When it comes to insurance and third-party completion guarantees, The Bourne Identity had to use actors who meet insurance standards. Actors like Robert Downey Jr. wouldn't even be considered, nor would anyone on an insurance company's blacklist.
Those actors who have become infamous for their reckless behavior are avoided not only by production companies but also by insurance companies.
By Hollywood standards, Matt Damon was clean, loved acting, was dedicated, and had a promising future.
Of course, Matt Damon wasn't the typical handsome actor, but his distinctive look made him memorable.
Michael's initial contact with Matt Damon and his agent went smoothly. Damon took the script, saying he would study it carefully before deciding.
Paul Greengrass's agent, Dean, played a role in this. It was easier to facilitate cooperation when both the director and actor were under the same agency.
Dean was currently with William Morris, and so was Matt Damon.
Due to connections with the Great Wall project, Michael vaguely remembered that Matt Damon later switched to CAA, felt uncomfortable there, returned to William Morris, and then went back to CAA three years later. CAA eventually assembled many of its clients to facilitate the production of the Great Wall film.
Many Hollywood stars change agents and agencies frequently, as talent agencies can only sign clients for a maximum of three years.
Take Halle Berry, for instance. In twelve years after the turn of the century, she had switched through all four major Hollywood agencies.
There were also many rumors about Matt Damon within the industry. The most widely spread one was revealed by Ben Affleck, stating that in their younger days, they were willing to do anything to get roles.
Also, Matt Damon reportedly called the media to pressure them into retracting stories about Harvey Weinstein's interactions with women.
Hollywood stars often have a lot of scandalous stories.
Even Matt Damon and his good friend Ben Affleck had issues.
In the past, Michael had read reports that Damon's wife, former bartender Luciana Bozán, did not get along with Ben Affleck and had repeatedly demanded that Damon distance himself from Affleck.
Even Damon's manager supported Luciana Bozán.
Most Hollywood managers have some ability to evaluate scripts and roles. Even if the agent isn't skilled, the star usually has a manager to provide work advice.
Matt Damon, having won a Best Screenplay award, had the ability to discern good roles.
Those familiar with Matt Damon knew that he rarely starred in bad movies, which highlighted the importance of choosing the right projects for a star.
In a luxurious mansion by the beach in Santa Monica, Matt Damon was discussing with his manager.
"Frank, should I take this role?" Matt Damon asked.
He trusted his manager more than his agent at William Morris.
To Damon, the agent's job was to collect job opportunities and negotiate pay.
For core decisions, Damon rarely consulted his agent.
Frank, a middle-aged white man in his forties, said, "After Michael Davenport extended the invitation to you last December, I looked into his background. He comes from a Hollywood family. His first film failed miserably, but in the past two years, he successfully produced The Purge, The Blair Witch Project, The Legend of the Sword, and Final Destination. Three of these were massive hits, and one... well, let's call it a failure. The director of that failed film is Paul Greengrass."
"Him?" Matt Damon frowned. "The director of The Bourne Identity?"
Frank understood what Damon meant and explained, "The failure of The Legend of the Sword wasn't due to the director. I watched that movie several times. Paul Greengrass gave the film a strong personal style, innovating the heavily clichéd action genre and somewhat saving its fate."
Damon looked at Frank curiously, waiting for further explanation.
"The film grossed $10.6 million in North America. Without Paul Greengrass, I believe the box office would have been halved." Frank, an expert in this area, continued, "The biggest issue with The Legend of the Sword was its setting."
He smiled wryly, "The protagonist was an Arab."
Damon, an American, commented, "An Arab lead; no wonder it failed."
Frank added, "I heard the Abu Dhabi Investment Authority invested $25 million in this film, so Michael Davenport had no choice but to set it that way. Director Paul Greengrass had to work within those constraints."
Damon immediately understood, "For the Arab money."
"Exactly," Frank shrugged, "There's no other explanation. Michael Davenport's success with the other three films wasn't just luck. That's the only explanation."
Damon asked, "What do you think of The Bourne Identity project?"
Frank thought for a moment, "The storyline isn't overly complex. A CIA agent who failed a mission suffers from amnesia due to severe injuries. While trying to regain his memory, he's constantly hunted by assassins from his own organization and various police forces. During this process, Bourne eliminates his attackers, breaks through encirclements, and ultimately lives a peaceful life in hiding with his girlfriend."
Damon nodded lightly; Frank had summarized it succinctly.
"This kind of story isn't groundbreaking compared to many previous films. But the script and character are excellent. The key lies in the multiple identities designed for Jason Bourne, who initially thinks he's an ordinary person with amnesia. As his survival instincts kick in, he realizes he's far from ordinary."
"When he discovers he might be more of an assassin than an agent, he becomes disillusioned with his identity and yearns for an ordinary life."
"But a series of events makes him realize that as a $30 million asset of the U.S. government, he must thoroughly clean up his past to find peace. Hence, Bourne's journey shifts from seeking his roots to cutting ties."
In a few short sentences, Frank encapsulated the essence of the 100-plus-page script.
Damon said, "You made the script clearer for me."
Frank smiled modestly, "This kind of plot twist ensures the film's entertainment value with its climax after climax, while also making sense from an ordinary person's perspective, achieving a rare dual success."
He continued, "In terms of specific plot design, the narrative's unconventional turns and key scenes seamlessly connect various transitional and preparatory scenes. This is quite rare."
Damon remained silent for a moment, seemingly digesting Frank's words, before finally asking, "And the character?"
"The script does a remarkable job of shaping the character." Frank took the script, flipped to a specific scene, and handed it to Damon, "Look at the part where the protagonist escapes from the Zurich embassy. Bourne's actions—throwing the gun into the trash can, grabbing the guard's radio, taking the evacuation map from the wall—are fluid, showcasing the professional qualities of a top agent. Every detail is meticulous."
Damon nodded repeatedly, finding the project increasingly attractive.
Having climbed to his current position, Damon knew the importance of choosing roles carefully. A single bad film could ruin his future.
Frank continued to analyze, "The script makes it clear that Bourne is not just an action hero but a mental warrior seeking an exit from his closed-off psyche. This adds to the character's charm. Through his continuous battles with the CIA, I see the bitterness, helplessness, and loneliness of an agent. He experiences confusion and helplessness because he's not just an agent; he's an ordinary person too."
"This isn't a mindless blockbuster. The character is well-rounded, with plenty of room for performance. Moreover, Bourne's setting aligns with your style. A commercial route is necessary; you can't become a superstar solely through low-budget art films. I think Jason Bourne is a good choice."
Damon didn't respond immediately, slowly flipping through the script, clearly deep in thought.
Frank remained silent, having said everything necessary. The decision was now up to Damon.
Damon closed the script. Michael Davenport's previous three successful films demonstrated his vision and ability, and the script was indeed good. The project had a budget of $50 million, making it a mid-to-high investment.
A commercial film route had long been part of his plan. His previous role in The Talented Mr. Ripley leaned heavily toward commercial cinema.
With Frank's analysis, Damon made his final decision.
"I want this role," he said to Frank. "Call my agent, tell him my decision, have him come over tomorrow, and then go negotiate the contract with Sandsea Entertainment and Michael Davenport."
Frank nodded lightly, "I'll get right on it."