It might sound absurd, but in Edgar's eyes, his greatest advantage over Eric White and Harry Smith was precisely that he had nothing.
This isn't a joke.
Eric and Harry were already at the top of the pyramid. To them, having Anson or not wouldn't make much difference; Anson's value was limited.
But for Edgar, whose career was just beginning yet had William Morris as a backing, it was a completely different story—a story where he was willing to give everything for Anson.
So, he needed to take a leap of faith.
Anson remained silent, simply looking at him. Edgar knew this was the moment to go all out, to burn his boats and give it everything he had.
"Cough, cough."
Edgar cleared his throat.
"This is what a meeting at William Morris would look like. Harry doesn't know me, but I know him. At William Morris, there's hardly anyone who doesn't know Harry Smith."
"He's an arrogant bastard, but he's undeniably good at what he does."
"He'll slather on three thick layers of hair gel, enough that even a hurricane couldn't mess it up. He'll wear a Rolex, and maybe he'll stand by the floor-to-ceiling windows in his office, making sure you can't miss the view of Century City outside, just so you know his office is on the seventeenth floor."
His words were somewhat scattered but vividly painted a picture, with those trivial details effortlessly bringing the scene to life.
"'I've met countless actors, countless,' he might say, listing a few big names to bolster his point, and then continue, 'But you give me a different feeling. Only a few actors ever give me this feeling, like Marlon Brando.'"
"He'll definitely mention Marlon Brando. It's always the same—if it's a male actor, it's Marlon; if it's a female actor, it's Audrey Hepburn."
"That's because in the late careers of Marlon and Audrey, when Harry first started working in the William Morris mailroom, not only did he get to see them up close, but he also served as their agent's assistant for a time, occasionally running errands or handling calls and correspondence."
"He never tires of telling stories about Marlon and Audrey. And really, who could resist tales about Marlon Brando and Audrey Hepburn?"
"Superstars, without a doubt."
"But I hope you ask him one question: 'How do I stand out? How do I showcase my uniqueness and prove I have what it takes to become a superstar?'"
Anson raised his chin slightly—Edgar had indeed hit on something important, and it was clear he had a deep understanding of Harry.
That question, it seemed, was Harry's weak spot.
And in fact, it was.
In Edgar's view, Harry Smith's strength lies in networking rather than artistic insight.
What does that mean?
It means that Harry has never developed a superstar from scratch on his own. If an artist already has a foundation, Harry can often leverage his extensive network to create opportunities—choosing to work with top directors, producers, and actors is always a safe bet. However, when it comes to the specifics of a project—whether a particular role is suitable or why a certain film should be chosen—Harry is often in the dark.
He lacks creativity and imagination.
Thus, Harry doesn't know how to nurture an actor's talent. Instead, he simply builds on what the actor already has, seeking further breakthroughs from there.
Of course, this ability is rare and valuable—particularly for actors who are already established. But for newcomers, it's a significant disadvantage.
Moreover, Harry reveres the idea of "superstars." He believes in the allure of megastars like Marlon Brando and Audrey Hepburn, so he prefers to spend his time on top-tier celebrities.
Currently, Harry's roster includes top-tier talents like Michael Bay, Natalie Portman, and Mel Gibson, who are on the cusp of A-list status. More than 80% of his time is devoted to managing their careers.
That's precisely why Edgar wanted Anson to ask that particular question. Edgar was confident that Harry couldn't provide a satisfactory answer.
Anson's lips curled up slightly, showing a hint of curiosity. "I thought William Morris valued seniority. Are you sure it's okay to talk about Harry like this behind his back?"
Edgar chuckled. "I should put it this way—it's the 21st century now, and the agency business isn't what it was in the '80s."
He paused and shrugged lightly. "Welcome to Hollywood."
"Ha." Anson appreciated the response. Edgar didn't hide his ambition; he was forthright and straightforward. "So, what about the meeting with Creative Artists Agency? We all know CAA is the industry leader right now."
"'Hey, Anson…'" Edgar said in a strained voice, mimicking someone.
Anson burst out laughing. "You can use your own voice. Has anyone ever told you that you're a terrible actor?"
Edgar wasn't offended; he spread his hands and said, "Which is why I became an agent."
Anson laughed heartily.
Edgar switched back to his own voice. "Eric White would say something like this: 'We're the best in the business.' Simple and direct. 'All the actors in Hollywood are eager to join CAA, especially newcomers. Everyone knows CAA has the best resources and the best system in place.'"
Wow, such confidence?
Edgar smirked. "Anson, that's what I'm saying, not CAA, because it's true. They have the confidence and the backing to say it. Although, if you look at the revenue reports, William Morris has caught up to CAA—right now, the two companies are neck and neck."
"But…"
"In terms of influence, we still can't compare to CAA."
"That, unfortunately, is a fact."
"Anson, do you know how the '$20 million club' came about? Or the 'Brat Pack,' and even 'Friends,' which brought you into the spotlight?"
There was no need for an answer; the context made it clear—the answer was the Creative Artists Agency.
Anson raised an eyebrow. "Wow, I have to admit, you caught me off guard. I didn't expect you to hold your competitor in such high regard."
Edgar wasn't bothered. "Disparaging a strong and successful rival only undermines one's own confidence. On the contrary, acknowledging a competitor's excellence is the first step to evolving oneself."
In a world driven by fame and fortune, maintaining such a mindset is no easy feat.
Edgar added, "Besides, this is a common industry consensus. We all know the dragon is there; denying it only makes us look foolish. CAA has proven itself, and there's no need for us to be stubborn about it."
Anson was now curious. "But why didn't you join CAA as an agent?"
Edgar glanced at Anson. "That's not related to what we're discussing."
Anson disagreed. "If you think CAA is so powerful, yet you didn't join them, that's clearly a contradiction."
Edgar thought carefully for a moment. "You're right—I just made a mistake."
He admitted his mistake without hesitation.
"I didn't join CAA because, like the issue you're about to face, it's not about whether CAA is good or bad, but whether you fit their business model."
End of Chapter 4.