After finishing his glass of champagne, Robert was surprised to see Michael Davenport engaged in a lively conversation with the Arab man, both seemingly enjoying the discussion.
"It looks like I underestimated Michael," he muttered to himself.
He then observed Michael and the Arab leaving the banquet hall together.
With keen interest, Robert stared at the entrance. "Michael has really grown up."
Perhaps this time, they might actually secure investment from the Arab.
In a quiet corner of the hotel lobby, Salih ordered two glasses of water, placing one in front of Michael. "You have a bank loan and have offended the Jews, making it highly unlikely to secure a loan."
Michael's words were thoroughly credible, though laced with his dissatisfaction towards the Jewish community.
The Jews held significant power in Hollywood, but many in Hollywood also didn't like them, though they were equally unlikely to favor Arabs.
"I'm planning to give up seeking domestic investment," Michael said candidly. "There's a broader world out there. The Germans have always liked working with Hollywood."
He lightly tapped the table. "After the new project's press conference next week, I'll go to Germany to seek investment."
"Good luck," Salih raised his glass. "You're holding a press conference? What's the new movie about? Can you share?"
Michael pondered briefly before responding. "I can't reveal too much detail." He smiled. "The script is written by me, and there are key roles for Arabs."
"Not villains, I hope?" Salih probed.
"No," Michael shook his head. "The characters are more complex."
He briefly described the Arab family that would play significant supporting roles.
"It's different from the traditional Hollywood portrayal of Arabs," Salih noted.
"My intention is simple," Michael explained. "Americans have good and bad people, so do Black people, Jews, and Arabs. There are good and bad individuals everywhere."
"Exactly!" Salih agreed enthusiastically. "Why doesn't Hollywood get this simple truth?"
Michael shook his head. "It's not that they don't understand; they choose to ignore it. That's why we need films that enlighten the audience. Like the Black movement, once a small crack opens, there's a chance to change perceptions."
He spread his hands. "People are the same everywhere—there are good and bad individuals."
Salih became more intrigued by the film. "You're holding a press conference? Can I attend?"
This was part of his job. Otherwise, he could just return to Abu Dhabi and live an idle life.
"Of course," Michael said, providing the time and location. "You're more than welcome!"
Michael had been considering how to invite Salih to the press conference, and this proactive request was perfect.
They spent nearly an hour discussing Hollywood's portrayal of Arabs, finding plenty of common ground.
Michael didn't mention seeking Arab investment, and Salih never revealed his identity or job.
Guided subtly by Michael, their conversation was pleasant and engaging. When they parted ways, Salih asked for Michael's phone number, reminding him to save a seat at the press conference.
Once in Robert's car, Michael sighed with relief, rubbing his face vigorously. Fortunately, he had been a business elite in his previous life, skilled in negotiating and persuading.
"Was it successful?" Robert asked.
Michael nodded. "It went well enough."
Over the following days, Michael was incredibly busy, reviewing the storyboards and posters created by the hired team, drafting the shooting schedule, finalizing the press conference gifts, personally inviting media reporters, registering "The Purge" project with the Producers Guild, preparing his speech for the press conference, and seeking legal counsel to draft and revise investment contract templates.
He even posted job ads through the Directors Guild and various media outlets to hire behind-the-scenes personnel.
To leverage this project for funding, all preliminary work had to be treated as if it were a real project.
During this time, Salih invited Michael to meet several times. Their friendship grew quickly, with Salih even asking to see the detailed story, which Michael agreed to, emphasizing confidentiality.
Michael sent Salih an electronic copy of the script, and after reading it, Salih called him, nearly declaring Michael a long-lost friend of the UAE.
On the first Wednesday of February, Salih arrived at the Hilton Hotel's conference room a bit late due to a last-minute issue. The room was already filled with reporters.
After greeting Michael, Salih quietly found a seat and received a set of promotional materials.
There were many reporters, and Salih counted nearly a hundred, with over a dozen cameramen.
Among them, he spotted a reporter from the Los Angeles Times.
It seemed the project had considerable media impact.
Over the past few days, Salih had collected information about Michael Davenport and Seagull Entertainment. Though a small company, Seagull had been around for over ten years.
Michael Davenport indeed faced financial difficulties, and Jewish-influenced financial institutions refused him loans.
Seagull's past loans were heavily collateralized, worth only 70% of their physical assets.
Frankly, Salih hoped this project would have a broad impact. The script's portrayal of Arabs as saviors was particularly satisfying.
Opening the promotional materials, Salih reviewed them seriously. The posters and storyboards were meticulously crafted.
Although there weren't many scene drawings, the detailed designs showed Seagull's investment and determination in the project.
Unlike the loudmouth Leonardo, Michael Davenport seemed to be a doer.
"In this press conference, we've invested nearly $20,000," Mary said, watching Michael adjust his clothes in the backstage lounge.
"It's just to put on a show for that Arab?" she asked.
Michael shook his finger. "This performance is for everyone."
If the Arabs didn't come through, he still planned to pitch to other investors, adjusting the story as needed.
Robert Lee approached, saying, "Salih's main job in Los Angeles is to assess the feasibility of cultural and entertainment investments. If we can get his support, our work will be much easier."
A knock on the door, and George Clint entered, reminding them, "It's about time."
Michael nodded slightly, put on his glasses, and said, "Let's begin."
The conference room fell silent as Michael took the podium. Salih put away his materials, ready to listen.
Michael began his speech, and the reporters took notes diligently. Salih, familiar with the script, recognized Michael was outlining the project's basics.
For Salih, having read the script, the conference was somewhat dull until Michael announced the investment amount.
"Seagull Entertainment will develop 'The Purge' as a mid-budget action-thriller with an initial budget of $10 million. We are still searching for a director, and we've extended invitations to Jamie Lee Curtis, Drew Barrymore, Johnny Depp, and George Clooney for the cast…"
Salih knew all these names.
Jamie Lee Curtis starred in "True Lies," Drew Barrymore was a famous child star, Johnny Depp played Edward Scissorhands, and George Clooney was vaguely familiar as an actor who had played a doctor.
He wasn't deeply versed in Hollywood, but recognizing these names meant they were indeed stars. Michael was planning something big.
No wonder he needed financing.
Salih couldn't produce $10 million himself.
During the Q&A session, a reporter asked about the funds: "Mr. Davenport, your last film incurred heavy losses. Do you still have the funds?"
"We indeed face some financial challenges," Michael admitted, which Salih found reassuring. "But I'm confident we can solve them through financing."
The $10 million figure was carefully chosen—not too high but still ambitious compared to the previous film's investment.
Salih pondered deeply, missing the subsequent questions.
Without money, the film couldn't be made. A project favorable to Arabs like this mustn't fail.
Salih thought about the script's portrayal of Arabs as saviors. This film needed to be made.
Having been in Los Angeles for nearly three months without achieving anything significant, Salih's work in assessing cultural and entertainment investments had been stymied by Hollywood's exclusionary practices.
This could be a breakthrough.
Choosing to work abroad meant achieving results to show back home, distinguishing himself from those idling away in Abu Dhabi.
Unfortunately, he didn't have the funds or authority to make large financial decisions.
Assessing investments wasn't the same as deciding them.
With Hollywood's broad influence and the importance of Arab representation, he couldn't make this decision lightly.
After the press conference, the reporters quickly dispersed. Salih approached Michael, deciding it was time to have a serious discussion with this like-minded individual.