36-40

Chapter 36: Link’s Charisma

After the international box office results for Buried Alive were released, many American media outlets enthusiastically reported the news.

The Los Angeles Times stated that the value of Buried Alive continued to rise.

"For a while, the media was filled with negative reports about Buried Alive—claims that Link was just seeking attention on the red carpet, that he was uneducated, that the film’s success was purely due to hype, and even suspicions of box office fraud.

Within the film criticism community, there was ongoing debate over whether Buried Alive was a great movie or just a bad one.

Some critics praised it as a great film due to its bold and innovative concept, as well as its deep themes.

However, many others dismissed Buried Alive as a poorly made movie, calling it crude, criticizing its flawed and simplistic plot, and arguing that Link’s performance was mediocre at best.

As Buried Alive expanded to more theaters and achieved higher box office numbers, negative reviews gradually gained traction.

However, with the release of the film’s international box office results, many of these criticisms collapsed on their own.

For instance, some argued that Buried Alive was a bad film. But if that were true, why did it perform so well overseas? Were international audiences just as ‘unsophisticated’ as North American viewers?

If a so-called ‘bad’ movie is embraced by audiences worldwide, can it really be considered bad?

That’s a question worth debating.

Some reports also claimed that Buried Alive only succeeded because of hype.

During its domestic release, many media outlets repeatedly compared it to the highly anticipated Chaplin, generating significant attention for Buried Alive.

Additionally, the film’s low budget and incredibly high box office returns became a frequently discussed topic in the media.

There were indeed elements of marketing involved in Buried Alive’s success.

But can a movie rely solely on hype to become a blockbuster?

The answer is no.

When Buried Alive was released internationally, the distributors engaged in standard promotional efforts without any significant marketing stunts.

Yet the film still became a huge success overseas.

This proves that Buried Alive is genuinely a good movie, earning the support of a vast audience.

As for critics who disliked it—perhaps they simply can’t appreciate this kind of cutting-edge film. Their criticisms of Buried Alive are valid, but they remain subjective."

That was the take from the Los Angeles Times.

In addition to the Los Angeles Times, major media outlets such as The New York Times, The Washington Post, USA Today, and The American Forum all reported on Buried Alive’s performance and box office numbers, offering their own perspectives on both the film and its director-star, Link.

While some publications still pointed out certain flaws in Buried Alive, they couldn’t deny that with its multimillion-dollar box office earnings, the film had won over audiences and the market alike—proving itself to be a must-watch modern film.

Beyond the media, Hollywood stars like Bruce Willis, Jim Carrey, and Jennifer Connelly publicly expressed their admiration for the movie.

This wave of media coverage and endorsements from celebrities influenced hesitant viewers, encouraging them to see Buried Alive in theaters.

As a result, Buried Alive defied industry norms by reversing its declining box office trend in North America this week.

From Tuesday to Thursday alone, the film grossed over $1 million.

Industry analysts predicted that Buried Alive’s sixth-week earnings might climb back to the $3 million mark.

If that projection holds, its total North American box office would surpass $20 million—an astronomical return of 1,000 times its initial budget, an unprecedented feat in the industry.

“This is insane! Ben, Buried Alive has a North American box office return of 1,000 times its cost, and a global return in the range of 3,000 to 4,000 times. At this rate, do you think you can catch up to Link in the next three to five years?”

By the poolside, Matt Damon pointed to the newspaper’s numbers, his face a mixture of astonishment, admiration, and undeniable envy.

“What 3,000 to 4,000 times? Don’t exaggerate Buried Alive’s success like that. The film’s official production cost is listed as $20,000, but do you really think that’s accurate?

Link was both the director and the lead actor, and there were voice actors and crew members to pay—so the real budget was definitely higher than that.

On top of that, the distributors spent millions on marketing after the movie was released. That’s part of the cost too.

So in reality, Buried Alive’s return is probably only a few dozen times its budget. And that’s not impossible to catch up to. If I put my mind to it, I can definitely match that success.”

Ben Affleck stood on the diving board, stretched his arms, clasped his hands together, and then plunged into the pool with a massive splash—one that rivaled the size of a cow.

Matt Damon shook his head and continued reading the newspaper’s coverage of Buried Alive.

Since returning to Los Angeles, he had wanted to meet up with Link to talk about movies.

But when he stopped by the burger joint where Link used to hang out, he was told that Link had made it big and had moved to Beverly Hills—making it much harder to see him now.

Matt felt a sense of regret.

