In a restaurant, Michael Davenport and Jessica Felton sit across from each other, savouring fine steak.
"Oh..."
A low exclamation comes from Jessica Felton as a small piece of meat slips from her mouth. Usually, it would fall to the floor. However, being a woman who can't see her feet when looking down, a tragedy occurs as the meat hits her ample chest, leaving a big stain on her white T-shirt.
"Again." Jessica Felton picks up the piece of meat and throws it on the table, complaining, "This happens every time I eat."
Michael looks at the prominent stain on her chest and recalls how Jessica's clothes always seem dirty around her chest area. He can't help but think: others drop food on the floor, but Jessica, who can't see her feet when looking down, has her food hit her chest.
Ah, the woes of having a large chest.
He sighs inwardly, pulls out a napkin, and hands it to Jessica Felton. "Do you want to wipe that off?"
Jessica looks down, smiles awkwardly, and says, "Thanks."
Taking the napkin, she gently wipes the T-shirt strained over her chest. Perhaps because of her naturally soft chest, the two large masses keep jiggling as she wipes the grease.
Michael quickly takes a sip of water, shifts his gaze to Jessica's face with its smooth, light tan skin, and forces himself to recall her usual dishevelled appearance.
"How much longer will it take to finish editing the film?" Michael asks.
Jessica Felton puts down the napkin, thinks for a while, and says, "It will take some more time." She explains, "You want a scary atmosphere while keeping the look of a genuine DV selfie. The editing is more challenging than I thought."
Michael suddenly remembers something, "By the way, I forgot to tell you. Edit a five-minute clip focusing on the Blair Witch and the disappearance of the two college students."
"No problem." Jessica agrees immediately, then asks, "Are you planning to use it for promotion?"
Michael nods lightly, "Yes."
Jessica, curious, asks, "You're not planning to play up the disappearance, are you?"
Despite being a tech fanatic, she's not dumb. You can't be an editor without being precise and detail-oriented.
"Keep it confidential," Michael reminds her. "Don't forget, we signed a confidentiality agreement."
Jessica understands the underlying meaning. She first reassures him, "Of course, I'll keep it secret. I'm too poor to afford any penalties." She then asks, "Are you really going to hype up the disappearance?"
Michael shrugs, "The two actors are missing. I plan to have all of North America help find them."
"Isn't that false advertising?" Jessica asks.
Michael shakes his head, "It's a marketing strategy, not false advertising."
In business, there's no such thing as false advertising.
Jessica is sharp and says directly, "Don't put my name in the credits."
"Don't worry," Michael assures her. "This is an edited DV selfie, not a movie. There won't be any credits."
If the film listed a director, producer, or actors, it would be like confessing.
Jessica is concerned, "Will it pass the union and MPAA?"
"MPAA is easy. At worst, it gets an R rating." Michael grabs a napkin to wipe his mouth but remembers Jessica just used it on her chest, so he sets it aside. He continues, "The Directors Guild has rules about credits, but no one involved in this film is a union member, so we don't have to follow their rigid rules."
When George Lucas's Star Wars credits didn't meet the Directors Guild rules, he refused to change them and quit the guild to ensure the film's release. To this day, Lucas is a non-union member.
They discuss the fine edits for The Blair Witch Project for a while. Mindful of his staffing needs, Michael asks, "Jessica, do you have any plans for your future?"
Jessica answers without hesitation, "Editing."
Michael seriously suggests, "You should broaden your horizons and think long-term."
Jessica looks at Michael, not fully understanding, and asks, "Isn't being an editor good enough?"
"Editing is crucial in post-production." Michael sees potential in Jessica's dedication and skills. "You'll work on more projects, possibly even top-tier productions. Wouldn't you want a team to help?"
Jessica bluntly says, "No, I don't have money to pay others."
"The hiring crew can cover salaries," Michael insists. "Like a post-production producer. You'd still control editing but with more authority."
Jessica finally gets it, "You mean, move towards being a producer?"
Michael nods, "A technical producer, which aligns with your interests." He adds, "Consider Kathleen Kennedy as a model."
Kennedy started as Steven Spielberg's assistant and climbed to producer, involved in significant films like E.T., Back to the Future, Jurassic Park, and Twister. She's Hollywood's most successful female producer and later led Lucasfilm.
"Uh..." Jessica scratches her face, "I never thought about it."
Jessica has been so focused on editing that she hasn't considered long-term plans.
Michael continues, "Jessica, you're career-oriented. You should have a long-term career plan."
Jessica nods, "I'll think about it seriously after finishing this film."
After lunch, they return to Warner Bros. Studios. Michael doesn't head to the office but goes to the set of Final Destination.
The crew is nearly done with pre-production and will soon start filming.
Michael finds director James Wong, "Any issues?"
Wong gets straight to the point, "Funding. To achieve the desired effects, we might go over budget."
Michael is prepared for this. The public budget for Final Destination is $15 million, but actual spending could reach $20 million.
"Keep it in check," Michael advises Wong. "I can cover an overage, but not too much. I need to justify it to the investors."
Wong checks his latest plan, "I estimate no more than $2 million over."
Michael, supportive when needed, says, "Alright, James, $17 million. I'll cover the extra, but no more than that."
Wong smiles, "Thanks for your support, Michael."
"But I have a condition," Michael says, not one to give without return. "You must direct The Purge 2 and any Final Destination sequels."
Wong scratches his head, "Michael, that's too far ahead. You should talk to my agent."
Michael doesn't push but asks, "James, would big studios support you like I do?"
Wong stays silent. As the producer, Michael rarely interferes with his work and always meets funding needs. Directors of his level seldom get this much freedom.
But Wong can't give such promises lightly. After thinking, he says, "Michael, I appreciate your support in making my dreams into films. In the next two years, under equal conditions, I'll prioritize working with you."