America Tycoon: The Wolf of Showbiz

"Do you have high hopes for this project?"

In the Pacific Pictures office, after reviewing the project proposal for "Escape from Tehran," Louise removed her black-rimmed glasses, rubbed the corners of her eyes, and asked Martin across from her, "You haven't even seen the script yet."

Martin stretched lazily, "On the Oscar level, this film is the epitome of political correctness; on the market level, the story itself is legendary. A CIA exfiltration specialist uses a real yet fake Hollywood crew to help six diplomats escape from Tehran. Films don't dare to be shot like this; they would be ridiculed for being brainless and illogical."

Louise couldn't help but laugh, "Reality is often stranger than fiction."

If it weren't based on true events, "Escape from Tehran" would surely be lambasted by viewers and critics alike.

Martin spoke truthfully, "I think this movie has not only a market but also meets my practical needs."

The office door was knocked on, and the assistant came in to announce, "Mr. Graham King has arrived."

Martin and Louise went out to greet him.

Graham had just come out of the elevator when he saw Martin and Louise. After shaking hands with both of them, they entered the reception room together.

Martin inquired, "The lead actor hasn't been decided yet, has he?"

Graham, who had worked with Martin before, took out the script and handed it to him, saying, "Nothing is finalized in terms of the director, cast, and investment. A few actors have contacted me, but the project won't start shooting until the second half of next year at the earliest, so I'm not in a hurry to make any decisions."

Martin flipped through the script and said, "In terms of investment, Louise and I can cover most of it."

Graham understood what Martin meant – he was proposing to invest in the production.

This would give him a much greater advantage than a regular actor.

With the project's funding resolved and the male lead settled, along with the market appeal, was there a more perfect solution?

Graham said, "Working with you, this project's problems are solved by more than half. How could I possibly refuse?"

Louise took over the conversation, "How about the three of us jointly invest and produce?"

Graham's GK Films was not a big company. If he wasn't sourcing funds here, he would have to look elsewhere for investors. He immediately nodded, "You can send someone to discuss the contract with my film company."

Louise glanced at Martin.

Martin had quickly skimmed the beginning and end of the script, confirmed that it was indeed "Escape from Tehran," which he had read before, and gave her a slight nod.

Louise said, "I'll have someone come over to talk this afternoon."

Martin was meticulous in his approach and said to Graham, "For the 'Prince of Thieves' project, we still need you to serve as the producer."

Graham replied, "No problem, but my schedule is very full. It may have to wait until 2012."

Martin's schedule was just as packed, with "The Martian" and "Escape from Tehran" confirmed for filming next year. Considering pre-production, shooting, and the promotion of other films, his schedule was also very tight.

He said, "I won't have any slots next year either, so let's wait until 2012."

In terms of project collaboration, as long as they established the big picture, the rest of the details would naturally be handled by professionals.

After chatting for a while, they started discussing potential directors.

Graham said, "Initially, I intended to invite Steven Spielberg, but his schedule doesn't fit; he's getting ready to shoot a movie about Lincoln, and his asking price is too high."

Martin commented, "There's no questioning Spielberg's abilities, but if he were the director, he would take most of the profits."

"That's why I briefly reached out before giving up," Graham sighed. "Director Scorsese isn't interested in this kind of project, and it's not easy to find other suitable directors."

The three of them weren't just plain actors and producers – they had studios behind them and had to consider profits when choosing a director.

After contemplating, Martin asked, "What about David Finch?"

Graham nodded, "We can touch base with him."

Louise also agreed, "Director Finch's abilities are undoubtedly solid, it depends on whether his schedule is suitable."

Martin said, "I'm meeting him this afternoon; I'll ask him then."

Graham proposed, "If he's interested, we can discuss the specifics of the collaboration with him."

After a while longer, Graham excused himself and left.

Leaving Pacific Pictures, Graham got into his car and received a call from Matt Damon.

"Hey, Matt, what's up?" he answered the call.

On the other side, Matt Damon said, "I've just seen a project at the agency about a true CIA rescue mission, called 'Argo'. It's a GK Films project, looking for a lead actor? What about me?"

He added intentionally, "I'm very familiar with the workings of the CIA, having dealt with them many times, and I understand their operating style."

To himself, Graham thought if the call had come a bit earlier, Damon might have been the most suitable choice, but now? He could only apologize, "Matt, the male lead role already has an appropriate candidate."

Matt Damon was not so easily dissuaded, "May I know who it is? I'd like to give him a call and have a good chat."