Back when Link wasn’t famous, he’d be easy to bump into on the street. If Damon didn’t strike up a conversation, Link would be the one to initiate.

But now? Even getting a meeting with Link was a challenge.

“Ben, I’m thinking about stopping by the Screen Actors Guild.

If I’m lucky, I might find a good role or two.

Wanna come?”

“Matt, are you serious? It’s the weekend! We only get one weekend a week—shouldn’t we be relaxing and enjoying it?”

"The guy at the burger joint said that for the past six months, Link has been working tirelessly every day to save money for his film. He’s been taking on extra gigs as an extra in movie productions, working day and night—weekends included.

Link is already so talented and still works so hard. If we don’t put in more effort, in two years, forget about catching up to him—we won’t even be able to see the back of his head."

"Damn! That’s really hard to hear."

Annoyed, Ben Affleck slammed the water with his arm. Seeing Matt Damon getting dressed, he cursed under his breath and made his way to the shore as well.

—

While reporting on the latest box office numbers for Buried Alive, the media also mentioned Link’s revenue-sharing deal with United Cinemas and 20th Century Fox.

According to the current figures, Buried Alive has grossed $40 million overseas, meaning Link stands to earn over $4 million in profit-sharing.

Meanwhile, the North American box office has surpassed $20 million, which could net Link around $6–7 million in profit-sharing.

In other words, Link’s $20,000 investment in the film has turned into over $10 million in pure profit—making him a multimillionaire at just 20 years old.

The Hollywood Reporter noted that while Link isn’t the first struggling actor to become a multimillionaire from box office earnings, he is the most relatable—a fresh, living example of success. He is someone that every aspiring filmmaker in Hollywood’s lower ranks can learn from.

—

"An idol, huh?"

In her apartment, Monica Bellucci gazed at Link’s photo in the magazine, her long eyelashes fluttering.

She recalled the first time she met Link—he had rushed upstairs recklessly, bumping his shoulder into her chest. At the time, she thought he had done it on purpose. Even if he hadn’t, it was still rude.

When he apologized, he said her name fluently, as if he had looked her up in advance—like he had come prepared.

Before leaving, he even warned her that the area wasn’t safe and advised her not to go out alone at night, as if trying to curry favor with her.

Then, without waiting for a response, he hurried off—acting like a nervous, love-struck boy.

That first encounter left her with a negative impression of him.

The second time they met, she saw him leaning against the small window of the management office, desperately pleading with the landlord to let him stay one more night, promising to borrow money the next day to pay his rent. He looked utterly down and out.

Later, he introduced himself as a director preparing to shoot a film and even offered her a role. To her, it seemed like an obvious bluff—just a guy making things up in front of a beautiful woman to save face.

It was childish and ridiculous.

After that second meeting, her impression of him dropped to negative twenty—he became someone she felt she needed to guard against.

But thinking back now, maybe she had been wrong.

Perhaps he had rushed upstairs that day because he was busy working on his film’s distribution, constantly running around, leaving early and coming home late—so much so that even his walking pace had quickened out of habit.

Maybe when he told her to be careful at night, it wasn’t some shallow attempt to impress her but just a simple act of kindness.

That day he pleaded with Lucy to open the door was the night before Buried Alive’s premiere. He must have been overwhelmed with work, and forgetting to pay rent wasn’t intentional—it was just because he was too busy.

And when he offered her a role in his film, it wasn’t some random excuse to get close to a woman—it was a genuine invitation.

As she got to know Link through their later interactions, she found herself discovering a different side of him. He was an incredible man—gentle and refined, humorous and witty, patient and considerate, with excellent manners.

Even in the midst of poverty, he remained positive, optimistic, open-minded, and kind-hearted. He was ambitious and driven, with an incredibly strong and courageous spirit.

Not to mention his professionalism and dedication to his work.

He exuded the charm of a mature man.

Monica felt a sense of guilt for having misjudged him in the past—but also a quiet joy at having met him and earning his recognition.

There were many talented and wealthy men in the world, but few were young, handsome, and had a good character.

And right now, the only man within her reach who fit that description was Link.

Link wasn’t just a man—he was an opportunity.

Monica gazed out at the dazzling Los Angeles skyline, then picked up the phone in her apartment.

She dialed Link’s number—to congratulate him on his film’s success.

(End of chapter)

Chapter 38: The High-Profile Anti-Fan  

“I heard that Link is an orphan, didn’t go to school for long, and used to be a small-time thug in El Monte.  

But just look at him—he seems completely at ease on stage, speaks clearly and articulately, and delivers one inspiring line after another. Does someone like that really come from the slums?”  

