193-195

Chapter 193: The Genius Director  

The Curse of the Black Pearl, part of the Pirate Captain series, won’t hit theaters until 2002. This delay is partly by choice, partly by circumstance.  

When it comes to who should play Captain Jack, there’s no question—it has to be Johnny Depp.  

No one else could bring the iconic flair to Captain Jack that Johnny Depp does! In fact, his performance is so defining that Orlando Bloom, one of the two male leads in the series, feels almost invisible by comparison—practically a placeholder.  

By the fourth film, the producers even axed Bloom’s character entirely, turning the movie into a one-man show for Johnny Depp.  

Before all this, Cameron had planned to send Johnny Depp an audition invite. That’s when he found out Depp was tied up shooting Fox’s From Hell, which wouldn’t wrap until September at the earliest.  

With Johnny Depp unavailable, there was no way The Curse of the Black Pearl could start filming this year.  

On top of that, just building the Black Pearl pirate ship would take three months.  

For Dunn, The Curse of the Black Pearl still has a few hurdles to clear.  

How do you solve the problem of Johnny Depp stealing the show?  

The Pirate Captain series can’t just be about him. His carefree, roguish vibe doesn’t lend itself to romantic subplots either. And if it’s nothing but endless sea adventures, audiences will eventually get bored. The story needs more layers, more elements to keep it fresh.  

That’s why the second male lead, Will Turner, can’t be as bland as he was in the original. He needs a distinct personality—maybe not enough to rival Johnny Depp’s charisma, but at least enough to leave an impression.  

That way, even if fans tire of Captain Jack’s nonstop escapades, they could spin off Will Turner’s story—his background, growth, relationships, and adventures—to keep the Pirate Captain franchise alive and kicking.  

Because of this, Dunn has only sketched out a rough outline for The Curse of the Black Pearl. The full story and its main arc still need to be hashed out with the director and writers.  

Which brings up another issue: who’s the right director?  

The original director? Nope, he’s out.  

For one thing, he couldn’t rein in Johnny Depp—that’s reason enough to pass.  

Johnny Depp’s unrestrained energy made the Pirates of the Caribbean series what it is, sure. But that same wild freedom also ran it into the ground.  

They need a director who can keep Johnny Depp in check and limit his room to overplay.  

Dunn held a small meeting with Bill Mechanic, Andrew O’Hare, Jonathan Nolan, and Glenn Fiero to talk it over.  

When Dunn insisted that Captain Jack had to be Johnny Depp, Jonathan Nolan’s eyes lit up. “Tim Burton!” he blurted out.  

“Tim Burton?”  

“Yeah, him! Johnny Depp became a Hollywood A-lister because of Tim Burton’s mentorship. Their collaborations—Edward Scissorhands, Ed Wood, Sleepy Hollow—they’re all standouts!”  

Clearly, Jonathan Nolan was a fan of Burton’s style. His eyes practically sparkled as he spoke.  

“Tim Burton?” Bill Mechanic frowned. “His personal style’s too strong—dark, gloomy, niche. Batman Returns wasn’t exactly a hit.”  

Jonathan brushed it off. “Even if Batman Returns didn’t shine, it’s still better than Batman & Robin, right? Its box office flop was more about the market—superheroes were in a slump back then. You can’t pin it all on Burton.”  

Dunn knew Jonathan loved dark vibes—just look at The Dark Knight trilogy, The Prestige, or Westworld. He turned to Andrew O’Hare. “What do you think?”  

Andrew paused, then said, “Dunn, it really comes down to what you want out of the Pirate Captain series.”  

“How so?”  

Andrew spoke slowly. “I’ve watched Burton’s films over and over. They’ve got this unique quality—vivid colors, quirky characters, wild costumes. They seem absurd and free-spirited, but there’s a captivating magic to them. More importantly, he’s one of Hollywood’s boldest, most imaginative, and innovative directors!”  

Dunn nodded thoughtfully. “So, Tim Burton’s films stand apart from mainstream Hollywood style, right?”  

