A director in his thirties turned and walked out of the conference room at Skydance Pictures, and silence settled over the room once more. Matthew, David, Bearded Jack, and Helen remained quiet, each seemingly forming their own judgnt based on what the director had just said and proposed.
Bearded Jack spoke first. "He's inexperienced. He's just made the jump from advertising to film, and a lot of his ideas are still stuck in the world of comrcial production."
"Jack is absolutely right," Helen chid in.
"We were all hoping he might be the next Michael Bay, but not every director from the world of comrcials can make that leap."
David looked at Matthew. "So he's out of the running?"
Matthew gave a slight, deliberate nod. "Let's see the next one."
Bearded Jack motioned to a staff mber, who left to bring in the next candidate. He then turned to the other three and said, "She cos from the indie film world. She's directed five features, has a lot of experience, and is now looking to transition into comrcial filmmaking."
Matthew nodded. So blockbuster directors had indeed gotten their start in the indie film world. After all, compared to major comrcial productions, low-budget independent films were far more likely to take a chance on new talent.
Skydance Pictures had been searching for a director for
The Fast and the Furious for a while now, but they just couldn’t seem to find a suitable candidate.
His and David’s ideal choice was to hire a well-known director with a proven track record, but big-na directors were not easy to land. Even when the price was right, they often demanded a level of creative control over filming and post-production that Matthew and David simply couldn't accept.
Who would dare entrust such a massive project to a new director with insufficient experience and no proven track record of success?
So had even gone so far as to demand a cut of the box office gross as part of their compensation. Were they out of their minds, or did they just think he and David were fools?
In the past, as just an actor, he would typically arrive on set only a month or two before filming began. anwhile, a big-budget comrcial film like this could be in the planning stages for a year or more before the lead even joined the cast.
Now, as an investor and producer involved from the very start of the planning process, he was gaining a full appreciation for all the complexities and difficulties that ca with it.
With massive investnts ca enormous risks and pressure.
Just choosing a director was a headache, and the director’s importance to a film was second only to the producer’s.
The writing team, led by Gary Scott Thompson, had already finished the script, but they still didn't have a suitable director.
The conference room door opened, and a female director in her thirties walked in.
"I'm Michelle Gibson." She introduced herself succinctly, her tone carrying a palpable confidence. "I'm from Illinois..."
Matthew studied the director, Michelle Gibson. To say she was self-assured would be an understatent.
And perhaps she had a right to be. A director who, at just thirty, had already made five films—even if they were all small, independent productions that hadn't exactly been runaway successes—would naturally possess a certain degree of self-assurance.
His initial impression of her was positive. She was young and energetic, with a solid resu and experience to back it up.
Initially, Matthew remained silent, as did David and Helen, letting Bearded Jack lead the conversation.
Michelle Gibson's responses to Bearded Jack's questions even had the other three nodding in approval.
"Your team provided
with the script, and I've read it carefully." Michelle then asked, "Pardon , but is this the final draft?"
Bearded Jack considered for a mont before replying, "No, it's just the first draft."
Michelle nodded slightly. "That's good. The script has a lot of room for improvent."
Sensing sothing in her tone, Matthew interjected, "Director Gibson, what sort of improvents do you think the script needs?"
"A lot!" Michelle looked at Matthew, a smile spreading across her face. "In fact, it would be best to rewrite the entire thing."
David froze. Helen frowned. But Bearded Jack remained perfectly still and said, "Tell us your ideas."
Michelle said earnestly, "The plot structure is too simplistic, the logic isn't rigorous, and most of the runti is given over to car chases, fights, and explosions. All that action will severely compress the ti available for actual storytelling."
"And!" she added, "the set pieces are all too simplistic and uninspired. With all due respect, have you ever considered why Tokyo Drift was a failure? Why each film in the original trilogy perford worse than the last? It’s because they lacked deeper thes! They didn't focus on social issues, and they failed to touch on the human heart or explore human nature!"
David's eyes imdiately shot toward Matthew.
Matthew sighed inwardly. This was the kind of thinking that ca from making too many independent films in a row.
But Michelle wasn't finished. She continued, "The United States is a nation on wheels, with street racing and illegal modifications on the rise. A subject like this is the perfect foundation for a deeply thematic, instructive, and socially relevant film that we..."
As he listened, Matthew exchanged a look with David and Bearded
Jack. It was Matthew who finally stepped in and cut Michelle off.
"Director Gibson," he interrupted. "We understand your perspective. We'll give your proposal serious consideration and have an answer for your agent within the week."
"Very well." Michelle Gibson stood, her expression still confident and proud. "Goodbye."
She turned and left the room.
"She's not right for this," David said imdiately.
Bearded Jack nodded firmly. "Don't even bother considering her."
Matthew didn't say anything, but he nodded in agreent. It wasn't that there was anything wrong with Michelle Gibson's ideas; it was simply a clash of philosophies. Her approach might have worked for an independent film, but for a major comrcial blockbuster, it was a recipe for disaster.
She had potential and a high level of professionalism, but unfortunately, she just wasn't playing the sa ga they were.
He, David, and Bearded Jack had long ago agreed that The Fast and the Furious franchise should be pure, simple, popcorn entertainnt. That was the core concept, and anything that deviated from it was to be discarded.
"If this next one doesn't work out..." Bearded Jack said, "our search for a director is going to drag on for a while."
Matthew was getting a headache just thinking about it. "Let's deal with that if we have to."
Behind every successful film, there truly were choices and efforts that outsiders could never see.
Bearded Jack spoke to the person at the door. "Send in Justin."
Soon after, another director entered the conference room and sat down opposite them.
This director was also in his thirties. Matthew noted his dark hair and dark eyes. As before, Bearded Jack was tasked with leading the conversation.
Bearded Jack began the interview, and for the ti being, Matthew just listened.
This director had actually approached him and David right after they acquired the rights to the franchise, back when they were still looking to hire a screenwriter. But because Tokyo Drift had been a failure both critically and at the box office, they had tabled the discussion at the ti, deciding to wait for the formal selection process.
This director was none other than Justin Lin, the director of
The Fast and the Furious: Tokyo Drift.
Matthew knew exactly why Justin Lin was so persistent about this project. The critical and comrcial failure of Tokyo Drift had put imnse pressure on him, and he hadn't been able to land another directing job for a long ti.
He hadn't really spoken with Justin Lin before, so his impression of the man was based almost entirely on Tokyo Drift.
So Matthew listened intently to the conversation between Bearded Jack and Justin Lin. The previous candidate, talented as she was, had just reminded him that a good director wasn't necessarily the right director.
Occasionally, Justin Lin's gaze would drift over to Matthew and David—especially Matthew.
To save his directing career, he needed a chance to prove himself to the Hollywood studios, but opportunities like this were rare. That was why he had decided to pick himself up right where he had fallen.
He knew he had to impress not only the bearded producer across the table, but more importantly, he had to impress Matthew Horner.
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