"Hehe, well done."
Seeing Anson's figure, Edgar casually slipped the phone he had been staring at into his pocket. Standing up with a natural and relaxed smile, he approached Anson without appearing eager or anxious, as if Anson had just been chatting with a friend.
"I've already made a lunch reservation. So, how about it? Do you have any plans for the afternoon? I mean, if you don't, I have two Knicks tickets."
They chatted casually as they walked towards the elevator.
Others might not notice, but Anson could see Edgar subtly giving him knowing glances, clearly signaling Anson to play along.
It was evident that Edgar didn't want to appear too eager or nervous, instead aiming to project a laid-back and relaxed demeanor to wrap up the audition process smoothly.
The formal audition might be over, but how the actor and agent behaved afterward—every expression, gesture, and interaction—was still under the watchful eyes of onlookers. Any slight misstep could potentially reach the producers' ears, subtly influencing the impression left behind.
Would this affect the audition outcome?
Generally, no.
But Hollywood is a small, tight-knit community. The image, reputation, and rumors surrounding an actor or agent are often pieced together from these seemingly insignificant details. Especially in an audition as high-profile as "Spider-Man," news traveled faster than one might think.
So, Edgar was also performing. Life is a stage, and it all hinges on your acting skills.
It wasn't until the elevator doors closed that Anson, still smiling, looked at Edgar, his eyes asking the question instead of his lips.
Edgar relaxed a bit, but he didn't let his guard down completely. "Hey, we're still in the Sony-Columbia building."
Seeing Edgar so on edge, Anson couldn't help but laugh. "What, do they watch the elevator cameras too?"
Edgar shrugged lightly. "There's always been a rumor that Disney does. Though there's no proof, we tend to believe it."
Anson didn't hide his surprise. "Why?"
There seemed to be no reason for a movie studio to monitor actors, agents, or directors so closely, right?
"Power." Edgar said the word, his tone filled with deeper meaning.
Anson pondered for a moment and quickly grasped the situation. Large film studios like Sony-Columbia are often battlegrounds for internal power struggles, where the success or failure of a project can tip the scales of influence. Consequently, those working on these projects become pawns in the larger game of corporate power.
The "Spider-Man" project had been fraught with challenges, but despite this, Sony-Columbia had decided to invest over $100 million in its production—a gamble with potentially huge stakes.
Everything had a reason.
In 1997, Sony-Columbia had topped the North American box office thanks to "Men in Black" and secured three spots in the year-end top ten, showcasing strong performance. However, 1998 and 1999 saw the studio fall into a slump, with only one film each year crossing the $100 million mark at the box office. This year had been particularly bleak, with the summer season over and not a single film from the studio breaking the $100 million mark in North America. The best performer, "Hollow Man," had only reached $70 million so far.
Sony-Columbia needed to bounce back, or it risked falling behind in the race among the top studios.
"Spider-Man" was their ambitious answer to this challenge.
Given this context, the internal power struggle surrounding the project was intense and complex.
Edgar's caution wasn't unfounded.
It wasn't until they had left the building and merged into the bustling streets of New York in a taxi that Edgar finally relaxed, revealing his tension and anxiety. This moment showcased his youth and ambition—though he lacked experience, his dedication and drive were evident.
"So, how did it go?" Edgar asked eagerly, his eyes full of expectation.
Anson thought carefully. "It went well. The entire audition was filled with laughter, and although it went off-track a few times, I think breaking the norm was a good thing."
Edgar urged him to elaborate.
Anson didn't hold back, recounting the entire audition process. Edgar, with a furrowed brow, immediately zeroed in on a crucial detail.
"Laura? Ian called her Laura?"
Anson nodded. "Why, do you think she might be a key figure?"
Throughout the audition, Sam's unpredictability and Ian's control were expected, but the behavior of the slightly overweight woman had stood out. Most of the time, she played the role of an observer, but whenever she spoke, she hit the nail on the head. Not only did Ian listen intently when she spoke, but so did the others, indicating that she likely held a key voting position.
Edgar dug into his memory based on Anson's description.
For agents, understanding Hollywood's intricate network and remembering countless important names is a basic skill.
"Laura Ziskin," Edgar said, finally connecting the dots. "She's a seasoned producer. Her most recent success was 'As Good as It Gets,' which won seven Oscar nominations two years ago, including Best Actor and Best Actress for Jack Nicholson and Helen Hunt."
"She's... very low-key but extremely professional. She has close relationships with producers, directors, and top actors. The studios also value her opinions."
"By the way, it was Laura who pushed for Helen Hunt to be cast in 'As Good as It Gets.' Despite Helen being in the industry for over 20 years and repeatedly being told she wasn't pretty enough to be a leading lady, Laura saw her potential and personally convinced Jack to work with her."
This meant that Laura Ziskin indeed had significant influence, particularly in casting decisions.
After thinking it over, Edgar asked, "Did she say anything at the end?"
Anson shrugged slightly. "That's the interesting part—she didn't say anything."
Edgar raised his chin thoughtfully, interpreting this silence as an indication that Laura had already formed an opinion. However, what that opinion was remained a mystery known only to her.
Thoughts swirled in Edgar's mind before his eyes lit up. "Do you know what was the first film that made Hollywood take notice of Laura's abilities?"
"'Pretty Woman.'"
Anson's eyebrow arched slightly. Gary Marshall's "Pretty Woman"?
Edgar continued without pausing, "You said your collaboration with Gary Marshall was very enjoyable? We need to connect Laura with Gary. But it has to be subtle—Laura needs to be the one to initiate the inquiry about you, not Gary calling to recommend you. That would be too obvious, too forced."
And it might backfire.
But how could they plant the idea in Laura's mind, prompting her to reach out to Gary?
They couldn't just sit back and wait. It was clear that other agents were likely pulling every string they had. For a project as high-profile as "Spider-Man," the audition was critical, but behind the scenes, unseen forces often dictated the final outcome.
They needed to take the initiative.