Glenn Fiero, Dunn’s go-to casting assistant, chimed in. “If Pirate Captain is meant to be a typical Hollywood blockbuster, Burton’s not your guy. But if you want something absurd, fantastical, personal, and visually unique, he’s the only choice!”  

Dunn burst out laughing. “Got it! Send the script outline to Tim Burton—and let him know Johnny Depp’s our lead!”  

Tim Burton’s reputation is huge. Dunn didn’t just pick him for Pirate Captain because he’s a quirky genius. It’s also about his career trajectory.  

Burton started as a Disney animator but got fired for his dark style. He bounced around studios, churning out classics and carving out a gothic niche in Hollywood with his “Burton-Depp-Helena Carter” trio.  

Later, Disney, under new leadership, wanted him back. They dangled a big project—Alice in Wonderland—to lure him into a second collaboration.  

If Dunn swoops in now with Pirate Captain, tying Burton to his team and cutting off Disney’s chance, it could be a long-term win worth way more than short-term box office bucks.  

Weakening a rival is as good as strengthening yourself!  

Dunn Films sent Burton’s agent an offer and the script outline. To Dunn’s surprise, just a day later, he got a reply—Tim Burton invited him to visit his private museum.  

In Hollywood, collecting art is a trend among stars—part status, part investment. But Burton owning a whole museum? That caught Dunn off guard.  

Since it was their first meeting and a formal one, Dunn brought Natalie along, who was still filming in LA.  

She’d been staying at a hotel for work to stay in the zone, so they hadn’t seen each other in a week. Dunn missed her. He hugged her close and teased, “So, how’s George’s directing style compared to mine?”  

Nestled in his arms, Natalie said, “Lucas… it feels like he hasn’t directed in ages.”  

“Hm?”  

“I just mean… this movie’s definitely not coming out next year. The shoot’s going to drag on.”  

Dunn went quiet for a moment.  

Not next year? So, 2002?  

That’d put it head-to-head with Spider-Man 2. Things just got interesting.  

They arrived at the location—an old museum, at least a century old. Tim Burton and his girlfriend, British actress Helena Bonham Carter, were waiting at the entrance.  

Helena was stunning, with that refined British elegance. But Dunn’s focus was all on Burton.  

He stood out like crazy!  

Wearing a slightly ill-fitting black suit—too tight, really—he had black-and-white striped socks peeking out from under his pant legs. He smiled warmly, looking friendly enough, but his eyes… there was something deep and shadowy lurking beneath that kind exterior.  

“I heard Burton had a rough childhood,” Natalie whispered in Dunn’s ear. “His parents used to lock him in the house, even nailing the door shut with boards. He moved to his grandma’s place later and went through some therapy. That’s why his movies always mix fantasy with warm family themes.”  

The bodyguards got out first—two scoped the distance, two checked nearby, and two stayed by the car. Once everything was secure, the driver stepped out and opened Dunn’s door.  

By then, Tim Burton and Helena had been waiting awkwardly for a full five minutes.  

Dunn hopped out, apologizing right away. “Sorry to keep you waiting! I’m at the mercy of my security team. They call the shots on safety—sure, I pay them, but I’ve got no say.”  

Helena smiled. “Director Walker, you’re too polite. We’re actually jealous of your amazing, responsible bodyguards.”  

Tim Burton, though, gave Dunn’s security a long look. “They… they’re ex-military, aren’t they?”  

Dunn grinned and nodded. “Yep. Three of them were in the Gulf War. The big guy, Arnold, was a captain. Lost two fingers to a bullet, so he retired and switched careers.”  

Burton nodded. “You can tell—they’ve got a different vibe.”  

Natalie skipped over, beaming. “Hey, Helena, long time no see! Director Burton, I’m a huge fan of your movies—especially Batman. I think it’s way better than this guy’s Spider-Man!”  

Any lingering tension from Burton’s long wait melted away. He laughed heartily. “Miss Portman, I finally get why, out of all the beautiful girls in Hollywood, you’re the one who stole Dunn’s heart.”  

