Stepping out of the makeup trailer, Matthew and Keira had hoped to slip away while Depp held the press's attention. But with a carnival in full swing at Disneyland, the area was swarming with so many reporters that they were completely blocked by the press and paparazzi before they could even reach their cars.
"Matthew Horner, Keira Knightley!"
One reporter shouted, trying to be heard over his colleagues, "Is it true you two are in a relationship?"
This wasn't part of the plan their teams and agents had laid out, so naturally, Matthew didn't confirm it. But he didn't deny it either, simply maneuvering around the reporters in an attempt to get away.
Another reporter aid his question at Keira. "Miss Knightley, a critic recently slamd your performances in previous films, calling you stiff and unexpressive. What's your response to that?"
"What? Which—" Keira started to say, but she was stopped.
Having spent so much ti with Keira, Matthew knew her temper, so he hastily tugged on her arm.
That small reminder instantly cleared Keira's head, and she recited the standard, dia-trained response: "For the past few years, I've been dedicating all my ti to filmmaking and portraying my characters to the best of my ability. I can't say what that particular critic didn't like."
Still not satisfied, the reporter pressed on, "So what do you think about negative reviews in general? Do you read them?"
"I don't know. I don't plan on reading them." Keira glanced at Matthew and added, "Matthew could probably give you a better answer to all your questions."
Hearing that, the journalist imdiately switched targets, redirecting his fire toward Matthew. "Matthew, can you tell us about your relationship with Miss Keira Knightley?"
Matthew continued moving toward the car with Keira in tow, saying, "Keira is a fine actress and a very good friend."
He rattled off a string of aningless platitudes until they reached the car, where, with the driver's help, he bundled Keira into the middle of the back seat before pushing through the throng of reporters to climb in after her.
"Go!"
Keira ordered the driver, "Get us out of here!"
The car couldn't seem to move fast enough; it took ages to finally leave the Disneyland area. Matthew glanced back and saw they were still being tailed by paparazzi on motorcycles. Even more brazenly, another car pulled up alongside them, and a man in the back seat raised his cara, trying to film through the windows.
Keira grimaced in annoyance.
Matthew reminded her, "They won't be able to get a clear shot of us."
The car's windows were tinted with a special film, so anyone outside could only make out vague shapes within; getting a clear picture was impossible.
Presumably, the paparazzi realized this as well and soon dropped back, though they continued to follow at a distance. Matthew knew the tabloids had already manufactured a scandal about him and Keira. Now, with Pirates of the Caribbean entering its promotional phase, they had beco an even bigger target for the press and the public. The paparazzi would undoubtedly follow them all the way ho.
"Where are you headed, Keira?" Matthew asked.
"The hotel," Keira replied, glancing back as well. Then she asked Matthew, "Is Depp going to be in trouble for punching Michael?"
Matthew considered for a mont before replying, "That depends on how successful Pirates of the Caribbean turns out to be."
Keira gave him a questioning look.
Matthew explained, "If the film is a massive hit, who's going to rember a minor incident like this? When it's ti for a sequel, Disney will be on its knees begging Depp to return. But if it bombs, Disney stands to lose a fortune, and Michael Eisner will likely be kicked to the curb."
He added, "The sa goes for us."
Keira asked, "Do you think the movie will succeed?"
"You'd better hope it does," Matthew said grimly. "If Pirates of the Caribbean fails, Depp will just go back to being Hollywood's favorite eccentric, and Tim Burton will keep casting him. But the two of us..."
He shook his head. "Our careers will most likely be over."
They continued discussing the film until the car pulled up in front of Keira's hotel.
Before she got out of the car, Keira said, "It's my eighteenth birthday next week."
Matthew nodded knowingly. "The day we officially beco a couple, right?"
Keira didn't answer, her eyes flashing as she looked at him. "Have you gotten my present yet?"
"Of course..." Matthew drawled, dragging out the words deliberately. "I'm the gift."
"No, I don't want you." Keira opened the car door, adding as a parting shot, "I'm expecting a real present."
