you want to ask him? Go on, be brave and ask him directly."
Mackenzie looked at her mother, weighing her words. Unlike many child stars from affluent or acting families, the Foys had modest means. Her father was a truck driver, and her mother, previously a part-time worker, was now a full-time caregiver for Mackenzie's budding career. She was their only hope.
"Go ahead," Mrs. Foy urged. "I've watched Martin these past few days. He's a really nice guy. Build a good relationship with him, and it could help you land your next role."
Summoning her courage, Mackenzie stood and walked over to Martin. "Martin, can I bother you for a moment?" she asked softly.
Martin, who had been resting his eyes, turned and smiled. "Of course. I've got time."
"I felt something was off with my performance just now, but I can't pinpoint the problem," Mackenzie admitted.
Martin pondered for a moment before responding. "You did very well. For your age, you're a remarkably intuitive actor. If anything, you seemed a bit nervous. Try to relax and not put too much pressure on yourself."
Mackenzie, with her delicate features and doll-like appearance, sighed. "It's hard not to feel pressured working with you and Director Nolan."
Martin chuckled. "I'm just an ordinary person, not a devil or a monster, right?"
Mackenzie smiled, her eyes twinkling. "If I hadn't seen it myself, I'd never believe someone who told me Martin Davis doesn't act like a celebrity."
Martin gestured toward the set. "Chris is a very gentle director. He never loses his temper. Just do your job well, and that's enough."
Mackenzie nodded thoughtfully. "I understand."
After chatting for a while longer, Mackenzie thanked Martin and returned to her seat.
"What did you talk about?" Mrs. Foy asked eagerly.
"Martin is very easy-going," Mackenzie replied. "He helped me feel less pressured about my work."
Mrs. Foy glanced at her daughter's delicate face, thinking that being pretty indeed had its advantages.
When the break ended, Martin and the other actors returned to the old Dodge pickup truck. Timothée Chalamet harbored some unspoken resentment toward Martin, which subtly seeped into his performance. Ironically, this tension was perfect for the scenes they were filming, adding an authentic edge to their on-screen dynamic.
The bond between a father and son is inherently sensitive, a fragile dance of expectations and emotions.
Today's scene was meticulously captured until the Dodge pickup truck succumbed to a flat tire, bringing the filming to an abrupt halt. As the crew wrapped up for the day, director Nolan purposefully kept Martin and McKenzie behind to delve deeper into the play's nuances.
In this film, the father-daughter relationship forms the emotional backbone. Nolan sought to convey this intricate dynamic through the performances of Martin and McKenzie. From a distance, Timothée Chalamet observed the duo, his gaze lingering on McKenzie, unable to mask his envy and jealousy.
Suddenly, Charlotte Kirk appeared beside him, her voice dripping with casual indifference. "We are all marginal characters here. They are the real heart of this story."
Timothée remained silent, his expression hardening before he turned and walked away.
Later, on the drive back to the hotel, Martin and Nolan shared a car, the silence between them filled with the day's reflections.
Nolan broke the silence first, his tone probing, "That girl, McKenzie, she seems like a perfect fit for the role. You two had a natural chemistry."
Martin chuckled, his confidence shining through. "Well, I am versatile. But seriously, where did you find her? She's got something special, a certain... spirit."
Nolan nodded thoughtfully. "She played Bella's daughter in the Twilight series and has a key role in an upcoming James Wan horror film. She's quite remarkable."
"A very spiritual young actress," Martin mused, "She reminds me of a young Dakota Fanning."
Nolan agreed, "She's outstanding for her age group. I have high hopes for her."
As Martin reflected on the many talented child actors who had passed through Hollywood, he pondered their varied fates. Despite his own success, he knew the industry's harsh realities.
"Like Leonardo," Martin said, his thoughts drifting, "He was just average as a child star, but look where he is now."
"River Phoenix and Edward Furlong," Nolan added, "Both shone brightly as teens but met tragic ends, one dead from drugs, the other almost ruined by them."
"Drew Barrymore," Martin continued, "She lost her way for a while and didn't reach the heights everyone expected. And Macaulay Culkin is practically the poster child for failed stardom."
"Then there's Haley Joel Osment and Dakota Fanning," Nolan noted, "Both struggled to transition into adult roles."
"But Kristen Stewart," Martin said, a hint of admiration in his voice, "She wasn't as successful as Dakota Fanning initially but has managed to carve out a steady career."
"Natalie Portman is an exception," Nolan acknowledged, "One of the best to transition from child star to respected actress."
Upon arriving back at the hotel, Bruce approached Martin, a serious look on his face. "Thomas just called. Your son posted another video about the father and son. Thomas tried talking to him, but it didn't work. He's considering legal action now."
Martin sighed, the weight of familial strife evident. "We've tried resolving this privately twice now. If it comes to it, we'll pursue legal action."