Natalie huffed playfully. “You’ve got it wrong, Burton. He chased me—I didn’t steal him!”  

Dunn, Burton, and Helena all cracked up, and the heavy mood finally lightened. 

Chapter 194: Three Requests 

Tim Burton isn’t old—he’s only 42 this year—but his unique Gothic style already gives him the air of a cinematic master.  

His films are brimming with imagination and inner monologues, a way for him to share his take on the world through the screen. They’re bizarre, fantastical, and heartwarming all at once—qualities that resonate with everyone—which is why he’s earned such widespread recognition. 

When it comes to character design, his movie protagonists are quirky and absurd, yet they radiate kindness and innocence from within. That’s a universal value right there. Take Edward from Edward Scissorhands, for example. He’s an artificial man with razor-sharp blades for fingers, but his heart is pure. Edward’s clever with his hands and eager to help—gardening, haircuts, sculptures, you name it—he’s good at it all. He single-handedly raised the “look” of the whole town. Lonely and one-of-a-kind, he’s practically a mirror image of Tim Burton himself. 

Of course, a lot of that perfect performance comes down to the artistic and personal chemistry between Johnny Depp and Tim Burton. So, if there’s one person in the world who can truly harness Johnny Depp’s acting, it’s got to be Tim Burton! Like attracts like, after all. People who are too different just can’t get each other. 

Tim Burton led Dunn into his “museum,” and that’s when Dunn realized it wasn’t a museum in the traditional sense. It was more like an exhibit of Tim Burton’s creative style. Hanging on the walls were sketches, collages, and photos he’d made. On the tables sat skulls, zombies, a kid with a nail in its eye, a big mouth with fangs bared… you get the picture. 

The two didn’t talk about movies directly, but Dunn already knew what Burton was getting at. Tim was guiding him to feel that distinct creative vibe, to understand how Gothic imagery comes to life on screen. Dunn casually picked up a doll of a little girl—a stop-motion figure from The Nightmare Before Christmas—and half-jokingly said, “A little girl… painted in such dark tones. Isn’t that a bit too gloomy?” 

“I’ve never thought of myself as a dark person,” Tim Burton replied with a smile, sidestepping the question a little. “Sure, my films might have a lot of dark elements, but I always mix in humor and emotion. That’s how I see life—a blend of lightheartedness, darkness, and feeling.”  

He paused, took the doll from Dunn’s hands, and kept smiling. “In The Nightmare Before Christmas, I added some emotional touches too. A lot of kids watch it and don’t find it scary at all. The ‘horror’ in there is presented with humor, not fear.” 

Dunn got it. They were talking about The Nightmare Before Christmas on the surface, but the real topic was Pirates of the Caribbean: The Curse of the Black Pearl. That’s a pirate adventure flick with fantasy elements—Captain Barbossa transforming under moonlight adds a creepy twist. The big challenge was making that eerie plot exciting without being outright terrifying. Tim Burton’s words were his way of explaining it to Dunn. 

After all, Pirates of the Caribbean: The Curse of the Black Pearl was a commercial blockbuster with a budget over $100 million. It had to stay PG-13 or lower.  

Dunn grinned and asked, “I’ve heard… you’re a big fan of horror movies?” 

Tim Burton laughed. “Yep, ever since I was a kid. Vampires, Frankenstein—I’d always imagine finding something truly terrifying, but I never did. So I started making my own films, trying to make them scary. But… kids watch my stuff and end up laughing.” 

“That’s because you’re great at creating contrast,” Dunn said, with a hint of meaning behind it. 

That’s Tim Burton’s style in a nutshell. Adults might find some scenes creepy, but kids just giggle through them.  

Tim Burton thought for a sec and shook his head lightly. “Contrast is just the surface. My monsters aren’t scary because I get them. They’re loners, outcasts, misunderstood by the world, but they’ve got beauty, poetry, and emotion. A lot of the time, the monster world is the kid world.” 

Dunn shivered a little. He couldn’t help but think back to what Natalie had mentioned about his childhood when they’d gotten out of the car earlier. He didn’t know what to say. 

