In the hotel lobby's lounge area, Ivan leisurely flipped through the newspaper, occasionally taking a sip of coffee, appearing very relaxed. However, he took notice of every person coming out of the elevators.
Suddenly, he spotted a very familiar person exiting the elevator.
Ivan had seen this person's photo many tis before because Bruce had told him this was one of the key subjects for daily surveillance.
Especially this ti, Bruce had also ntioned Warner's na.
And this person was none other than Kevin Tsujihara, the CEO and Chairman of Warner Bros.
Ivan took out his cell phone, opened the cara, and stealthily snapped a few photos.
Kevin Tsujihara wasn't accompanied by an assistant or any entourage, and walked alone through the lobby, exiting the Burbank Hotel.
Ivan put away his newspaper and cell phone, blended into the stream of people leaving the hotel, and followed.
In front of the hotel, Kevin Tsujihara got into an unassuming sedan and left the place.
Ivan secretly took a few more photos.
His phone vibrated this ti, and Ivan answered, "It's ."
Luke's voice ca through, "Charlotte just left the parking lot in that BMW."
Ivan had been a part-ti paparazzo for a long ti and had a particularly keen sense of sll. He imdiately connected Charlotte with Kevin Tsujihara. Were the two having a secret eting and now departing separately?
A few minutes later, Ivan, who had been waiting at the exit of the underground parking lot, got into the car Luke drove up.
The two exchanged briefly what they had seen and photographed. Luke said, "It seems highly likely it's this Kevin Tsujihara. The information you brought shows that Charlotte Kirk was introduced to Director Nolan's crew by Charles Roven, Warner's most senior producer. If it wasn't personal action from Charles Roven, by normal deduction, it could only be one of Warner's top executives..."
Ivan interrupted him, "Your guess makes sense. Just wait a mont, I've asked soone to check the owner of that suite."
The car entered a parking lot, and after so ti, Ivan's phone vibrated again.
He answered the call, and the person on the other end said, "That's one of Warner Bros.' long-term hospitality suites in Burbank. I don't know much more than that."
That was enough. Ivan said, "Thanks, I'll pay you the info fee when we et next ti."
"Okay." The person on the other end hung up.
Ivan took out his notebook, organized all the preliminary processed photos and videos, uploaded each to his email, wrote the newly obtained information in the email content, and then sent it.
Luke stretched out, "Is the job done?"
Ivan nodded, "It's done, ti to sleep."
Luke started the car, turning the steering wheel as he said, "Wouldn't it be nice to have work like this every day? Little to do, good pay, short cycle."
Ivan hadn't slept well last night, "Stop the chatter, let's hurry back and rest."
...
Atlanta, Gray Film and Television Center.
Today, the crew didn't have scenes with the male lead to shoot, but Martin still showed up at the studio.
Chances to learn directorial operations firsthand from Nolan were rare.
Martin watched and listened more than he spoke, careful not to disrupt Nolan's usual work.
The crew continuously changed models, and even for the vastness of space, Nolan still insisted on using practical effects.
To et Nolan's filming needs, a massive prop team was either busy constructing models or on the road buying materials for them.
On the space and black hole scenes, differences sotis arose between Nolan and Kip Thorne, the scientific consultant for the crew.
Nolan had never intended to make a purely hard sci-fi film; everything had to serve the thes of the film.
During a break, he fiddled with a black hole model in his hand and said to Martin, "On one hand, there's the wormhole and relativity, and on the other hand, there's the needs of the film. Sotis, a director has to make compromises."
Martin could understand, "You can't violate existing physical laws, and all imagination must be grounded in science, not just the whims of a screenwriter. That indeed sounds challenging."
He looked at Nolan and asked humbly, "How do you plan to deal with it?"
"Ensuring compliance with physical laws, we simplify complex concepts and science as much as possible so that the audience can understand them." Ultimately, Nolan was a comrcial director, and his choices were not surprising, "After all, these things serve the the of the film."
Martin understood and said, "No matter how hardcore the sci-fi appears, wormholes, black holes, space adventures, multi-dinsional spaces... the core is still about family and love."
Nolan nodded slightly, "Science and theory actually serve emotions, wrapping the softest feelings in the hardest shell. That's why it won't be a serious sci-fi film like '2001: A Space Odyssey,' yet it has richer emotions."
He specifically said, "As a director, before starting a project, you should know what you're best at, what you want to express through the film, and whether there's a market and audience for it. The rest should serve that purpose, then all your work will have a very clear goal."
Martin was enlightened, "That's very inspiring, Chris, thank you."
Nolan waved his hand, "It's nothing. Once you're more experienced, you'll understand it yourself."
Martin knew that while the principle was simple, people often struggled to puncture the thin barrier before their eyes.
The props masters reset the models on the set, and shooting resud.
After the crew wrapped, Martin returned to his trailer to jot down so insights from the morning in his notebook.
Bruce checked his phone and found a new email, eagerly opening it, and said, "There's news on Charlotte Kirk."
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