For this shoot, Michael hired two seasoned Arab actors, a married couple in real life who also play a couple in the film. They've been in Hollywood for seven or eight years, and because of their ethnicity, they've never lacked roles. However, they've also never played positive characters, usually cast as villains or terrorists.
The male actor who came to speak with Michael had a typical Arab name—Muhammad. In James Cameron's "True Lies," he played a terrorist with a few lines.
Had they been white or black actors with similar resumes, their pay would have been far more than the $15,000 they were getting.
Hollywood's discrimination is a well-known fact.
So, Muhammad approached Michael to express his gratitude.
"This role is different from any I've played before," Muhammad said earnestly, his dark face serious. "Arab roles in Hollywood films are rarely positive, let alone this significant."
Michael replied calmly, "I'm just stating the truth. Not all Americans are good, and not all Arabs are bad, right?"
Muhammad nodded vigorously. "Right! Mr. Davenport, you're absolutely right! I should thank you."
"There's no need," Michael waved it off, righteous and earnest. "This is the basic conscience of being human and the professional ethics of a filmmaker."
Muhammad nodded repeatedly, lips pressed together. "There are too few people like you in Hollywood. I immigrated here ten years ago, and you're the most respectable person I've met since then."
Is this a good person card already? Michael didn't mind. Someone who had been in an environment lacking respect for a long time often became deeply appreciative of any recognition.
Given the significant positive Arab character in the film, Michael intended to leverage this fully.
He changed the subject. "After immigrating here, have you ever gone back?"
Muhammad shook his head. "No." He smiled bitterly. "I have no face to return. Forced by circumstances, I've played many negative roles here. My family in the Middle East cut ties with me."
The Arab world is relatively conservative, with the UAE being one of the more progressive places.
Michael thought for a moment and said, "The film is set to release in the UAE. When it does, you should go back and visit. This film might change a lot of minds."
"Okay!" Muhammad was a bit excited.
"The crew also needs actors to promote the film over there. You and your wife are the most suitable candidates," Michael smiled. "Spread the word among your fellow countrymen about our movie."
Muhammad assured him, "I will! Mr. Davenport, I promise."
Michael then reminded him, "Most of the crew are Americans. I can't change everyone's mindset. Some things..."
Muhammad understood immediately. "I get it."
"Go ahead and continue your training. Give your best performance."
Muhammad responded seriously. This Mr. Davenport might be young, but he was indeed a good man with a sense of justice.
He decided to give his all for the film of such a good person.
Michael saw Robert entering the studio and walked towards him. As he walked, he glanced back at Muhammad. This was a strategic move for future plans. When Muhammad went to the Arab world, especially Abu Dhabi, he would speak highly of Michael Davenport as a great friend of the Arab people.
This would further solidify his friendship with his "Arab brothers."
How deep was this friendship measured? For the oil tycoons, money was the least of their concerns.
However, constantly milking the same cow would eventually cause problems. At the right time, shifting focus might be necessary.
In his previous life, he remembered that Indians had invested in Spielberg's DreamWorks post-2000. Perhaps it was worth considering Indian investors?
Michael found Robert and asked, "How's the search for a composer going?"
Robert shook his head. "I've contacted seven composers. The cheapest quoted $110,000."
"$110,000?" Michael frowned but then relaxed. "Is that for the entire team?"
Robert confirmed, "Yes. It includes composition, arrangement, recording, equipment, tools, rights, and editing. The smallest team has at least 15 members."
A fifteen-member team charging $110,000 wasn't expensive, but it was still too extravagant for a small production.
Michael considered for a moment. "We'll have to simplify the music."
James Wong's shooting team was already assembled, but the post-production team was missing some key positions.
Michael would handle the supervising producer role, with James Wong joining as a co-producer. However, they still needed a composer and an editor.
Michael was surprised by the complexity and cost of Hollywood film scores. Even the cheapest team far exceeded the script's budget.
High-tech jobs are indeed crucial for film production.
"Let's forgo original scores," Michael suggested. "Hire the composer we've worked with before at Seashore Entertainment. Choose some suitable songs or music for the score."
Robert nodded immediately. "That could work. We just need to pay minimal licensing fees, saving at least two-thirds of the cost."
Michael continued, "We'll use the sound editor recommended by James Wong. You handle the negotiations and try to keep the cost down."
"And the editor," Robert reminded.
"I know," Michael acknowledged. "We won't use James Wong's editor."
This was about maintaining balance in the film's control. Being young and inexperienced, using James Wong's recommendation might mean the editor would align more with the director's vision.
A great editor was as crucial as the director, sometimes even more so.
Michael had contacted a few potential editors, but none seemed quite right. The cost was less of an issue than their lack of experience with horror thrillers.
The editors they had used for previous Seashore Entertainment projects often worked on straight-to-video films. The poor editing on those failed projects wasn't something Michael wanted to repeat.
Michael knew his limits. While he could judge a film's final cut, he wasn't skilled enough to edit it himself.
Hollywood had many excellent editors, but finding the right one for this project took work.
In short, it was a matter of cost.
Even mid-level editors are charged at least $20,000 or $30,000 per week.
A straightforward film like "The Purge" could take a month or even longer to edit.
Editing wasn't something that could be rushed through in a week in a locked room.
Michael thought for a while. "I'll handle finding the editor. If needed, I'll contact my mentor at USC."
"Young Davenport had spent nearly three years at USC Film School and was one of the talented students favored by many teachers. He had consulted his mentor, Professor Johnson, several times."