Tim Burton glanced at him and said, “A lot of people see me as a monster. But really, everyone’s emotions are a mix. Deep down, I’m a pure guy.” 

Dunn jumped in quickly. “To me, the complexity of an artist’s world is way beyond what most people can grasp. Tim, you don’t need to explain—it’s like the gap between fantasy and reality.” 

Tim Burton burst out laughing. “I think the fantasy world is the real world. Real life is way scarier than monsters or horror movies. The most terrifying people I’ve met are the ones who seem the kindest. Maybe you’ve got to get a little scary before you can be kind.” 

Just then, Helena Carter strolled over with Natalie after a long tour around the place. Natalie bounded up to Dunn, grabbed his arm, and said with excitement, “Dunn, I love it here—especially Burton’s photography. It’s amazing! You’ve got to let him direct the pirate movie, or I’m done with you!” 

Dunn and Tim Burton had danced around the topic of Pirates of the Caribbean: The Curse of the Black Pearl this whole time, but Natalie’s enthusiasm pulled it right into the open. 

Dunn looked at Tim Burton, half-laughing, half-exasperated. “See? She’s threatening me now!” 

Tim Burton didn’t hide his interest in a big-budget A-list project. “Ever since Batman Returns with Warner—when the box office didn’t quite hit expectations—I haven’t done a real blockbuster. But Pirates of the Caribbean: The Curse of the Black Pearl is a fun story. I like it.” 

Dunn smiled. “In my opinion, Captain Jack has to be Johnny Depp. And in all of Hollywood, you’re the only director who can handle his acting.” 

Tim Burton waved a hand modestly. “Dunn, you’re too kind! To me, there’s nothing you can’t pull off!” 

Helena Carter chimed in, “Seriously, how long has it been? Spider-Man has already passed $500 million worldwide and is charging toward $600 million. That’s insane!” 

Natalie added, “And if you factor in exchange rates, Burton’s Batman from 11 years ago would be worth a billion dollars today!” 

Tim Burton cut to the chase. “Dunn, I’ll be straight with you. I love the Pirates story—adventure, fantasy, thrills, action—it’s got it all, with tons of room to play. But I’ve got three requests, and I hope you’ll agree to them.” 

They were getting down to business. Natalie zipped her lips, and Dunn smiled, gesturing for him to go ahead. 

“First, I need enough creative control.” 

“Like what?” 

“Story changes, casting, character direction, visual tone.” 

Good thing he didn’t mention final cut.  

Dunn kept his cool. “The story framework’s already set—I’ve got sequels in mind, so the character direction has to follow my vision. But the specifics? You can write the script your way.” 

In a few smooth words, Dunn trimmed half of Burton’s power, but Tim seemed used to studios flexing like that. “The second condition should be easy. I want a solid budget. My last two films were held back big-time by money constraints.” 

Dunn grinned. “I can promise you that. As long as it’s not outrageous, I’ll give you enough to keep your creativity flowing.” 

“Perfect.” 

For directors, budget’s always the biggest hurdle. It’s the eternal tug-of-war between vision and cash. 

“And the third request?” 

Tim Burton hesitated for a moment. “I’d like Jack to play Captain Barbossa.” 

Dunn blinked. “Who? Jack?” 

Natalie, who’d worked with Burton on Mars Attacks!, instantly guessed it and blurted out, “Jack Nicholson!” 

Dunn suddenly got it. 

Jack Nicholson—the big shot! He beat out Al Pacino for Best Actor at the Oscars with One Flew Over the Cuckoo’s Nest, nabbed Best Supporting Actor for Terms of Endearment, and then took Best Actor again in 1998 for As Good as It Gets. But beyond those three Oscar wins, the role that stuck with the world was his Joker in the 1989 Batman. That’s hands-down one of the most iconic villains ever. 

Still, Dunn was confused. If Burton wanted Jack Nicholson for Barbossa, why not just ask him? What kind of request was this? They’d worked together plenty of times and were already tight. 

Dunn gave him a puzzled look. “What’s the problem?” 