She stepped out of the car and walked toward the hotel entrance without a backward glance.
Matthew watched until Keira disappeared into the hotel, then signaled the driver to go. As the car headed toward Burbank, he mulled over her words.
According to the agreent they'd made last year, as soon as Keira turned eighteen, they would pick the right mont to go public with their supposed romance, capitalizing on the dia speculation.
For the sake of this publicity stunt, he had spent the last few months keeping a very low profile, even politely turning down a clandestine eting with Rachel.
It wasn't that he was afraid of being photographed by the press; he was discreet enough to avoid reporters and paparazzi. After all, in Los Angeles, he was just one of countless minor stars, practically a nobody.
Instead, Matthew was worried about Rachel herself. He understood perfectly well that the sweet, simple girl from two years ago had vanished without a trace, taking her naivety with her. In her place was a new, more worldly Rachel, determined to climb the Hollywood ladder.
It wouldn't be surprising if Rachel sold him out, as long as there was sothing in it for her.
At any other ti, it wouldn't have mattered. But right now, it would undoubtedly cause huge problems, as the contract he'd signed with Keira included a clause requiring him to pay up to three million dollars for any breach.
Although Rachel was highly "skilled" and brought him imnse pleasure, that pleasure certainly wasn't worth a three-million-dollar loss.
...
Matthew spent the following days hard at work, building montum for Pirates of the Caribbean according to the promotional plan laid out by Disney Pictures.
Although the film's North Arican release was still several months away, and sumr blockbuster season was still over a month out, the promotional war for Hollywood's biggest comrcial films had already begun. It had kicked off back in early February during the Super Bowl, with every major studio starting the hype train for their flagship projects of the year.
Matthew ran into Keanu Reeves and Charlize Theron again at Depp's bar. Unlike their last encounter, Charlize had put on so weight and shaved off her eyebrows, giving her a very strange appearance.
He learned from Keanu that Charlize was preparing for a film called Monster—a movie practically designed to win her the Best Actress Oscar.
Instead of being impressed by Charlize's dedication to chasing Oscar gold, Matthew felt a pang of doubt. If he were in her shoes, would he be willing to destroy his own image for an Oscar trophy?
He inwardly shook his head with conviction.
When he had "arrived" in the United States, his greatest assets were his exceptionally fit body and his face.
Strictly speaking, mainstream Hollywood films fell into two categories. The first was comrcial films, made for the general public. The second was films made specifically for the old guard at the Academy, the critics, and a small circle of cinephiles. The forr aid to please the broadest possible audience, while the latter were custom-made Oscar bait, tailored to the tastes of the Academy's senior mbers.
In Matthew's view, a film tailor-made for awards wasn't inherently superior to one made for a mass audience.
However, from what he'd learned over the years, he had also co to see what ninety-nine percent of these "Oscar films" really were: they had to cater to the tastes of middle-aged voters, embody Hollywood's brand of political correctness, feature unconventional roles whenever possible, and often required conventionally attractive actors to drastically alter their appearance—all backed by a massive advertising budget.
How much did any of those characteristics really have to do with art? Essentially, just like comrcial blockbusters, they were simply catering to the preferences of a niche group.
While the masses might not get a vote at the Academy, Matthew believed they were the ones who contributed most to the box office. The inco he could earn from them would be far greater. Therefore, he was definitely going to side with the masses.
As for the Best Actor Oscar... it wasn't that Matthew was arrogant, but he was realistic. With his looks, his rely average acting skills, and the types of films he was currently known for, he knew winning an Oscar would be an incredibly difficult path.
So it was best to just forget about the Oscars.
Maybe soday the old guard at the Academy would have a mont of madness and give him an Oscar for an action film?
Of course, that was just a fleeting thought; he knew how improbable it was. In the entire history of Hollywood, how many actors had ever won a major acting award for a leading role in an action movie?
He would much rather commit to his comrcial path. There was nothing wrong with being a comrcial movie star; at least he would never lack for money, beautiful won, or fa.
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