In the office, Michael sat quietly on the sofa, patiently waiting for Paul Greengrass to finish reading the complete script of "Kingsman."
This British director was worth the wait because Michael knew he had the talent.
Many might not recognize Paul Greengrass's name, but his work on the "Bourne" series was well-known among film enthusiasts.
Michael did basic research on Paul Greengrass's shooting techniques and editing style and even watched all his films, from "Resurrected" to "Jason Bourne."
Unfortunately, Michael felt nauseous when he watched "Jason Bourne" in 3D.
Paul Greengrass directed a film in the 1980s, then moved to television, and recently returned to the film industry, having only directed two movies so far. His film "Bloody Sunday," which would later win the Golden Bear at the Berlin Film Festival, was yet to be released.
Paul Greengrass had directed "Resurrected" but failed to find opportunities in Hollywood, so he returned to the UK. With his second film, "Bloody Sunday," he won the Golden Bear and then returned to Hollywood to direct the last two installments of the "Bourne" series.
As Paul Greengrass read the script, he envisioned scenes that matched his style. This high-budget action film was a rare opportunity, but the protagonist's Arab identity felt almost like a joke.
Though he had never made a commercial film, he knew that having an Arab as the lead was a bit outrageous.
Saying no outright seemed a waste. He had come from the UK to Hollywood to direct action films.
After a moment of reflection, Paul Greengrass closed the script and asked, "Mr. Davenport, what kind of action film do you want to make?"
If the envisioned style differed significantly from his, it wouldn't be worth considering.
Like Paul Greengrass, directors with solid personal styles required specific types of films to fit their vision.
Michael understood this, knowing that Greengrass's style had market potential.
Slow-paced action films were outdated. Michael Mann's "Heat" was a classic, but its slow pace limited its market impact.
Action films needed to be fast-paced, and a distinctive style would bring them closer to success. Directors like Michael Bay thrived on fast-paced action.
Michael said, "I wrote this script. I envision a film with a straightforward narrative, clean directing, fast pacing, and sharp action scenes. I want to try something even more intense than Michael Bay's short-cut editing."
Paul Greengrass was silent, deep in thought.
Michael continued, understanding the importance of detailed preparation to avoid complications during filming. "This film should feature rapid, fragmented editing, almost like bullets. It should compensate for any shortcomings in the actors' movements or choreography, creating a fierce and intense action style."
Paul Greengrass remained thoughtful but intrigued by the concept.
Michael appreciated directors with distinct styles but also wanted someone who could align with his vision.
Paul Greengrass finally spoke, "Hollywood blockbusters are known for their high budgets and industrialized production, focusing on universality and avoiding personalization. But the traditional action film mode can get tiresome, as audiences always seek new experiences."
Michael nodded, agreeing.
Pure Hollywood action films were on the decline.
Paul Greengrass's concept aligned with Michael's, making him a suitable director for the project.
They quickly agreed, with Paul stating, "You can discuss the contract with my agent."
They shook hands, marking the beginning of their collaboration.
Michael contacted George Clint to check on the film rights for Robert Ludlum's "The Bourne Identity," suspecting they might already be sold.
George confirmed he would investigate.
Michael knew the film industry required patience and careful planning. Rushing could be detrimental.
The next day, negotiations with Dean for Paul Greengrass's contract went smoothly, agreeing on a $500,000 salary for directing "Kingsman" and co-producing, with final editing rights remaining with Michael.
With the director secured, preparations for "Kingsman" accelerated. Michael appointed George Clint as the production manager to handle both projects and maintain accounts.
Paul Greengrass, an innovative director, quickly suggested an action coordinator who joined the team to train the lead actor, Muhammad, ensuring the film's action scenes were sharp and impactful.
As both "Final Destination" and "Kingsman" progressed, Michael planned to attend the Sundance Film Festival with Tony Koch, who was visiting Hollywood.