Tim Burton grimaced. “When we did Batman, Jack said it was his last time playing a villain.” 

Dunn couldn’t help but roll his eyes. 

In Hollywood, tons of actors never touch villain roles. Think Meryl Streep, with her god-tier acting, or Tom Cruise, Mel Gibson… Playing a bad guy is a huge challenge for top-tier stars. 

But then Dunn pictured Jack Nicholson—his vibe, his skills—and went quiet. Compared to Geoffrey Rush from the original, Nicholson was a better fit for Barbossa. He’s got that villainous edge. Even if Rush is a solid Aussie actor, for the film’s sake, Dunn would pick Nicholson every time. 

“Alright, I’ll go talk to the old guy!” Dunn snapped his fingers, eyes gleaming with anticipation. 

Chapter 195: The Finals  

The 2000 NBA Finals pitted the Los Angeles Lakers against the Indiana Pacers.  

In the first four games, the Lakers dominated with a 3-1 lead, putting them one win away from the championship.  

Game 5 took place at the Pacers’ home court, Bankers Life Fieldhouse. Unfortunately for the Lakers, Kobe Bryant had an off night—shooting just 4 out of 20 for a measly 8 points.  

In the end, the Lakers got crushed by over 30 points, bringing the series score to 3-2.  

But after that loss, the local LA papers weren’t full of criticism. Instead, they brimmed with anticipation!  

Most people figured the Lakers had thrown the away game on purpose—they wanted to clinch the title at home.  

Game 6 was set for the Lakers’ home turf, the Staples Center.  

Basketball isn’t exactly a big deal in the U.S., especially among the elite. Aside from Michael Jordan, it’s often met with a bit of disdain—an attitude of “those overly athletic guys running around.” But when the big screen caught two familiar faces whispering sweetly to each other, the crowd erupted in cheers.  

Turns out, the famous director Dunn Walker was a Lakers fan!  

Seeing Dunn and his girlfriend Natalie in the home team’s VIP seats filled the Lakers faithful with a mix of pride and joy.  

Dunn grinned, and together with Natalie, they took off their sunglasses, stood up, and waved to the fans behind them. Natalie flashed a dazzling smile and even blew a kiss.  

In an instant, the Staples Center’s energy surged into a fever pitch.  

The game hadn’t even started, but the home crowd’s excitement had already set the arena ablaze. With that kind of vibe, it felt like the Lakers winning the title at home was a done deal.  

“Hey, Director Walker? What an honor! I didn’t know you were a Lakers fan too!”  

A gruff, lively voice caught Dunn’s ear.  

His heart skipped a beat. Feeling Natalie gently link her arm with his, he knew who it was—the main event had arrived!  

Yep, it was none other than Jack Nicholson, a legend of Hollywood’s acting scene!  

At 63, the old guy had gray hair and a thicker waistline, but his sharp eyes and sturdy frame showed he was still in great shape.  

And Jack Nicholson? He’s a die-hard Lakers fan—honored by the team with the title of “Lifetime Honorary Fan.” Two seats in the Staples Center are permanently reserved just for him!  

“Hey there, Mr. Nicholson!”  

Dunn quickly extended both hands, greeting him like a respectful junior. As for the young woman next to Jack… she looked like an actress, but Dunn didn’t recognize her. Despite his age, the old man’s personal life was just as colorful as Dunn’s.  

Natalie gave a graceful little curtsy and smiled. “Mr. Nicholson, it’s been a while. You’re still looking so fit!”  

Jack Nicholson, a veteran of the movie world, had a soft spot for talented young folks—especially since they all shared a love for the Lakers.  

“Miss Portman, it’s been a few years! You’ve grown taller—and prettier!” Jack teased with a chuckle. “And you’ve snagged yourself a Hollywood hotshot boyfriend. Director Walker’s no small catch!”  

Natalie smiled shyly. “Mr. Nicholson, you’re too kind. You’re the legend here—just call me Nat, and him Dunn.”  

Jack didn’t stand on ceremony. He clapped Dunn on the shoulder. “So, what do you think—Lakers taking it?”  

