After finishing his work, Michael left the studio. As he reached the lobby on the first floor, he saw a blonde woman waving at him.
"Hi, Michael," Katherine Heigl greeted him warmly, accompanied by a bald man. "Long time no see."
Michael smiled back, "Hello, Katherine."
He was aware that the "Roswell" crew had resumed filming. He had taken Katherine Heigl's phone number but had been too busy to contact her since. If not for today's encounter, he might have forgotten about her entirely.
The bald man stepped forward and extended his hand, "Hello, Mr. Davenport."
Michael shook his hand, "Hello..."
Katherine Heigl introduced him, "This is my agent, Dean McLean."
The bald man smiled, "Just call me Dean." He got straight to the point, "A few days ago, I saw two packages from Seashore Entertainment in the William Morris mailroom: 'Final Destination' and 'Kingsman.' Both projects seem very interesting, so I wanted to discuss them with you."
Michael had sent out many invitations and was finally glad to receive a response. He nodded, "Let's discuss this in my office."
He led them back to his office on the second floor.
Katherine Heigl curiously looked around the simple and ordinary office, finding nothing extraordinary.
"Congratulations on your last movie's success," she said flatteringly. "It's unbelievable to think a $50 million box office hit was made right here."
Michael modestly replied, "Just lucky."
"Luck is also a sign of skill," Katherine Heigl said, her smile bright. "Planning two projects at once is impressive."
Michael smiled but didn't respond.
Dean cleared his throat, reminding Katherine to tone it down. The girl had potential, but sometimes, she could be too much.
"Mr. Davenport, the story and concept of 'Final Destination' are fascinating," Dean said. "Director James Wong has already proven his ability to direct horror films with 'The Purge.' I believe this project will be a success."
These half-complimentary, half-analytical words were pleasant to hear. Michael smiled confidently, "Thank you."
Dean glanced at Katherine Heigl and continued, "You mentioned needing a young, attractive, and talented actress for the lead in 'Final Destination.' What do you think of Katherine?"
Michael asked Katherine, "Does this conflict with the 'Roswell' schedule?"
"No," Katherine Heigl replied immediately. "'Roswell' finishes filming early next month."
The series had shot 22 episodes, and she had heard there would be no renewal.
In other words, she needed a new job.
Michael looked Katherine Heigl up and down. At about 20 years old and around 5'9", she had an elegant demeanour and was very attractive.
Her looks were definitely top-notch.
The only off-putting thing was her quick expression change during their first meeting.
But that wasn't a big deal; most people in Hollywood were like that, including himself at times.
"I'll inform the casting director," Michael said officially. "He will add Katherine to the audition list."
Hearing this, Katherine Heigl frowned slightly. Competing with other actors wasn't what she wanted.
Dean smiled, "Katherine is a star. Mr. Davenport, shouldn't a star be treated differently from ordinary actors?"
Michael didn't mind making some concessions, "Katherine, you can go straight to the final audition. Dean, meet the casting director, Jason, tomorrow."
An actress who could play a supporting role in a sci-fi show should have no problem with basic acting.
Besides, passing the third round of auditions wasn't guaranteed. The final decision would also consider factors like salary.
Katherine Heigl looked at her agent, hoping for better terms. Dean shook his head slightly, indicating that this was a good deal.
Expecting the crew to negotiate directly without auditions? She wasn't Julia Roberts; that was unrealistic.
Dean didn't press further, "I also reviewed your other project, 'Kingsman.' The concept is interesting, but why make the protagonist an Arab? This will hurt the North American market."
Michael's financing couldn't fool the observant. Half-jokingly, he said, "That's the investor's requirement."
Dean expressed regret, "Such a pity for this concept."
Michael didn't take the bait, instead asking, "Do you have suitable actors or directors to recommend?"
"My personal judgment is that this concept could be brilliant if executed well," Dean said. "But the protagonist's identity is a risk."
He seemed sincere: "I have a suitable director and actors, but I must protect my client's interests. If this film fails, it could harm their future."
Michael laughed, "Dean, you're underestimating the market's buying power. Over 65% of 'The Purge's' North American box office came from non-white audiences, who rated it 7.5 out of 10. Without their support, 'The Purge' wouldn't have succeeded."
He handed Dean a data file from the cabinet.
Dean skimmed the CinemaScore data, noting its authenticity.
Michael continued, "This audience segment's share in North American cinemas grows monthly. They will soon become an undeniable force. Granted, 'Kingsman' might not match 'The Purge's' box office, but there's a vast overseas market where the protagonist's identity is irrelevant."
Dean carefully reviewed the data, realizing Michael had done thorough market research.
Michael asked again, "Do you have a suitable director? I don't want a newcomer."
Dean closed the file, "I have a client, a British director, who has worked on several TV series and directed a romance film that won an award at the Brussels International Fantastic Film Festival last year."
"A romance film?" Michael frowned.
"He claims his forte is action scenes, but Europe offers few opportunities for action films," Dean explained. "So he came to Hollywood."
Michael nodded, "Let's meet him."
The director selection was mutual. Both parties needed to be satisfied.
Dean thought for a moment, "Alright, I'll bring him over tomorrow."
Hollywood's significant agencies had high credibility. The following day, Dean brought his director client to Michael's office.
Typically, new Hollywood directors are around thirty, with some even in their twenties.
But to Michael's surprise, Dean introduced a man who looked at least fifty.
This British director had tousled hair, a sturdy build, a face covered in stubble, severe furrows for his forehead, thick black eyebrows, and round glasses.
Michael's first impression wasn't good. The man resembled a European arthouse director.
For a commercial film producer like Michael, European arthouse directors were daunting.
"Let me introduce you," Dean said. "This is director Paul Greengrass..."