Inside a bar in Los Angeles, Los Angeles Times entertainment reporter Al Simmons pointed at the television screen, where a well-dressed, handsome, and refined man was speaking confidently. He turned to his colleagues and said,  

“What do you mean?”  

A reporter from the American Express asked.  

“Do you think the success of Buried Alive could be a scam? A well-orchestrated publicity stunt?”  

“A stunt? How would that work?”  

A journalist from USA Today questioned.  

“Maybe Link isn’t some poor kid. Maybe he grew up in a wealthy family, received an excellent education, and had professional training in directing and acting, which gave him strong filmmaking skills.  

And the people backing him, in order to craft the image of a ‘genius director,’ deliberately created Buried Alive. First, they made sure major studios overlooked it, then struggled to get it released, only for it to explode at the box office, breaking records for the highest return on investment in film history.  

This dramatic contrast made for a highly marketable story. With media coverage fueling the hype, Buried Alive continued to sell, and Link became an overnight sensation. Doesn’t that sound plausible?”  

Al Simmons narrowed his eyes and spoke slowly.  

“Al, are you so desperate to make headlines that you’re losing your mind?  

Buried Alive was a hit because it was a great movie. At first, it only played in a single theater, but as its box office numbers impressed, it gradually won over theater chains. It wasn’t some manufactured marketing scheme—you’ve got the cause and effect all wrong.”  

A Hollywood Reporter journalist retorted.  

“Then what if Buried Alive wasn’t actually directed by Link? Or what if it wasn’t just him and one other person like he claimed? What if there was an entire professional team behind him, guiding the production? That would explain why Buried Alive turned out so well.  

No matter what, I just can’t believe that Link’s first-ever film could be a masterpiece like Buried Alive.”  

Al Simmons stroked the stubble on his chin, mulling over the possibility.  

He was about to ask for his colleagues’ opinions when he turned around and realized they had all disappeared.  

Looking around, he saw them crowding around Thomas Miller, a veteran reporter from the American Tribune, listening intently as he recounted a recent paranormal incident in Connecticut.  

According to a report published by the Tribune last year, a couple from New York, the Campbells, had moved to northern Connecticut to be closer to a hospital for their son’s treatment. They found an old house for rent at a reasonable price.  

However, at night, they began hearing strange noises, and terrifying ghostly figures would appear. It wasn’t until later that they learned the house had once been a funeral home.  

The story was initially reported by local media before Fox News followed up and captured some suspicious footage.  

The case, known as the “Connecticut Haunted House Incident,” had made headlines last year. The Tribune had sent a team to investigate, and Thomas Miller was among them.  

As soon as the journalists saw Thomas, they swarmed around him, eager to hear more details.  

Al Simmons found the topic boring, so he returned to his seat at the bar, turning his attention back to the TNT talk show In Conversation with the Director of Buried Alive, Link, hoping to find some valuable news material.  

On TV, host Billy Crystal was interviewing Link. With Buried Alive’s phenomenal success, the media had dubbed him a “genius director” and “the most commercially successful director in history.” Billy Crystal asked if he felt any pressure from such titles.  

Link’s response was calm:  

“No, rather than worrying about whether I deserve these praises, I prefer to focus on my current work. At the end of the day, a director’s true ability is measured by their films, not by any ‘genius’ label. A title alone won’t make me a better filmmaker.”  

“Hmph.”  

Al Simmons took an unhappy sip of his beer.  

Link was only 20 years old, yet he spoke flawlessly, leaving no room for controversy. Finding a scandal-worthy angle on him was proving impossible.  

“Link, after the success of Buried Alive, many critics claimed its success was a fluke and that your future films would never surpass it. How do you respond to that?”  

Billy Crystal asked.  

Hearing this, Al Simmons perked up slightly, hoping to catch Link admitting that Buried Alive’s success was just luck. Either way, whatever he said could be spun into a story.  

“Success? How do you define a film’s success?  

If the only standard is box office return on investment, then yes, it’s hard to replicate. But if success is defined by total box office revenue, awards, a film’s historical significance, or its impact on the industry, then I believe I can do even better.”  

Clap, clap, clap!  

A round of applause erupted from the TV.  

“Shit! He dodged the question again.”  

Al Simmons clenched his fist and slammed it onto the bar counter.  

Just as he was about to leave and look for other news stories, he suddenly heard Billy Crystal mention Robert Downey Jr.  

During Buried Alive’s third week in theaters, its North American box office surpassed Chaplin, climbing to fourth place on the weekly box office charts.  

