Dreams of Stardom (Hollywood SI)

Seeing the audience's reactions during the premiere of any of my movies is always a treat. Of course, it helped that all my films were carefully chosen from my meta-knowledge, as they were already destined to be critical darlings. [Echoes of You] might have been an exception to that rule, but I knew it would succeed thanks to its chartbuster songs.

"It was a great movie," Roger Ebert said enthusiastically at the party we had organized afterward for prominent critics, cast members, business associates, friends, and family.

"Thank you, Roger," I replied with a smile. "I'm glad you liked it."

We made some small talk before I moved on to meet the next guest.

Usually, at these parties, distribution deals are struck for the showcased movie. However, I already had that covered, thanks to my three-picture deal with Paramount in exchange for the [Twilight] rights. A week before the premiere, an internal screening was held for Paramount's top executives, and they had responded very positively. After intense discussions with my lawyer and Dad, Paramount agreed to give me a modified version of my Warner deal.

I took on all the financial risk for the movie while Paramount took 15% of the profits. This deal was far better than Warner's, where I had to give up a 10% of the gross revenue rather than the profits. With Paramount, their share came only after deducting theater earnings and marketing expenses.

For instance, if the movie made $100 million in theaters, I'd owe Warner $10 million under their deal. But under Paramount's terms, 50% would go to theater shares, and roughly $20 million to marketing, reducing Paramount's share to $4.5 million. This structure was much more favorable to me, and as long as Paramount continued this arrangement, I had no intention of returning to Warner Bros.

Speaking of the devil...

"Troy!" Alan Horn, the COO of Warner Bros., greeted me with an enthusiastic handshake. "What an amazing film you've made!"

"Thank you!" I inclined my head politely. "Although I didn't make it—I just invested in it. The real producers are around here somewhere. I can introduce you if you'd like?"

"No, that won't be necessary," Alan said, shaking his head. "I just wanted to talk to you about the film's distribution. I know you and Barry have had a tense relationship recently, but that doesn't mean you should so blatantly go over to one of our rivals. If there was an issue, we could have resolved it peacefully."

I resisted the urge to punch him in the jaw. Alan liked to play the good cop, but I knew he was just as complicit in Warner's underhanded tactics.

"It's nothing personal, Alan. They simply offered me a better deal. I've learned from the mistake of making all my films under Warner. You and Barry taught me a valuable business lesson."

Alan looked intrigued. "And what, pray tell, is that lesson?"

"Never put all your eggs in one basket," I said. "Because all of my movies were under you, that gave you the leverage to extort me for more money, even when we already had agreements in place. Not once—you did it multiple times, knowing full well that I was in the right. I could have dragged you to court to settle it, but I knew that would only delay the films unnecessarily, so I didn't."

I shook my head. "Never again. As long as [Harry Potter] isn't over, I won't produce any other film with Warner."

I had no real intention of working with them even after [Harry Potter] ended, but it's wise not to burn all bridges. Keeping some semblance of hope alive could be useful if I ever needed to return to them for an unforeseen reason.

After a few moments of silence, Alan said quietly, "It wasn't extortion."

"It may as well have been," I retorted. "Because that's exactly how it felt at the time. Whatever, let's just leave it at that. We still have four more films to release together."

Alan nodded, though I wasn't sure he fully grasped the underlying meaning of my words. If he were smart, he'd tread carefully moving forward. If not—as I suspected—he'd try to pull the same tricks during the next [Harry Potter] film. This time, though, I wouldn't back down. I was fully prepared to stall the franchise if necessary. The real problem for Warner was that they had already signed over all creative control of [Harry Potter] in exchange for higher profits from [Echoes of You]. Let's see which angle they choose next to extort me.

Suddenly, I spotted someone in the crowd whom I had specifically invited. Turning back to Alan, I said, "If you'll excuse me." Without waiting for his reply, I walked over to the woman in her early thirties who had shaken the world with her below-average books.

To this day, I couldn't understand why the series was such a global phenomenon. The age difference between Bella and Edward alone was problematic enough, not to mention the glorified toxicity between Edward, Bella, and Jacob introduced in New Moon. I wasn't opposed to toxic relationships in books or films, provided they weren't framed as aspirational, which this series clearly did. That was the primary reason I refused to act in the franchise myself.

