"Hello," Michael said, introducing himself. "I'm Michael Davenport. Just call me Michael."
After their introductions, they walked downstairs together.
Katherine Heigl didn't hesitate to ask, "Michael, I've been seeing you around a lot these days. Do you work here?"
Michael nodded lightly and simply replied, "My crew is holding auditions. We rented Warner's audition room and a few offices."
My crew? Katherine Heigl immediately caught on to the critical point.
She probed, "Is it the 'Purge' crew?"
Working on the same floor, she had heard some news about this crew.
Michael purposely said, "Yes, I'm the crew's producer."
Katherine Heigl widened her eyes. "You're such a young producer. That's rare in Hollywood."
"It's my own company," Michael said, exiting the staircase first. As Katherine Heigl caught up, he continued, "Otherwise, I wouldn't be a producer."
A glint of interest flashed in Katherine Heigl's eyes. A crew with a million-dollar budget and his own company...
"What's your company's name?" she asked, a bit eager despite only being twenty years old.
Michael kept his composure but was silently watching her. He answered casually, "Seashore Entertainment."
The spark in Katherine Heigl's eyes dimmed. She had never heard of this company name, which must be one of Hollywood's small, bottom-tier companies.
Instantly, her curiosity and interest in Michael significantly waned.
Michael pretended not to notice and remarked, "It took me ten days to secure an $11 million investment. If I had more time, more people would have invested in my project."
Hearing this, Katherine Heigl silently cursed herself for being foolish. An $11 million budget! Could a small company handle that? It was likely an emerging film company.
Katherine Heigl immediately smiled and said, "Securing a $10 million investment is impressive. Ninety percent of people in this circle can't do that."
She said this sincerely, with genuine admiration in her voice.
Michael just smiled humbly as if it were no big deal.
Katherine Heigl noted this and thought he was even more impressive.
They walked into the first-floor lobby, and urgent footsteps sounded from behind. A Latino man in his twenties came rushing over.
"Miss Heigl," he said hurriedly, "there's a schedule change. Director Belling wants you to do the voice-over at 8 a.m. tomorrow."
Katherine Heigl turned around, her smile instantly turning into a frosty expression. She coldly said, "I know."
The Latino seemed used to her attitude and quickly left.
Katherine Heigl returned to face Michael, her frosty demeanour melting into a warm smile again. "I've been working on the same floor as you recently."
Michael appropriately asked, "Are you an actress?"
"Yes," Katherine Heigl said, reaching the door first and holding it open for Michael. Following him outside, she added, "I've been working with the 'Roswell' crew recently... I'm the second female lead."
Michael nodded. "That's quite a significant role."
Katherine Heigl didn't see it that way. "It's just a TV show, not a movie."
"Step by step," Michael said seriously. "You'll find your place."
Katherine Heigl opened her mouth, wanting to ask if there was a role suitable for her in 'The Purge,' but held back.
In the parking lot, she suggested, "Would you like to grab a drink together?"
Michael thought for a moment and regretfully said, "Sorry, I have work to handle tonight. Maybe another time."
"Okay, I'll call you another time," Katherine Heigl responded, then asked, "What's your number?"
Michael recited his number, then waved goodbye to Katherine Heigl, driving his Cadillac out of Burbank and back to his apartment in North Hollywood.
After a simple dinner and a shower, Michael went to his study, turned on his computer, and found the email from Glen Morgan.
This was the main reason he declined Katherine Heigl's invitation.
After finalizing 'The Purge,' Glen Morgan further refined the script for 'Final Destination.' This was the latest version, seeking Michael's opinion.
Choosing between an invitation from a beautiful woman and a project crucial to his company's development was clear for Michael.
Unlike the first draft he read, this script's story was closer to the film he remembered. The initially minor role of the coroner had been significantly expanded.
The main characters had also been adjusted. For example, Carter Horton, fourth in the death sequence, was initially just a hothead but now had a careful side added to his personality.
The script was less than a hundred pages, and Michael read it twice carefully, providing feedback in his reply.
The email was sent to both Glen Morgan and James Wong.
Michael's suggestions were simple: the film's external presentation should be as Americanized as possible, and the horror scenes should cater to the tastes of American horror film audiences. For instance, during character deaths, follow the style of American slasher films with blood splattering and limbs flying.
These considerations were purely commercial.
Before going to Abu Dhabi, Michael had done thorough research. In horror films, when necessary, you must focus on the blood.
The most successful films in recent years, like the 'Scream' series, retained some slasher elements despite adding youth and suspense.
Different regions' audiences have distinct tastes.
In the East, gory scenes are more disgusting than scary. But for most American audiences, blood and severed limbs can be terrifying.
Strictly speaking, 'Final Destination' could be considered an initial blend of Eastern and Western horror elements.
However, the film displays very few Eastern elements from previous life. Those unfamiliar with Eastern culture wouldn't even notice. The grim reaper concept and gruesome death scenes made it easily acceptable to North American audiences.
Like adapting Chinese food to Western tastes, engaging in business means adapting to the market.
After sending the email, Michael read for a while longer. There were numerous professional books on film operations. Combining the specialized content with his memories of certain films provided substantial benefits.
Hollywood has many movies with mediocre creativity or content that have achieved massive profits through excellent commercial operations.
Michael often thought far ahead, with ambitious goals that might seem laughable if spoken aloud. But he was working toward those goals, knowing even partial success would be an achievement.
Given the current opportunity, he aimed to reach a higher vantage point.
For some, that high point might be pure film artistry or social philanthropy. For Michael, it was the internet and commercial entertainment.
It's a significant challenge and a greater risk.
To be cautious, Michael always kept a fallback plan.
Thus, he opened a document to review his written content for 'Fifty Shades of Grey.'
The outline for the first book had long been completed, and the initial 20,000 words had undergone several revisions. Michael had even posted 6,000 words on his blog.
Unfortunately, it had zero readership.
Michael logged into his blog, checked it, updated it with another 2,000 words, and then closed the blog to focus on writing.
His fingers kept tapping on the keyboard, producing lines of text on the screen.
The issue wasn't the writing but the need for more content to write about.
Art imitates life and elevates it.
Without experience in this area, how could he write authentically?
After sitting at the computer for half an hour, repeatedly writing and deleting, Michael finally closed the document in frustration.
Once again, he felt a severe lack of professional ability.
How to improve it?
After pondering for a while without any clear answers, he decided to go to bed, feeling too irritated to read anymore due to writer's block.
The next day, Michael woke up early, went for a run, bought breakfast, and arrived at Warner Bros. Studios on time.
Today, he had to negotiate with the agents of the main actors.