In response, Robert Downey Jr. publicly criticized Buried Alive, calling it cheap and undeserving of its earnings. He also mocked Link for attending the Chaplin premiere to promote his film.  

Al Simmons had been present at that interview.  

The controversy had caused an uproar in Hollywood. While some criticized Robert Downey Jr., others questioned Link’s credibility. Many media outlets had tried to get Link’s response, but he consistently avoided the topic.  

Now, with Billy Crystal bringing it up again, even though it was old news, if Link had any fresh take on the matter, it could still turn into a juicy media spectacle.  

Al Simmons pulled out his notebook and focused on the screen.  

Just as Billy Crystal asked his question, Al suddenly felt the space around him tighten. His back felt warm.  

He turned around.  

Well, well.  

The same reporters who had just been huddled around Thomas Miller for ghost stories had all gathered behind him—ears sharper than a dog’s.  

“Link, during Buried Alive’s successful run, Robert Downey Jr. and several other filmmakers publicly criticized the film, saying it was low-quality and didn’t deserve its box office revenue. They also accused you of using Chaplin’s premiere as a publicity stunt.  

I assume you’ve seen the reports. How did you feel at the time?”  

Billy Crystal asked.  

“Are we in gossip hour now?” 

Link joked,  

"Cut the nonsense and answer already!"  

Al Simmons slammed the counter and shouted at the TV.  

"Alright, it was quite interesting. Robert Downey Jr. was already a famous movie star, arguably the top actor of his generation—at worst, he was in the top three. Meanwhile, I was just a nobody back then.  

The day that news came out, a friend of mine ran up to me, waving a copy of the Los Angeles Times, and shouted, 'Link, check this out! Robert Downey Jr. just publicly trashed Buried Alive, calling it garbage! He even mocked you for trying to ride Chaplin’s red carpet. You’re about to blow up!'"  

Hahaha!  

Hearing Link mimic his friend’s voice, everyone burst into laughter.  

"I wrote that article! The one Link saw must’ve been mine!"  

Al Simmons clapped his hands, laughing.  

"Shh, be quiet and listen to Link."  

Several reporters nearby reminded him.  

"So, when you first saw that news, you weren’t angry at all? You were actually happy?"  

Billy Crystal asked.  

"Happy? Not really. No one would be happy about getting insulted out of nowhere. But I wasn’t angry either, because the article mentioned that Robert Downey Jr. was drunk when he made those unreasonable comments. Holding a grudge against a drunk person would’ve been petty. I never brought it up publicly afterward.  

The only thing that disappointed me was that even after he sobered up, Robert Downey Jr. never gave an explanation or an apology."  

"Are you hoping for an apology from Robert Downey Jr.?"  

"It would be nice. We’re all in the entertainment industry—we’re bound to cross paths or even work together someday. Keeping things civil helps with networking. But if he doesn’t apologize, that’s fine too. Having a superstar as a ‘hater’ is a rare and interesting experience.  

At the very least, Billy, I doubt you have an A-list celebrity as a hater."  

"I don’t! I don’t have haters. My fans love me! But I have to admit, I’m a little jealous that you have such a high-profile one."  

Hahaha!  

The audience roared with laughter.  

"This Link guy is pretty funny,"  

Al Simmons said, stroking his chin in a bar.  

"He’s not just funny—he’s smart."  

"Yeah. He knows that Robert Downey Jr. has huge influence in Hollywood, a massive fan base, and strong industry connections through the Downey family. Plus, he’s a VIP client of CAA. Picking a fight with him wouldn’t be a wise move for a newcomer like Link.  

But he skillfully dodged the controversy, turning the focus onto Downey’s lack of an apology instead of debating the movie itself. He came across as rational and composed.  

For someone his age to handle things this way? That’s rare. He’s definitely not just an average young guy."  

"Now the pressure is entirely on Robert Downey Jr. What do you guys think—will he apologize?"  

Al Simmons looked at his colleagues and asked.  

(End of Chapter) 

Chapter 39: You Want Me to Apologize?

"You want me to apologize? That’s absolutely impossible."

Inside a Beverly Hills mansion, Robert Downey Jr. shouted into the phone.

"Why not apologize? You’re a public figure. Getting drunk and randomly criticizing a fellow filmmaker’s movie was a serious mistake. The mainstream media believes you were wrong and that you should apologize. The longer you delay, the worse the negative impact will be."

"I will never apologize. Was I wrong in saying Buried was poorly made? What kind of quality film can you make with just $20,000?"

