The sun had not yet risen, and several trailers were parked at the entrance of the soundstage, where the set inside had already been prepared, and the production crew was making final adjustnts to the caras.
David Fincher was in control of the overall situation, coordinating the work of the entire crew.
Background actors playing reporters gradually filed in, receiving vintage equipnt from the prop master.
Seasoned actors Ellen Arkin and Alec Baldwin entered the soundstage one after the other.
A few minutes later, Martin, dressed in an old-fashioned suit, ca in from outside.
Because of the makeup and the fake beard, he looked much more mature than his actual age.
David Fincher entered the set and pointed Martin to a side door, "When we start shooting, just stand over there, don't talk, act like a bystander."
Martin nodded, not saying a word, to fit the style of the role.
Tony ndez had said that CIA agents like him, engaged in secret rescue operations, rarely spoke unless necessary.
Ten minutes later, the crew officially began shooting.
Martin stood by the side door, appearing like the most ordinary mber of the crew, silently watching the "Argo" film crew hold a press conference.
This movie was fictitious, but all the preparatory operations were real; only a truly convincing fake film crew could deceive the target and achieve their goal.
It was interesting to shoot a film while also realistically preparing for a fake movie within the production process.
"Cut!" David Fincher called a halt to the shooting and said to the crew, "Give Martin a three-second close-up on the main cara."
The director of photography responded, "Understood."
Shooting resud, with Martin standing by the door, hands in his pockets.
David Fincher called a halt again, saying, "Martin, tone down the look and the aura a bit. When you're not in action, you're just an ordinary person."
Martin still responded in a way that fitted Tony ndez's style, not speaking but just nodding slightly.
The shooting started again and was stop-and-go; it took half an hour for the first shot, after which David Fincher finally called it good.
Even so, he still reviewed the footage once more.
The story of the script was quite legendary and relatively easy to shine; as long as it was well-made, there was great potential.
Throughout the morning, Martin appeared in many shots but did not have a single line, playing mute the whole ti.
David Fincher announced the wrap for the morning, and the previously quiet set quickly beca bustling.
Martin saw Tony ndez by a table not far away and went over to ask, "How does it feel after the first scene?"
Tony ndez smiled, "Your budget was much more ample than back in my day. We just had a small press conference; we didn't have anything as grand as this."
David Fincher joined them and said, "Well, a movie has to have a certain scale to be captivating, and the real events were so incredible that if we don't make it big and proper in the film, the audience will say we're just winging it."
Tony ndez stood up from the chair and said, "You're doing great work; that's all for today."
He shook hands with Martin and David Fincher, "I'm heading back now."
After seeing off Tony ndez, Martin and David Fincher headed toward the catering truck together.
As they walked, David Fincher said, "A few days ago, Netflix's Randolph told he had invited you to star in a Netflix TV series project."
Martin replied, "He told you would be directing and producing, which piqued my interest enough to ask a few questions, but I don't have the schedule to act in it."
He then asked, "A political drama series?"
David Fincher confird, "It's an adaptation of the British 'House of Cards,' focusing mainly on the internal political struggles of the Washington D.C. authorities."
Martin had seen all of David Fincher's work and naturally rembered the series, even recalling that the male protagonist seed to be called Underwood.
David Fincher added, "I've reached a secret agreent with Netflix that after the 2013 Oscars, regardless of the outco, I will join Netflix to shoot and produce 'House of Cards.'
He made his intentions very clear, "Escape from Tehran" might be my last work under the traditional Hollywood production model."
Martin encouraged, "The subject matter is very fitting; let's aim for a few more Oscars."
David Fincher spoke earnestly, "I don't have the perseverance of Leonardo and Scorsese. If it doesn't work out this ti, I'm done playing with the Oscars."
Martin clearly rembered that David Fincher later beca one of the most closely associated directors with Netflix in Hollywood.
After lunch, with nothing to do, Leonardo and Nicholson visited the studio.
Upon seeing the infamous Trio of Scoundrels from Hollywood together, David Fincher hurriedly found two assistants and instructed them with utmost seriousness, "Follow them the entire ti, and if they look like they're up to sothing, notify imdiately."
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The two assistants sensed the gravity of the situation and promptly responded.
David Fincher glanced at the three scoundrels and thought to himself that Martin wouldn't be joking about a film crew he was investing in.
Inside the rest area, Leonardo handed a book to Martin and asked, "Interested in going to Africa for a spin?"
Martin took the book and questioned, "What for in Africa?"
