Things are a bit complicated.
But simply put, innovative artists prioritize the interests of the company first, and then their personal interests. This unique model has cemented their position.
Other agencies, however, do the opposite. They prioritize personal interests first, followed by the company's.
On a corporate level, innovative artists are indeed giants, the unquestionable leaders, with a profound influence on the entire industry. On a personal level, choosing innovative artists or other agencies each has its pros and cons, ultimately depending on individual preference.
Different choices may lead to completely different paths, though for both agents and artists, there are differences, but they're very similar.
From Edgar's choice to work with William Morris, you can tell he has ambition.
Actually, for Anson, choosing an agent is a slightly different and separate matter.
Even though the duties of agents are broad, in Hollywood, they can be simplified into two main tasks:
First, choosing the right projects.
Second, negotiating salaries, planning schedules, and communicating information.
The former tests the agent's artistic judgment.
For example, in the late 1990s, the original "007," Sean Connery, suddenly became interested in science fiction and asked his agent to find a project for him. As a result, he followed his agent's advice and turned down both *The Matrix* and *The Lord of the Rings* because he didn't understand the scripts.
Another example is in 2007, when Matt Damon received offers for both *The Bourne Ultimatum* and *Avatar*. Due to scheduling conflicts, he had to choose one, and after careful consideration following his agent's advice, Matt turned down the $15 million offer plus 10% of the box office revenue from *Avatar* to choose the former.
Only after the films were released did the actors realize what they missed:
Sometimes it was a box office hit, other times it was a Palme d'Or winner or an Oscar Best Picture.
Stories like this are countless and continue to unfold. This is where an agent's ability is truly tested.
The latter task tests an agent's negotiation skills and interpersonal relationship management.
As for pay, there's no need for further explanation. The rise of the "20 Million Dollar Club," driven by innovative artists, is the best evidence. But there's also another great story.
Leonardo DiCaprio's pursuit of the Oscar is widely known. He finally achieved his dream in 2016 with *The Revenant*, but before that, he had always wanted to collaborate with Martin Scorsese. However, he never managed to find an opportunity.
To work with Martin, Leonardo changed five agents over time. His only request of them was to connect him with Martin for a collaboration.
For Anson, as a time traveler from 2023, he knows exactly which projects will be successful, so he doesn't need his agent's judgment. But he desperately needs the negotiation and communication skills of an agent, as well as the support of an agency.
A hypothetical: If Anson wants to work with Christopher Nolan, can his agent help him achieve that?
Whether it's innovative artists or William Morris, Anson's requirements are the same.
The same goes for Edgar.
Anson looked at Edgar, who was speaking confidently and passionately. "So, what about you? What question should I be asking you?"
Edgar froze for a moment—
Was this an opportunity?
He didn't panic. His smile faded, replaced by an expression of deep concentration and seriousness. "You should ask me why, when the situation is still unclear, I personally came to visit you and acted as if I were trying to persuade Brad Pitt."
Heh.
Anson chuckled softly.
He repeated the question simply, "Why, when the situation is still unclear, did you personally come to visit and act as if you were trying to persuade Brad Pitt?"
The question had obviously been thrown out by Edgar himself, and Anson was merely copying it back. Yet, Edgar didn't rush to answer. Instead, he paused in deep thought.
The pace slowed down.
Edgar no longer appeared tense or hurried. A brief struggle flashed across his face before it settled into a look of determination.
"Because I believe in you."
It wasn't a slogan, nor a motivational speech.
The light in Edgar's eyes showed that this was a genuine feeling from his heart—
A bit absurd, right?
Up to this point, Anson had only appeared in three episodes of *Friends*. That was his entire resume, so brief that printing it out wouldn't even be enough to wipe one's mouth.
Yet Edgar said he believed in Anson. Wasn't this promise a bit too big?
The key was that if it were just empty words, he should've been more restrained, making it more convincing.
Absurd though it was, it wasn't funny at all.
Edgar's sharpness had completely subsided, and even his voice had lowered. There were no antics or jokes. His whole demeanor had changed.
With a simple and sincere tone, he expressed his heartfelt words.
Edgar believed that sincerity was the only key.
"Because I believe you are unique."
"Because I believe you can become an even bigger and more successful star than Brad Pitt."
"And..."
"Because I believe you also believe this about yourself."
"That's why I came."
"Even though the situation is still unclear, I came personally to visit, acting as if I were persuading Brad Pitt."
The words ended here.
There was no rousing speech, no grand gestures—everything was calm, laid out plainly as if mid-sentence, but Edgar did not continue. He simply stood there, watching Anson, accepting his scrutiny, awaiting judgment, and waiting for an uncertain outcome.
After a moment, Anson realized Edgar had finished speaking and that there would be no further words. He gently raised his chin and flashed a subtle, meaningful smile.
"Alright, Captain Cook, thank you for your visit today."
"Wait, you don't mind if I call you that, do you? Back in school, were there kids who called you that?"
Seeing Anson stand up, signaling that it was time to leave, Edgar quickly stood up as well.
Anson didn't respond.
There was no reply at all, no positive or negative reaction, nothing enthusiastic or dismissive. His calm face gave away no clues.
Edgar took a deep breath and smiled. "Of course, I don't mind."
Indeed, Anson wasn't in a hurry to make a decision.
Certainly, Edgar's visit had opened up his perspective, and his impassioned speech was both persuasive and moving. But Anson wasn't some impulsive eighteen-year-old who would rush to agree just because of a moment of excitement.
He still planned to visit the innovative artist agency and William Morris to meet with other agents, to see how accurate Edgar's predictions might be.
Only then would he decide whether to give Edgar a formal meeting.
Anson and Edgar exchanged some pleasantries as they walked to the door, with Anson personally escorting Edgar out.
Hearing the movement, James immediately put down his game controller and quickly came over, keeping a vigilant eye on Edgar as he left. Only then did he ask, "So, how was it? How do you feel?"
Anson shrugged lightly. "No rush, there's no need to hurry right now."
Even though Anson didn't explain his reasoning, James nodded approvingly. "Stay calm. The more critical the moment, the more you need to be careful not to get carried away. If you need, I can give my agent a call. The innovative artist agency has many excellent agents."
"Hm? Wait a minute, James, are you trying to sabotage the competition for your own agency? Something feels fishy here."
"Hey, come on! I'm just being honest, okay?"
End of Chapter Six.