Robert Downey Jr. sneered.

"Buried is on track to surpass $40 million at the global box office next week—a 2,000-fold return on investment. What gives you the right to call it a bad film?"

"Ridiculous! Just because a movie makes money doesn’t mean it’s good. I remember when you were a kid, you made a movie that only grossed a few thousand dollars. You told me that a film’s quality isn’t measured by box office earnings but by its artistic value. So why are you using box office numbers as a standard now?"

"Shut up!"

Robert Downey Sr. yelled over the phone, "Robert, you’re not the center of the world. Not every movie you dislike is a bad film.

Buried is a highly artistic movie. Its narrative structure, cinematic style, and filming techniques are all above standard. It’s a mature piece of work.

The only reason you don’t like this movie is that you’re jealous of Link—jealous that someone younger than you is more successful."

"Bullshit! Me, jealous of him? He just got lucky, stumbling into success with one movie. I’m one of the biggest stars in Hollywood, with dozens of hit films. Why would I be jealous of him?"

"At the very least, you couldn't make a $20,000 film that grosses over $40 million."

"And you could? How many of your movies have even broken $10 million?"

"Damn it! Be as stubborn as you want, keep spiraling downward—I’ll watch and see just how far you fall."

Click!  

The phone slammed down on the other end.

Robert Downey Jr. also hung up and turned to his agent, Jimmy Rich, who had just walked into the living room. "CAA wants me to apologize to Link too?"

"The agency's stance is that it's up to you. If you want to apologize, go ahead. If not, it doesn’t matter. Link is just a rookie director—you don’t need to take him too seriously."

"What do you think?"

Robert Downey Jr. poured two glasses of whiskey and handed one to Jimmy Rich.

"I think you should apologize."

Clang!  

Robert let go of the glass, and it crashed to the floor. The dark brown liquid seeped into the pristine white carpet, spreading out.

"I think whether you apologize or not doesn’t really matter. First, Link is a small-time player—it won’t affect you much. Second, in the entertainment industry, you shouldn’t only have friends; you need a few rivals too. Having competition keeps you sharp and makes you stronger."

"You make a good point, very logical. But someone like Link isn’t even worthy of being my rival."

Robert Downey Jr. handed the other glass to Jimmy Rich.

"Right. Link is trying to pressure you through a TV show, forcing you to apologize. But he underestimates you. If you don’t want to, no one can make you apologize."

"Exactly. But the fact that he even dares to pressure me, mocking me on national television—I don’t like that. I want to send him back to the slums. Any ideas?"

"He’s now signed with WMA, worth millions, maybe even tens of millions. Using conventional means, it won’t be easy."

"What about unconventional means?"

"We could arrange an ‘accident’—a car crash, or maybe get him involved in a financial scam."

"Damn it! I just want to see him fail, not commit a crime. What the hell is with hiring a hitman? Does CAA manage assassins now too?"

"I wouldn’t know. But aside from extreme measures, there’s not much we can do to take him down right now—unless we wait a year or two.

When his next movie comes out, if it flops at the box office, the media will tear him apart. They’ll say his success was just a fluke, that without luck, his films are garbage.

That’ll be the perfect time to strike."

"I like that plan. Let’s wait for his next film. I want to see how high this slum rat can jump."

Clink!  

Robert Downey Jr. raised his glass and clinked it against his agent’s.

---

After the Interview with Buried* Director Link aired on TNT, peak viewership reached 10.5 million. Though it didn’t break records, it ranked in the show's top ten highest-rated episodes.

The program covered many topics that sparked media and public interest, including Link’s journey as a director, his admiration for Sylvester Stallone, his lack of concern for money, the creative process behind Buried, and his past struggles with failed script pitches.

But the segment discussing the conflict between Link and Robert Downey Jr. caused the biggest stir in the American entertainment industry.

Since Robert Downey Jr. was a major star and teen idol, while Link was a rising director and an inspirational figure, anything involving the two was guaranteed to make headlines.

Media outlets jumped in eagerly, publishing analyses, opinion pieces, investigative reports, and provocative takes to fan the flames. What started as a minor dispute quickly escalated into a full-blown controversy.

Robert Downey Jr.’s fans firmly stood by him, insisting that their idol did nothing wrong. They argued that everyone says dumb things when drunk—it’s human nature.

They also believed Link was milking the situation for publicity, using Robert’s fame to promote Buried.

Actor Kiefer Sutherland publicly criticized Link, claiming that fame had made him arrogant and disrespectful toward Robert Downey Jr. He even urged Link to issue a formal apology.