Leonardo explained, "To film a docuntary about mountain gorillas to paint a picture of animal conservation. Your flag is won's rights; mine is environntal protection."
Martin sized up Leonardo, "Just so nominal publicity. Is it worth going all out for? And to Africa, no less!"
Leonardo seed quite serious, "We're actually going to the Congo. There's a civil war going on there, all sorts of powers fighting over natural resources. Many poachers are ard."
Hearing this, Martin didn't even glance at the book, tossing it back to Leonardo, "I'd be crazy to go to a place like that!"
Leonardo revealed his true motive, "I won't feel confident without you going."
"Look at !" Martin pressed down on his face, "Flesh and blood, not made of steel, if a bullet hits , my head would explode just the sa."
Nicholson interjected, "I'm out too."
With no other option, Leonardo lanted, "See, if you're not going, Jack's out too. I was hoping the three of us could collaborate again."
Martin ignored Leonardo and turned to Nicholson, "Are you out of your mind? Do you want to risk a mother gorilla... you know what to you in the jungles of the Congo? Then we'd have to declare you non-human!"
"Leo made it sound fun, and I wanted to check it out—could be so entertainnt," Nicholson had a change of heart, "But hearing what you said, I might end up being the gorillas' entertainnt. Forget it."
Leonardo pointed at the two, "You two scoundrels have no sense of brotherhood."
Unconcerned, Martin responded, "I've got tens of millions in cash, hundreds of millions in assets, several Cola Cult priestesses dedicated to , a dozen muses and close female friends, the only envoy for two major won's organizations, and I'm a mber of the Face Gang and Trio of Scoundrels, always able to find amusent..."
He asked Leonardo, "Spending US dollars not fun enough for you? Not happy with beauties? Haven't found enough entertainnt? Why would you go to an African country in civil war to suffer?"
Upon hearing Martin's words, Leonardo suddenly realized his own situation wasn't so different.
His mind quickly made the connection; Martin wasn't just refusing and showing off—he was actually persuading him.
Nicholson remarked, "Thinking about it, if sothing happens to there, with money unspent and fun not fully had, it'd regretful."
Disinterested now, Leonardo concluded, "Alright, no more discussion, I won't go either."
Martin suggested, "If you want to shoot a docuntary, just invest so money, find a professional filming team, and let them go to the Congo. Are we brothers short on cash? Don't you have Asian investors too?"
Leonardo proposed, "I'm prepared to personally invest one million US dollars and find a suitable partner." He frowned slightly, "My agent contacted the major TV stations and production companies, but they are all stingy and not interested in a losing project."
Nicholson added, "Production companies and TV stations are not charities, they're realistic; their investnts seek comrcial profits."
Martin thought of a suitable partner, "How about Netflix? I've heard they're focusing on original content. You could just be an investor and producer, no need to appear on screen. Cooperating with a streaming service like Netflix shouldn't be a problem."
Leonardo understood where Martin was coming from, "I've just won the Oscar for Best Actor, and this is a docuntary. Even if I did appear on cara, it would only be to call for the protection of mountain gorillas. What could be the issue?"
He looked at Martin, "But I'm not very familiar with Netflix."
Martin, always ready to help his buddies out, took out his phone and called Netflix's Chief of Content Greg Peters, who happened to be in Los Angeles. They agreed to et that evening in Beverly Hills.
Leonardo said, "I'll go to Pave Road Entertainnt to get the proposal. When you've finished here, let's et in Beverly Hills."
As the leading actor, coproducer, and investor of this film set, Martin couldn't just ss around for fun. Nicholson said bluntly, "I'll go with Leo; it's too boring here."
Martin waved them off, "Go ahead."
Shortly after they departed, the afternoon's shoot comnced.
The crew began filming all the scenes set in the studio.
After wrapping up for the afternoon, Martin arrived first at a business club in Beverly Hills and t the agreed-upon Greg Peters.
The latter greeted Martin with overwhelming enthusiasm, "I really don't know what to say, Martin, you're a friend of Netflix!"
Even if it was a docuntary that wasn't highly regarded, the possibility of brokering a deal between Netflix and a project from Leonardo felt like no small feat to him.
This kind of collaboration is always the hardest the first ti.
Smiling, Martin said, "I'm just making the introduction; whether it works out is up to you."
Greg responded, "Netflix is very sincere."
A few minutes later, Leonardo and Nicholson arrived. Martin made the introductions, then took Nicholson to bowl outside, leaving the businessn to their negotiations.
By the ti they returned, Greg and Leonardo had basically reached an agreent.
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