It wasn't rare for Hollywood stars to use their influence to persuade competitors to back down, with Christian Bale and Matt Damon both being notable for such tactics.

Graham didn't conceal the truth, replying directly, "Martin Davis. I've finalized the collaboration details with him and Pacific Pictures' Louise Mel."

Matt Damon fell silent immediately on the other end.

"Let's go out for drinks when you're free." Graham didn't say much more and hung up the phone directly.

In a mansion in the Brentwood district, Matt Damon put down the phone he was holding.

Seeing his agent's troubled expression, the agent quickly asked, "What's going on? What did Graham King say?"

Matt Damon said, "Martin Davis has reached out his big hand and snatched the project."

The agent asked, "Is there no hope at all? Can't we fight for it one more time? I've looked into this project carefully. It's adapted from a true case and has a legendary appeal; it could attract an audience..."

"Don't talk about it anymore." Matt Damon raised his hand to stop the agent from continuing, "Let's just give up."

The agent couldn't help but frown, "Just give up so easily?"

Matt Damon clutched his chest, "Remember one thing—you must remember it well!" he emphasized, "Any project involving Martin Davis, we stay out of, we don't compete for, understand?"

The agent saw that he was unusually serious and nodded, "I got it."

Matt Damon picked up the project book from the low table, showing some reluctance, and threw it into the trash can.

The agent said goodbye and left.

Matt Damon saw him out, then stood beside a picture frame, silent for a long time.

In the frame was a particularly large group photo of three people: Matt Damon, Ben Affleck, and Casey Affleck.

These brothers were living a miserable life in prison.

Matt Damon had thought of ways to help, but the people they had provoked were too difficult to deal with.

As for Harvey Weinstein, that guy was beyond hope, and Damon had given up on him long ago.

Now, the core members of the Foot Clan were only Matt Damon, Quentin, and Robert Rodriguez.

The latter two were focused on making movies and had no interest in stirring up trouble.

Having witnessed the despicable and shameless tactics of Martin Davis's Face Gang, Matt Damon didn't want to repeat the Affleck brothers' or Harvey's mistakes.

He murmured to himself, "If I can't fight them, at least I can avoid them."

In the future, Matt Damon decided not to touch any project that Martin Davis showed interest in.

...

Pasadena, California Institute of Technology.

"Gone Girl" promotional tour had just concluded when Martin found David Fincher and said, "I've got a new project, take a look?"

Having collaborated with Martin twice already, Fincher, who knew Martin was reliable, asked, "What's this good project of yours?"

Now in the time when David Fincher's Oscar obsession was at its deepest, Martin handed him the script for "Escape from Tehran" saying, "This project is right up Oscar's alley, adapted from a legendary, true case."

David Fincher took the script and began to read carefully, immediately recognizing the events at the beginning, which had once shocked the world.

Seeing how Tony Mendez used a fake Hollywood crew and project for a rescue, David Fincher's interest was piqued, and he flipped to the end to read the conclusion.

After reading for a while, David Fincher commented, "The screenplay is very well written. The rescue event itself is full of drama, with plenty of engaging points."

He asked, "Do you plan to play the lead role, Tony Mendez?"

Martin nodded, "It's pretty much settled. The project will be co-financed by Graham King's GK Films, Louise's Pacific Pictures, and my own studio; we're just lacking a key director."

David Fincher asked, "What about the timing? When do you plan to shoot and produce it?"

Martin said, "The second half of next year."

David Fincher nodded slightly, "There's enough time." Explore stories at My Virtual Library Empire

Curious, Martin asked, "David, do you also have a new project in hand?"

"Indeed, I do have one project," replied David Fincher, closing the script and smiling, "but you wouldn't be interested."

He briefly explained. "Netflix plans to produce its own content, and Greg has invited me to be a producer and director for a political thriller series adapted from a British show."

Martin, familiar with all of David Fincher's works, instantly recognized it as "House of Cards."

David Fincher shook his head, "With your current status and market pull, you'd be crazy to do a series, and besides, you're not the right age."

Martin queried, "Didn't you go on to direct it?"

David Fincher laughed heartily, "I had no choice. Netflix made me an offer I couldn't refuse."

Martin spoke earnestly, "It's normal to make money."

"Indeed, without money, no matter how talented a film artist might be, they're left with nothing," David Fincher pointed at the script, "Leave it with me. When the project is officially greenlit, have Louise talk to me about the director contract."

As Martin's status in Hollywood rose, issues like the director for a project became increasingly less difficult to resolve.