Supporters of Link, however, saw things differently. They praised him for being gracious, offering Robert a chance to apologize rather than holding a grudge.

But since Robert still refused to apologize, it suggested either he didn’t recognize his mistake or was simply too arrogant to acknowledge that a rookie director deserved an apology.

Either way, his attitude was disappointing.

The neutral camp had mixed views.

They agreed that Robert Downey Jr., as a public figure, was wrong to criticize another filmmaker’s work so openly. His comments could have negatively affected the film’s box office, and for that, he should apologize.

At the same time, they acknowledged that Link had taken advantage of the controversy to promote Buried, riding the coattails of Chaplin’s publicity. He, too, should engage in some self-reflection.

In the end, both sides bore some responsibility.

The debate, which started from a simple TV interview, dominated U.S. media for several days before finally cooling down.

Interestingly, just last week, reports on Buried’s overseas box office earnings had led to a surprising uptick in North American ticket sales. With all the extra media attention, the film’s domestic earnings surged even higher this week.

On Saturday and Sunday, the occupancy rate for theaters screening Buried Alive exceeded 80%, with many cinemas having to add extra showings to meet audience demand.

By Monday, the sixth-week box office results were in: Buried Alive grossed $3.85 million across 201 theaters in North America, with attendance levels nearly matching those of its third week. On the weekly box office chart, it surged from ninth place back up to third, trailing only the newly released Invincible Home and Instinct.

This surge in ticket sales also helped Buried Alive surpass the $15 million mark in North America, reaching an astonishing $16.56 million.

Internationally, Buried Alive earned $14.74 million across 28 countries and regions this week.

Although this represented a significant drop from last week's $18.37 million, the film still managed to maintain a streak of over $10 million in international earnings for two consecutive weeks. Its current overseas total stands at $33.11 million.

For a film with a production budget of just $20,000, these numbers are nothing short of incredible.

Initially, media analysts predicted Buried Alive would gross around $50 million worldwide.

However, with this week’s numbers in, it's clear that $50 million is no longer the ceiling.

Now, even $60 million or possibly $70 million seems within reach.

As a result, Buried Alive’s return on investment has reached almost absurd levels, skyrocketing from 1,000 times its budget to 3,000 times. Meanwhile, the "genius director" halo around Link’s name shines brighter than ever.

The Los Angeles Times called Link the "Golden Boy" of directing, stating that no one understands how to turn $20,000 into a $50 million box office hit better than he does.

USA Today praised Link for paving the way for independent filmmakers, proving that even with minimal investment, it’s possible to achieve tremendous box office success. His story has inspired independent directors, giving them newfound confidence, while Buried Alive’s success has forced Hollywood studios to abandon their arrogance and take independent films more seriously.

The Washington Post commented that a film directed by an Asian filmmaker and starring an Asian cast managing to gross over $16 million in the U.S. proves that Hollywood has become more inclusive than ever.

The Global Times noted that Buried Alive is the first - film in history to surpass $50 million at the box office and the first directed film to achieve this milestone as well.

"Boss, look at all these newspapers praising you. You're a big star now, aren't you?"

Inside the office, Liu Xiaoli smiled as she handed him a cup of tea, her slender, fair fingers complementing the emerald-green porcelain cup beautifully.

"Why do you always focus on things like this?"

"I worked on the set of Beijingers in New York, and I know how hard it is for people to make it in Hollywood. They face a lot of discrimination and struggle to gain a foothold. Now that you've become a major Hollywood star, I feel proud of you."

Liu Xiaoli’s peach blossom eyes shimmered like spring water, her delicate face glowing with a radiant smile. She was as stunning as an April peach blossom—bright and dazzling—yet also as refreshing as a mountain spring, her smile carrying a touch of cool, sweet charm.

A single compliment from this woman seemed more rewarding than the countless words of praise in those newspapers. His whole body felt lighter.

Link chuckled softly. Listening to Liu Xiaoli’s gentle words, he couldn’t help but recall the early days of making this film—waking up before dawn, working tirelessly, lying in a wooden box for hours, reshooting scenes dozens of times until he was fully satisfied.

Many nights, he filmed alone until the middle of the night.

After wrapping up production, he spent three days straight in the editing room to save costs, surviving on bread when hungry and bottled water when thirsty.

For three sleepless days, he fought to complete the film’s final cut.

At the Sundance Film Festival, he desperately sought distributors willing to screen Buried Alive, only to face rejection after rejection.

By the time he left Park City, he was almost completely broke.

