Negotiations between the production team and Helen Herman stretched over half a month, focusing mainly on salary and the right to participate in choosing the female lead.
The issue of salary was typical, a push and pull between wanting more and wanting to pay less. But in addition to Matthew's salary, another demand was made: the female lead's salary must be lower than his. In Hollywood's commercial films, it's common for the female lead to earn significantly less than the male lead. The salary not only represents income but also status and power within the production team. As the male lead, no one wants the female lead to hold a higher status or more power.
Granting an actor the right to participate in casting the female lead isn't something a production would do lightly, even if they believe the chosen actress must first gel well with the already selected male lead.
Negotiations are inherently about compromise. If both parties cling stubbornly to their terms, only a breakdown can ensue.
By mid-June, Helen Herman had successfully negotiated all terms on behalf of Matthew, and he signed a hefty contract, over a hundred pages long. In this contract, Matthew received treatment nearly befitting a top-tier star. Hollywood productions, unless strapped for cash, don't skimp on treating actors well, given the strong backing of actors' unions. Disputes that escalate to the union level can significantly impact a production.
Matthew had learned to appreciate the benefits of union membership over his years in Hollywood. Though union dues for someone at his income level could be tens of thousands of dollars annually, the protection provided was tangible.
Hollywood's various guilds aren't mere tools for production companies; battles with the producers' guild are not uncommon. Matthew had heard that contracts between the major guilds—such as the actors, directors, and writers guilds—and the producers' guild were set to expire at the end of 2007. Dissatisfaction with the fixed revenue sharing percentages in these contracts was high, particularly concerning DVD sales and emerging online streaming revenues. A strike reminiscent of the late 1980s was possibly brewing.
Under the existing agreements between Hollywood's guilds and the producers' guild, major players like actors, directors, and writers could receive a share of a film's residual revenues—a small, but stable, long-term income.
The great Hollywood strike of 1988 focused on securing a share of revenues from home video sales and rentals.
Only a few years remained until the expiry of these 20-year contracts.
For stars, the residuals were not substantial, but disputes could escalate quickly, compelling even the biggest names to side with their guilds.
Matthew vaguely remembered a writers' strike in 2008.
For now, though, his primary focus was on "Mr. & Mrs. Smith."
In his contract with the production, Matthew was set to receive a salary of $10 million in three installments, without backend participation. Although inflation was eroding the value of the dollar, making $10 million worth less than what Johnny Depp had earned back in his day, it was still a competitive rate for an actor straddling the line between the second and lower first tier.
Furthermore, after much negotiation by Helen Herman and considering the importance of chemistry between the leads for the film's success, Aziva Gossman agreed to let Matthew have a say in the casting of the female lead, though only in an advisory capacity.
This right to participate in casting the female lead required some concessions elsewhere; they no longer insisted that the production restrict the female lead's salary below Matthew's, especially since potential candidates like Nicole Kidman and Julia Roberts commanded higher fees.
However, Julia Roberts quickly declined the audition invitation as the role didn't align with her career path. Catherine Zeta-Jones and Cate Blanchett also turned it down—the former was not interested, and the latter was busy with "The Aviator" and had scheduling conflicts.
Like Matthew, when an actor is successful and in demand, they receive numerous audition offers—it seems the whole of Hollywood is chasing them. Conversely, once a star's career declines, their options shrink dramatically, regardless of their past successes.
After Roberts, Zeta-Jones, and Blanchett declined, the production was left with only Nicole Kidman as a candidate.
Because of Tom Cruise, Matthew was well aware that since winning her Oscar, Nicole Kidman had become box office poison—not only damaging the box office potential of her films but also affecting the projects' directors and male leads.
Matthew did not want to be poisoned by such a reputation.
But as just the male lead, he couldn't influence the casting until the auditions were held.
Matthew understood that speaking out against Kidman prematurely would be foolish—he'd wait and see how the auditions went.
Moreover, he learned that the production, facing a lack of candidates, decided to expand the audition scope, indicating they also had reservations about Kidman.
The production had signed him as the male lead, and a careful review would show that Kidman
was not an ideal match for him.
Matthew also considered other suitable candidates. Although he lacked decision-making power, the choice of female lead was crucial to his success, which is why he had Helen negotiate for some influence.
After some thought, he remembered Charlize Theron in a dystopian steampunk film where she played a formidable female lead. Her robust physique and fierce actions left a strong impression.
Since the role required a capable, tough female assassin, it couldn't be filled by a delicate, willowy type—Theron, with her sturdy build, was a perfect fit, although her height concealed her broad frame.
Perhaps he could encourage Charlize Theron to submit her resume to the production?
Unfortunately, he couldn't decide on the female lead, or he would have ousted Kidman from contention.
Whether Theron would agree or pass the auditions was beyond his control.
Matthew felt like he was worrying for the producer, though he was not one. For a film like "Mr. & Mrs. Smith," where the interaction between the leads was crucial, any issues with one could doom the entire project.
Of course, someone like Matthew would never admit to being part of the problem.
Having secured his role, Matthew reached out to Charlize Theron. She was in Los Angeles, so he invited her for drinks at the Black Mamba bar.
"It's been a few months."
At a booth in Black Mamba, Matthew remarked on Theron's appearance. "You've completely regained your figure."
Theron raised her glass to Matthew and said, "I've sworn off gaining weight for roles after this—it's too painful!"
Matthew sipped his drink, agreeing, "It's not good for your health."
"Yes," Theron nodded, then suddenly changed the subject. "So, why did you want to meet?"
Matthew didn't beat around the bush. "Are you free lately?"
Theron looked puzzled but replied, "I have a film starting at the end of the year."
"Have you heard about Peak Entertainment's 'Mr. & Mrs. Smith'?" Matthew asked, noting her nod. "I've signed on as the male lead. They're planning a wide audition for the female lead. I think you'd be perfect for it, so I wanted to see if you were interested."
"I know of the project," Theron said. "My agent has recommended it."
"Perfect," Matthew smiled. "We could star in it together."
Theron smiled back, picking up the thread, "My agent has already submitted my info to 'Mr. & Mrs. Smith.' I'll be auditioning if all goes as planned."
This wasn't surprising to Matthew; most Oscar-winning actresses soon turn to commercial films to recoup the costs of their Oscar campaigns. Unlike typical commercial roles, the female lead in "Mr. & Mrs. Smith" was significantly substantive.
The two shifted topics, chatting casually until leaving the bar around ten.
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