...
Century City, WMA headquarters.
Last month, Dwayne Johnson, having just switched agencies, walked into the eting room accompanied by his new agents, Raymond and manager Garcia.
Over the last two years, with multiple successful films as the lead actor, including the Fast & Furious series, Dwayne Johnson's fa had skyrocketed. This year's big box office hit "Hercules" had truly vaulted him into the ranks of A-list stars.
As a star client with future promise, WMA opened up its internal resource pool, allowing Dwayne Johnson to take his pick.
Johnson didn't leave the task of choosing roles entirely up to his manager, instead, he diligently viewed the summaries and indexes of the projects.
Not excluding even those noted as already picked.
Johnson was a dominant figure. During the production of Fast & Furious, he had gone toe-to-toe with Vin Diesel, even harboring the idea of taking over as the lead of the series.
However, while he was still making his plans, Vin Diesel t God following a shooting incident.
With the preparation of "Fast & Furious 7" underway, Johnson beca particularly assertive, aiming to overshadow Paul Walker in every aspect.
He employed the sa tactics as Vin Diesel, pressuring the production company through various ans to further marginalize Paul Walker's role, thereby replacing the God-eting Tang as the new patriarch of the family of heroes.
But to beco a gastar, it wasn't enough to rely on just one successful series, he needed many more blockbusters like "Hercules".
Johnson flicked through the script database swiftly, the number of screenplays by new and old WMA writers was too many to count.
He used the search function, automatically filtering out any screenwriter without a successful project to their na.
The script library was significantly reduced, and Johnson briskly browsed through the remaining works. His thod of selection was also quite simple: the script had to have a strong, absolutely dominant male lead.
One script after another was eliminated, finding a suitable project wasn't easy, and Johnson felt dizzy. He shook his head in an attempt to clear it.
Garcia, Johnson's ex-wife and manager, then said, "Dwayne, take a look at the synopsis with the code A-45. It's an interesting project about a firefighter saving his family during an earthquake."
Johnson entered the code, and the script popped up. He asked, "Is it 'San Andreas'?"
"That's right," Garcia confird.
Johnson quickly scanned through it, the male lead was just to his taste—saving his family amidst an apocalyptic super-earthquake.
Moreover, the San Andreas Fault, like Yellowstone Volcano, had imnse fa across Arica; an earthquake caused by it would easily draw attention.
Just looking at the male lead and the synopsis, the script seed tailor-made for him.
Finally, having found a suitable project, the joy in Johnson's heart had barely surfaced before it was replaced by disappointnt.
The project had been marked, indicating it was taken.
On the mark, Johnson saw two nas—Davis Film Studio and Martin Davis.
He looked at his agent, "The project's already taken by Martin Davis?"
Raymond replied, "Martin Davis is our agency's top client. He gets the first pick of all the projects, and only then does it beco available to others."
Johnson rubbed his bald head, silent for a mont.
Garcia waved others out of the room. Once the three of them were alone, she said, "This project is very fitting for Dwayne, and he's in urgent need of a work to solidify his position, having just transferred to WMA."
Raymond shook his head, "The rights to the project have been purchased by Martin's studio, I suggest looking at others."
Johnson wasn't soone who gave up easily and asked, "Is there a possibility of buying this work from Davis Studio?"
While quickly reading through the script in detail, Garcia questioned, "Does Martin Davis intend to act as the male lead?"
Raymond had heard about the project from the company, "Yes, he's reportedly dissatisfied with the script and is having Carlton Cuse's team revise it. The details of those changes are beyond what I can access."
After having a detailed look at the character design of the male lead, Garcia comnted, "Personally, I feel the role isn't very suitable for Martin. First off, the age isn't quite right—the male lead is divorced and has a daughter who's at least in high school."
She asked, "Dwayne's age and image fit the male lead's character setup better."
Raymond said, "It's not about who fits better, the project is already in Martin's hands."
Johnson typed Martin Davis into the search bar, and upon clicking search, the nas of several movies appeared, all recorded as new projects of the Davis Studio on WMA's books.
Talent agencies record these to mobilize internal resources, giving priority to projects led by the agency's clients, intending to use WMA's clients first.
Not just actors and directors, but also cinematographers, prop masters, costu designers, makeup artists, and others alike also need agents.
Johnson asked, "Has the Davis Studio formally started the project?"
"No," Raymond could confirm that: "Martin has been working closely with WMA in recent years, and the company would update the relevant remarks in the database as soon as the project kicks off."
Johnson was not soone who gave up easily, having finally found a script role to his liking, he said to Raymond, "Let's talk to Martin Davis and try to acquire this project from him."
Raymond said, "Is that appropriate?"
Johnson smiled, "Just make contact and see what they think. If it doesn't work out, we lose nothing."
Garcia joined in, "Dwayne's Seven Bucks Productions also has the capacity to finance and shoot."
Faced with a heavyweight client who had taken great effort to secure, Raymond had no choice but to pull out his phone and call Thomas Ryan, indicating his client, Dwayne Johnson, had important matters to discuss with Martin.
It just so happened that Martin was at WMA discussing things with Thomas, and he took the call, asking them to co directly.
Five minutes later, in the private eting room reserved for senior partners, Martin t Dwayne Johnson and his entourage.
The big and robust Johnson had a simple and honest smile. His screen persona and public image were that of a humorous elder brother, but Martin had heard many rumors, and, after all, Hollywood stars are multifaceted.
What's hidden may not be as it seems.
For instance, the unclear conflict between Johnson and Vin Diesel.
Who's right and who's wrong, and besides those inside the production crew, who could really tell?
It was said that Johnson was also notorious for being late on set.
In front of Martin, Johnson was all bright and enthusiastic smiles, shaking hands with Martin, he said, "I've always wanted to et you, but never had the chance. The first thing I did when I ca to WMA was to see you."
He was just like Martin in the past, "You're my favorite film star, an idol in the action genre. If I had half your moves, I'd wake up laughing from my dreams."
Martin had gotten where he was by not taking such words to heart. He smiled and replied, "I always enjoyed watching your wrestling shows."
After exchanging pleasantries, they took their seats, and Johnson got right to the point, "I heard about a movie project based on the San Andreas fault line, and I asked Raymond. Is it in your studio's hands?"
Martin counter-asked, "Are you talking about 'San Andreas' written by Carlton Cuse?"
Johnson confird, "Yes, that script."
"Correct, my studio bought the rights a few months ago," Martin guessed Johnson's purpose: "The studio is moving forward with the project, and it will soon be officially launched."
Johnson either didn't understand or didn't want to give up just yet. After thinking for a mont, he tentatively said, "I've looked at your schedule, Martin, and it's quite full for the next few years... Well, I an no offense, I just wanted to ask if there's a possibility of us collaborating on this project?"
Martin looked at Johnson, "What do you an?"
You have to try to know if it's possible. Johnson said, "If possible, could your company sell the rights? You na the price, Martin."
Such transfer of rights wasn't uncommon in the industry, but Martin declined calmly, "I can only say I'm sorry."
Johnson tried for a lesser request, "What about playing the lead role?"
Martin's side had already changed the script, and there was no going back. He tactfully declined, "We will have opportunities to collaborate in the future."
Johnson was sowhat displeased inside, but didn't say more, politely offering his goodbyes.
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