Back in Los Angeles, he continued knocking on doors, trying to secure a theatrical release, but after approaching more than thirty distribution companies, he was still turned down.

Left with no choice, he resorted to selling scripts and took the path of self-distribution.

But in the end, hard work paid off.

Everything he had sacrificed was finally rewarded.

(End of Chapter)

Chapter 40: Miss Connelly

“Haha, Link, congratulations! You’ve made history.”

At the Buried Alive celebration party, Sam Haskell laughed heartily as he walked over, a beautiful woman following closely behind him.

“Sam, don’t exaggerate. It’s just a box office record.”

“Haha, film history is still history. This is Jennifer Connelly—I’m sure you recognize her.”

Sam Haskell gestured toward the woman beside him. She wore a white sleeveless gown, her long flaxen hair draped over her shoulders. Her look was simple yet elegant, reminiscent of a priestess from an ancient Greek temple.

She was in her early twenties, with striking light blue eyes, a well-defined nose, and delicate, charming features.

Despite her pure and innocent appearance, the pronounced curves beneath her neckline added a subtle touch of sensuality.

Jennifer had started as a child actress. A Jewish-American, she gained worldwide fame at 14 for playing young Deborah in Once Upon a Time in America. Her brief dance scene in the film became an iconic moment, widely regarded as one of the most beautiful sequences in cinematic history.

The role also earned Jennifer the reputation of being Hollywood’s quintessential “pure and innocent” actress.

However, as she grew older, this label didn’t bring her more roles or fame—it became an obstacle to her career.

To break free from that image, Jennifer had taken on increasingly mature and sensual roles in recent years. In the 1990 crime thriller The Hot Spot, she didn’t hesitate to bare her upper body, giving audiences an eyeful and proving her dedication as a professional and hardworking actress.

“Miss Connelly, welcome! It’s an honor to have you here.”

“Director Link, congratulations on the success of Buried Alive. It’s a fantastic film.”

Jennifer Connelly tilted her face up slightly, her light blue eyes reflecting his image. Her gaze remained as pure as ever, but her tone was polite yet indifferent, making it hard to tell if her compliment was genuine or just good manners.

“Thank you! Miss Connelly, once again, welcome.”

After a brief exchange of pleasantries, Jennifer moved on to greet other guests at the party.

Sam Haskell stayed behind to talk.

“Link, are you already working on a new film?”

“Yes, I’m in the early stages of production. We start filming next week.”

“Next week? That soon?!”

“I’ve been preparing for over a month, so it’s not that fast.”

“Is the funding in place? The cast and crew all set?”

“Almost.”

“Do you have a role for Jennifer? She’s beautiful and a great actress, isn’t she?”

Sam gestured toward Jennifer, who stood among the crowd.

Dressed in a flowing white gown that complemented her refined features and tall, slender figure, she exuded an ethereal aura—Hollywood’s version of a celestial goddess.

As soon as she arrived, the party seemed to elevate in class. Men either approached her to greet her or, if too intimidated, admired her from a distance.

“She is stunning. Is she one of your clients?”

“Yes. My previous client retired, so now I only represent you two. Do you have a role for her?”

“Unfortunately, this film is another experimental project—low budget, small cast. There are only four roles. The lead actress is already set, and for the supporting female role, I need an unknown actress. Jennifer is too famous—and honestly, too beautiful—for the part.”

“Only four actors? What kind of movie is this? I hope it’s not what I’m thinking…”

Sam raised an eyebrow and eyed him suspiciously.

“It’s not what you’re thinking. It’s something fresh and innovative—you wouldn’t be able to guess.”

“Alright, well, a lot of people in the industry are watching this film closely. Some are waiting for you to fail; others want to see if you really have what it takes and whether you’re worth investing in. The importance of this project can’t be overstated. But are you sure making another small, experimental film isn’t too risky?”

“Small budgets mean low risks. If I fail, it’s not the end of the world. I’m 20—I can afford to fail.”

“You’ve got guts. No matter how much people praise you, you stick to your own vision. I’ve heard you’re stubborn, and I can see it’s true. Alright, I don’t know much about filmmaking, but my agency has plenty of experts. If you ever need help, just let me know.”

“No problem!”

After chatting with Sam, Link took a champagne glass and joined Jerome Preston, William Mason, and film critic Will Roger. He congratulated William Mason on his recent promotion and expressed his gratitude to the three of them for their support during Buried Alive’s release.

Even with a system ensuring the film’s success, the process itself hadn’t been easy. The surprising rebound in box office numbers that week proved that execution mattered.