“No doubt about it!” Dunn said confidently. “It’s my first time watching a game at Staples, and I’m pretty sure I’ll bring the team some good luck.”  

Jack laughed. “Let’s hope so! Strength-wise, two Pacers teams couldn’t touch the Lakers. Shame about Game 2, though—Kobe got banged up, and it’s thrown him off a bit.”  

Dunn shrugged casually. “Even if Kobe’s off, we’ve still got our big man in the middle! At home, we’ll show ‘em what the Big Shark can do!”  

Jack roared with laughter.  

Natalie shot Dunn a surprised glance—she hadn’t expected him to actually know basketball.  

Five minutes later, the game tipped off, and the arena filled with applause, boos, and cheers in waves.  

Dunn could follow the game just fine, but he wasn’t really a Lakers fan. He was there mostly to cozy up to Jack Nicholson—and, well, to catch the “K-Combo” in action live.  

Natalie, though? She was struggling. Sunglasses on, interest fading—she winced and shut her eyes every time the players collided.  

It was so rough!  

Football had pads, but basketball? Just shorts and short sleeves—weren’t they scared of getting hurt?  

Speaking of injuries, the Lakers’ second star, Kobe Bryant, was clearly still hampered. His shots weren’t falling—his shooting percentage barely hit 30%.  

But he kept attacking the rim, racking up points from the free-throw line.  

Meanwhile, Shaquille O’Neal was a monster on the court. The Pacers’ defense couldn’t handle him—nothing like the Western teams they’d faced. Double-teams flopped, the paint was wide open, and forget fronting him. Once the ball hit Shaq’s hands, it was game over!  

By halftime, Shaq had 18 points and 7 rebounds, leading the Lakers to a 7-point edge over the Pacers. The championship felt within reach!  

During the break, the Staples Center turned into a party. The home cheerleaders danced with extra pep, radiating youthful energy.  

It’d been 12 long years since the Lakers last won a title. This season, they’d shelled out big bucks for “Zen Master” Phil Jackson, built the fearsome “K-Combo,” and stacked the bench with talent—all gunning for the championship!  

Jack Nicholson was buzzing. While Phil Jackson huddled with the team, Jack even got up, waving his arms and giving the players a pep talk. Dunn, sitting farther back, could still hear him urging them to push harder and seal the deal.  

Phil said a few words, and Jack reluctantly shuffled back.  

No surprise there—he’d been a Lakers nut for over 30 years. Back when the team was struggling, he’d even threatened to buy them and coach them to a title himself!  

When he returned, Jack noticed Dunn and Natalie chatting calmly, showing none of the excitement you’d expect from fans on the verge of a championship. A flicker of confusion crossed his mind.  

“Dunn, you…”  

Jack hesitated, unsure how to phrase it. He’d already clocked it—Dunn wasn’t a Lakers fan. During the game, he clapped and cheered for great plays from both teams, not just the home side.  

Dunn caught his pause and smiled lightly. “Jack, been in any movies lately?”  

Jack caught the hint and gave him a knowing look. “I did one earlier this year—Sean Penn’s The Pledge. It’s slated for January next year.”  

“So you’ve got some free time now?” Dunn asked with a grin.  

Jack’s pulse quickened. His earlier hunch solidified, and he felt a mix of surprise and admiration.  

No wonder this kid had made such a name for himself so young. No wonder old-timers like Coppola and Lucas sang his praises.  

He really knew how to play the game!  

Normally, a producer like Dunn would just send a script through Jack’s agency.  

But here was Dunn—Hollywood’s hottest producer, studio head, and director—acting like a respectful junior. Not even a Lakers fan, yet showing up at Staples to build a connection.  

That kind of sincerity could win over anyone in Hollywood.  

Jack took a deep breath, his expression steady. “Dunn, I get what you’re after. Tell me about the role.”  

Dunn locked eyes with him. “A character like the Joker in Batman or Jack Torrance in The Shining.”  

“A villain?”  

Jack glanced at Dunn, falling silent.