"Hi, Stephenie!" I greeted the author politely. "I'm glad you could make it."

She inclined her head slightly. "It's difficult to decline an offer as generous as yours. Private jet travel, a deluxe suite for my family and me in a five star—if I didn't know better, I'd think you had ulterior motives, Mr. Armitage."

I grinned at her unabashedly. "Guilty. I don't even have to tell you my 'ulterior motives.'" I made air quotes with my fingers. "A woman as intelligent as you would easily guess them."

She seemed oddly satisfied by the praise as she replied, "Of course, it's obvious. But I'm still hesitant. You know, when I started writing this story, I always envisioned you as the lead actor. It's every author's dream to get a top actor attached to their project. I know I could get you to do the film if I pushed just a little harder."

I raised an eyebrow. "You're not subtle at all."

"I was raised Mormon," she said, which somehow explained everything. Certain groups, like those following Mormonism and Scientology, had reputations for fostering a lack of subtlety in their followers, often creating people who were easy to influence.

Let's see how much I can influence Stephenie to do my bidding.

"I won't ever do [Twilight]," I said bluntly. "If you had another actor in mind for the lead or any other role, we could consider them. But it won't be me. I don't want to do it because it's just not who I am. I like the story, but I can't relate to the character of Edward at all. Even setting that aside, I don't want to take on another fantasy franchise while [Harry Potter] is still ongoing."

Stephenie looked ready to argue, so before she could, I made her another offer. "I already have the rights to the first book. I'll pay you $1 million each for the remaining books, plus a 10% cut of whatever I earn. The financial terms are non-negotiable because you know as well as I do that this is more than fair. Additionally, the actors I sign will have exclusivity contracts, meaning they won't be able to portray the same roles for other producers."

Finally, the reality of the situation seemed to dawn on her. To sweeten the pot, I added, "I heard you had creative differences with Paramount because they wanted to completely change your characters and storyline. How about I give you the role of script advisor? Any major changes to the storyline could be vetoed by you. What do you say?"

She thought silently, so I pressed on. "Work on the script for [Twilight] has already started. If you want that position, it will only be available until we begin shooting later this year."

I had played my trump card—the one that could strike fear into any author: the possibility of their work being butchered by someone else. Having Stephenie involved in the production would ensure the film stayed true to her vision, something she'd undoubtedly prefer over the alternative.

"Okay," she said after a few moments. "I'll sell you the rights to the other three books."

I resisted the urge to whoop in joy and simply smiled and offered her a handshake. "Thank you, Stephenie. I have a feeling we'll have a very fruitful relationship going forward."

"I hope so," she shook my hand hesitantly. "I don't really have a choice here. If the audience sees the first movie with a particular group of actors, and then none of them return for the second one… that would be a disaster for the future films."

"I'm taking a big gamble here," I said in a serious tone. "While we can all hope that the first film does well enough to warrant sequels, it's just speculation at this point."

Of course, I knew the most likely outcome of the film, but my presence had already caused significant changes. For instance, [Crash] had released a year early, despite no direct involvement from me. This butterfly effect could extend to [Twilight], turning it into a failure for all I knew. It was better to tread carefully.

(Break)

The Berlin International Film Festival takes place every year in mid-February, strategically scheduled between Sundance and the Oscars. In 2006, it marked the 56th year of the festival, with many great films competing for the Golden Bear, including [Little Miss Sunshine].

The movie was a sensation. Both critics and audiences showered it with praise, with one of the most glowing reviews coming from Roger Ebert, the most renowned reviewer in the United States:

"You just won't see a better acted and better cast movie than [Little Miss Sunshine]. These actors (and their directors, Jonathan Dayton and Valerie Faris) grasp how unspoken reactions can be funnier than dialogue or punchlines, and how pain can be the source of the most satisfying comedy.

Every actor brings a unique addition to the movie, making it almost impossible to imagine anyone else in their roles. Be it Greg Kinnear's unlikable character, Toni Collette's tenacity, Alan Arkin's foul-mouthed wit, Abigail Breslin's innocence, Steve Carell's impeccable comic timing, or Troy Armitage's sheer versatility.