Thanks to these men, he had avoided many pitfalls.

“Link, you’re incredible. And I’m not just talking about Buried Alive’s box office success—I mean your persistence and determination before the film’s release. No one can match you in that regard,” Jerome Preston remarked.

“Thank you. I was just doing what needed to be done.”

“Link, I hear you’re working on a new film. Can you share any details?”

Will Roger lifted his champagne glass as he spoke.

Link had a good impression of him—not only was he the first critic to praise Buried Alive, but he was also the film’s very first audience member at the Burbank-United Cinema screening.

Additionally, since the second film wouldn’t take long to shoot, some pre-release buzz through the media would help reduce marketing costs when it eventually hit theaters.

“Sure. It’s another thriller—small budget but just as thrilling.”

“Will you star in it again?”

“No, I’ll be using an entirely new cast.”

“All newcomers?”

Hearing Link discuss the new project, other media representatives at the party gathered around, eager for details.

“Link, using newcomers means you can’t guarantee strong performances, and they won’t have any box office draw. Isn’t that a bit risky?”

Ross Stanton, entertainment editor at The Los Angeles Times, posed the question.

“Risk is the key to progress. I’m young—playing it safe isn’t my style.”

“Well said!”

Jim Carrey, who had been invited to the event, clapped his hands from outside the crowd.

People around him turned to look.

“What Link said was indeed great,” Jim Carrey said with a shrug and a smile.

"Director Link, what’s the budget for this film? Is it exclusively produced by Guess What Pictures, or are there partnerships with other studios?"

The deputy editor of The Hollywood Reporter raised his hand and asked.

"Mr. Cooch, I can’t disclose the exact budget at the moment, but I can tell you that it’s not a high-budget film and is fully funded by Guess What Pictures."

"Director Link, in the film industry, many directors experience failure with their second film after achieving great success with their first. By keeping the budget low for your second movie, are you trying to avoid such a failure?"

A reporter posed the question.

"Avoiding failure is a foolish approach that will never apply to me," Link replied. "I’m a newcomer to filmmaking, still in the exploratory phase. Each film I make is an experiment—an exploration of the art of film, the market, and the audience. These experiments are about finding a path to success, not avoiding failure."

"Director Link, have you made any box office projections for this film? Do you have confidence that it will surpass Buried Alive and achieve even greater success?"

Ross Stanton, the entertainment editor of The Los Angeles Times, asked.

"Mr. Stanton, that’s a bit premature—after all, we haven’t even started filming yet. But of course, I hope this movie does even better. I also hope that Buried Alive won’t be the peak of my career, but just the beginning."

"Well said!"

Jim Carrey was just about to say those words himself when a loud voice interrupted. A muscular man in a suit was standing on his toes, peering into the crowd while clapping enthusiastically. His thick eyebrows danced with excitement.

Beside the stocky man stood a tall, curvaceous woman who was also applauding. She gazed at Link with a radiant smile, her eyes burning with admiration, as if she were looking at someone she deeply loved.

But as if suddenly aware of her own expression, she immediately toned down her smile and became expressionless.

Jim Carrey shrugged again and refocused his attention on Link.

"Alright, everyone, today is the Buried Alive celebration party. Please relax and enjoy yourselves. If you have any questions, feel free to ask me privately—I’m happy to chat with all of you."

Standing in the center of the crowd, Link made the announcement before stepping away to mingle one-on-one with the guests.

"Link, you always sound like you're giving a TED Talk. You should be a motivational speaker, not a director."

Quentin Tarantino teased.

"Alright, I’ll consider your advice."

"Link, when does filming start? Can I visit your set?"

Bald-headed director Steven Soderbergh asked.

"Of course, but you better come early—this shoot won’t take long."

After the Buried Alive celebration party, Link's remarks were quickly spread by the attending media.

Miramax, New Line, and Carolco Pictures, among other film companies, were disappointed to hear that Link was once again making a low-budget film and didn’t need outside investment. But they were even more surprised to learn that he was continuing to cast newcomers, refusing to hire even a single well-known actor.

This puzzled the industry.

How can a film succeed at the box office without a star to draw audiences?

Without experienced actors, the performances are unlikely to be strong—how can he ensure the film’s quality?

A movie without guaranteed quality or box office appeal is an enormous risk.

Studios couldn’t understand Link’s approach, so they had no choice but to keep an eye on the production. The success or failure of this film would reveal Link’s true potential—and whether he was worth collaborating with in the future.

(End of Chapter)