After a brief deliberation, Akiva Goldsman left the audition room with David Heyman close behind. They clearly had sothing to discuss. Rounding a corner in the corridor, they disappeared one after the other into the sa office.
Back in the audition room, Matthew walked toward the door without a glance at Francis Lawrence. He was just about to open it when the director's voice stopped him.
"I'm sorry, Matthew," Francis said, but his expression held no trace of regret. It was pure self-satisfaction.
Matthew paused. He let his hand fall from the doorknob and turned to face the director. Channeling Helen Herman's cool deanor, he replied with a flat, indifferent tone, "Are you?"
His impassive gaze seed to throw Francis off balance for a mont. "Of course," the director recovered.
Matthew remained by the door, his gaze calm and steady. Francis frowned, slightly unnerved. "Whether you want to admit it or not," he pressed, "the outco is obvious."
"What's obvious?" Matthew asked, playing dumb.
Francis's frown deepened. Matthew was clearly being obstinate. All these famous actors, he thought, so desperate to save face.
He took a deep breath, relaxing. "Matthew, you're a big star, but the decision on this role isn't in my hands, and it's not in yours."
Matthew imdiately shot back, "Indeed."
A smile touched Francis's lips. "Didn't you see how Akiva was acting just now?"
"I saw," Matthew shrugged, casually adding, "The auditions aren't over yet. There's another one tomorrow, so it's a bit early to be so certain."
Francis shook his head. "What's the point, Matthew? I'm sure you know as well as I do that tomorrow's audition is just a formality."
"Even if Paula Patton gets the role, what does that give you?"
A hint of disdain colored Matthew's face. "You don't really think that winning a role like this will give you more power on set than , do you?"
"Of course not," Francis replied, still smiling.
He walked past Matthew, opened the door to the audition room, and stepped out first.
There were hundreds of other crew mbers, not just the director and the lead actor. News of the audition would spread quickly. Who would those people think held more authority in the cast?
Real authority was built through monts like these, not just by having a co-producer credit.
This was his way of getting revenge for losing the battle over the lead role, a way to fight back and help his girlfriend at the sa ti.
Most importantly, the feeling of getting one over on an A-list star on his own set... that refreshing taste was more exhilarating than having three won at once!
As he watched Francis Lawrence's retreating back, Matthew let out a soft sigh. Under normal circumstances, Paula Patton, the candidate Francis recomnded, would definitely have beaten Alexandra Daddario.
When he saw Paula at the audition, she had looked very familiar. A mont's thought placed her in two films: one of the later "Mission: Impossible" movies with Tom Cruise, where she played Ethan Hunt's partner, and the video ga adaptation "Warcraft," in which she had apparently played an orc.
In this context, Alexandra's face and figure weren't a significant advantage. Combined with her diocre acting skills, it would have been a miracle if she'd managed to outperform Paula.
However, an audition wasn't the only thing that determined who got a role.
When Matthew first recomnded Alexandra for the film, he had considered the production's practical needs as well as Alexandra's own strengths and weaknesses. He had his reasons for pushing her for the part.
He had already spoken with both Alexandra and Amanda, and they had each made calls to New York. The pieces were in place; he just needed to turn his advantage into a practical reality.
Alexandra had already been in two films, so playing a decorative role wasn't an issue. As long as her other assets could benefit the production, there was a greater than eighty percent chance that Francis Lawrence and Paula Patton would lose out to him.
If the crew chose Paula Patton, they were just choosing an actress. But Alexandra Daddario could offer them much more than a performance in a supporting role.
Only when Francis had completely disappeared from view did Matthew walk to the office door and knock.
"Please, co in."
Hearing Goldsman's voice from inside, Matthew pushed the door open and stepped in.
"Matthew?" Goldsman looked up, curious. "Is there sothing you need?"
Matthew pulled out a chair and sat down, greeting David before saying, "I have a few thoughts on the casting for the female supporting role."
Akiva paused what he was doing. "You want to talk about Alexandra?"
Matthew nodded and was about to speak when Goldsman held up a hand. "Matthew, we've had a good collaboration. You're a key mber of this production, and we always take your input seriously."
"Yes," Matthew didn't deny it.
Although their previous negotiations had been a battle of wits that bordered on arguntative at tis, it was all part of the normal business process. It wouldn't affect their cooperation now that the contract was signed.
Goldsman clearly wasn't finished. After a slight pause, he continued, "But when it cos to the heroine's role, I have to be strict."
As the film's producer, he had to show due respect while being as tactful as possible. "The role of Anna is the most important one besides the protagonist. We can't take unnecessary risks when a more suitable actress is available."
Matthew nodded. "I understand."
At this, Goldsman smiled. He knew that Matthew, like himself, would never beco a problem for a production once they had agreed to work together.
Matthew abruptly changed the subject. "Are the plans for the New York location shoots still moving forward?"
"Yes," Goldsman confird. "It's best to shoot on location to create that sense of a desolate, lonely, and authentic city."
Matthew countered, "Shooting on location in a city like New York has to be incredibly difficult."
Goldsman shook his head and sighed. "More than difficult. We have two major scenes, one on the Brooklyn Bridge and another in Washington Square. I wanted to clear the locations completely for the shoot, and I've t with the mayor's office twice, but we still haven't gotten the permits. But..."
He shook his head again, ntioning that even with Warner Bros. backing him on his last visit, he still couldn't get New York to budge.
When filming in a city like New York, getting permission to block off a small section of road or use a building was easy enough. But shutting down an entire section of the Brooklyn Bridge and Washington Square, as these two scenes required, would inevitably cause a chain reaction of disruptions. The New York mayor's office had to be cautious.
Compared to this, casting a supporting actress was a minor problem.
Matthew, who had been listening silently, suddenly changed the subject again. "There's sothing about Alexandra you might not know."
Goldsman looked at him in confusion.
Even David Heyman's ears perked up.
"Alexandra's father is currently a U.S. Attorney in New York," Matthew said, no longer beating around the bush. "Rumor has it he might be appointed head of the city's counter-terrorism departnt in the latter half of the year. He has significant influence in New York politics."
How could Goldsman not understand Matthew's implication? "Are you saying he could help with the permits in New York?"
Matthew didn't answer directly, only giving a slight nod before adding, "I hope you'll keep this confidential."
Goldsman imdiately agreed.
David then chid in, "It won't leave this office."
Matthew stood up. "Then I'll leave you to it."
Reviews
All reviews (0)