Breslin and Arkin steal every scene they're in with their wonderfully written characters, but the real revelation of the movie is Troy Armitage, who plays a boring, unlikable character so effortlessly that, by the end, you can't help but shed a tear or two for the boy.

Troy, who is used to leading movies, has taken a step back to allow his fellow actors equal screen space. Initially, I was surprised by this move, but as the story progressed, there's one scene that made me understand why a superstar like Troy would do this movie. I won't spoil it for the sake of your viewing pleasure, but I can say with utmost confidence that that scene showcases some of Troy's finest acting capabilities. While reviewing A.I. Artificial Intelligence, I had said that he's one of the best actors working in the industry today, and that fact still hold true."

—Roger Ebert, Chicago Sun-Times

Rating: 4/4

And it wasn't just Roger Ebert. Critics across the board heaped praise on [Little Miss Sunshine], cementing its place as one of the most beloved films of the year.

"This indie, a sweet, tart, and smart satire about a family of losers in a world obsessed with winning, is an authentic crowd-pleaser. There's been no more satisfying American comedy this year. Troy Armitage shows his magic once more."

—David Ansen, Newsweek

"A brainy blend of farce and heart, this is one of those movies that veteran moviegoers complain they don't make anymore. Troy may be the reason many younger viewers will see this movie, and initially, they may be a little disappointed because of his limited role, but they won't be by the time the story ends."

—Duane Byrg, The Hollywood Reporter

"A quietly antic dysfunctional family road trip comedy that shoots down the all-American culture of the winner and offers sweet redemption for losers—or at least the ordinary folks often branded as such. Armitage, Arkin, and Breslin are the best casting decision of the movie."

—David Rooney, Variety

"[Little Miss Sunshine] is an enchanting anthem to loserdom—a dark comedy that piles on setback after setback and yet never loses its helium."

—David Edelstein, Vulture

The movie received a staggering Rotten Tomatoes rating of 95%, with an average score of 8.2. As the years passed, that score might fall, but at that moment, the film was certified fresh. On Metacritic, it earned a rating of 84/100, indicating universal acclaim. The praise the film received made it a strong contender for the Golden Bear.

Usually, film festivals distribute awards across several films rather than giving everything to one. The aim is to celebrate cinema as a whole, encouraging various filmmakers. That's why it was such a great surprise for me when the Silver Bear for Best Actor was announced.

"The Silver Bear goes to…" Charlotte Rampling, the jury president, built suspense. "Alan Arkin, Greg Kinnear, Steve Carell, and Troy Armitage, jointly, for their roles in [Little Miss Sunshine]."

I turned to my fellow winners, and we immediately huddled together for a group hug. I pulled Toni and Abigail into the embrace as well, because this was a joint win for the entire cast. They had given us all this award, even if it was not meant for the girls.

I hugged Jonathan and Valerie as well before making my way up to the stage, following my three cast mates, Steve, Alan, and Greg.

After receiving the shining silver trophy shaped like a bear, the four of us stood in front of a single mic, unsure of who should go first. Alan Arkin, the most experienced actor among us, took a step forward for what I was hoping would be the start of a speech, only to shock me when he pushed me to the front.

The audience chuckled at Alan's action, and I couldn't help but join in. Now that I was here, I had to say something.

"Thank you, Berlin, for this amazing honor," I began. "And the jury members for selecting us. To start, I think this award is collectively for the entire team that worked on this film—Jonathan and Valerie, Michael, our producers, and the entire crew who worked tirelessly to make this film a success. Our two co-stars, Toni and Abigail, who I daresay were even better than the four of us combined, thank you for giving some of the finest performances, you guys. These three gentlemen standing beside me taught me so much about acting and life in general, I couldn't be more grateful for being a part of this team. Also, a big thank you to my family for supporting my career even when I'm taking on more films than I probably should."

I then handed the trophy over to Steve and said, "Your turn."

The best part about European film festivals was that they don't cut off speeches like the Oscars or the Globes do if you go over a time limit, so all four of us would get a chance to speak.

As the other three finished their speeches one by one, I couldn't help but think that the next big ceremony for me would be the Oscars. My biggest worry isn't getting the award, but my live performance that will be seen by hundreds of millions (probably billions) of people across the world.

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