576-580

*Chapter 576: Production Meeting*

Outside the car window, the sun was shining brightly.

Inside the car, there was complete silence—only the faint sound of hearts pounding in chests, echoing through the air.

Time, like sand slipping through fingers, passed swiftly. In the blink of an eye, a whole week had gone by since Anson's meeting with the two screenwriters of The Butterfly Effect at the coffee shop.

It was clear: Anson had become a part of the project.

Since then, the group split into two teams.

After returning home, Eric and McGee began discussing and brainstorming how to add more details without altering the overall framework, planting the seeds for an origin story, and leaving some space in the main plot for Anson to showcase his performance—highlighting the character's psychological arc and unique traits.

Meanwhile, Anson took on the responsibility of the producer and began looking for a suitable film company. He didn’t rush to seek help from Darren Star.

First, Darren's connections were mainly in the television industry. Even if he ventured into the film industry, it would likely require significant effort.

Second, Anson had some ideas of his own. He thought it was worth trying on his own first, and if things didn’t work out, he could explore other options later—

DreamWorks, Disney, Warner Bros.

These three companies represented Anson’s three works to date: Catch Me If You Can, The Princess Diaries, and Friends.

His collaboration with each of these works had opened doors at different levels and in different ways, linking him to various executives in the film companies.

Catch Me If You Can, of course, didn’t need much explanation—Steven Spielberg was the director. During The Princess Diaries premiere, Anson had briefly met with Bob Iger, the current second-in-command of the company. As for Friends, he had met with several producers at the post-Emmy Awards party.

Both The Princess Diaries and Friends were, in different ways, involved in the company's management activities, with Anson playing an important role—

Naturally, it was a small role. An actor is just one small piece in the grand scheme of a successful production.

But Anson believed he could use these opportunities to open more doors and let the film companies know he was stepping into production—a notion that Edgar also supported and encouraged.

So, why not Sony-Columbia?

The reason was simple: Edgar didn’t want to alert them prematurely.

Soon, Edgar would be negotiating with Sony-Columbia regarding the pay and Anson’s role in Spider-Man 2.

If Anson had the opportunity to become a producer, there was no reason to pass it up. But Edgar thought the chances were slim, as Sony-Columbia probably wouldn’t want to share the profits. Therefore, his main focus was on increasing Anson’s actor salary.

Given the circumstances, Edgar didn’t think it was a good idea for Anson to approach Sony-Columbia with a new project as a producer. Instead, it might give Sony-Columbia an excuse to lower his pay.

However, Sony-Columbia could still be kept as a backup option. If other negotiations fell through, Anson could then sit down with Sony-Columbia to discuss collaboration.

In short, Anson started taking action.

Slightly to his surprise, it wasn’t DreamWorks that responded first, but Warner Bros.

Although the reasons behind this were unclear, Warner Bros. reaching out first was good news. Today, Anson and the two screenwriters arrived at Warner Bros.' Century City office in Los Angeles, ready to attend a production meeting.

This was a positive development, but the atmosphere inside the car was a bit tense.

Eric glanced worriedly at McGee, who was sitting beside him with a furrowed brow and a hesitant expression. He wanted to say something but wasn’t sure where to start.

Because, like McGee, he wasn’t certain either—

Anson had suggested he attend the meeting alone.

So far, McGee and Eric’s production meetings had not gone well. The reasons could be many—perhaps their insistence on sticking to the script affected the negotiation process, maybe their desire to direct the film as screenwriters broke expectations, or perhaps their names weren’t big enough to command attention.

Whatever the reason, the result was that The Butterfly Effect still hadn’t found a film company willing to invest.

So, Anson thought they should try a different approach.

For example, Anson could attend the meeting alone and reposition The Butterfly Effect, rebranding the project with Anson’s image.

Their reactions made it clear—they didn’t like this idea.

There was an inexplicable sense of emptiness and awkwardness, as if their work was being taken away from them. And this is Hollywood, where people often stop at nothing for fame and fortune. Watching Anson seemingly swoop in and take over didn’t feel good, even if reason told them Anson had no intention of claiming the project as his own. Emotionally, it was hard to accept.

For a moment, the air grew quiet.

It wasn’t just McGee; Eric also felt a bit awkward.

Anson sighed inwardly, though his face remained calm. “Then let’s go up together. You two are the best people to explain the story and the creative inspiration.”

To be honest, Anson was being very straightforward. He had no intention of taking credit for someone else’s work. Now, having others look at him with suspicion, like he was some sort of thief or robber, made him feel a bit aggrieved. But after all the ups and downs he experienced in his past life, he had learned to view everything before him with more peace and calm.

“When we go up, I’ll handle the pleasantries, and you two can handle the professional part—discussing the project’s concept and story framework. As for how to make the project more marketable, I’ll take care of that.”

Anson didn’t press the issue. After all, this project was the culmination of their seven years of hard work, their only hope—a lifeline, really.

After finishing his words, Anson was about to get out of the car when McGee suddenly spoke up.

“Anson, maybe you should go up alone. We won’t come along.”

Anson was stunned.

Eric was also taken aback, looking at McGee in surprise.

After struggling with himself, McGee met Eric’s gaze and bit his lip, “Anson is willing to be our lead actor and take on the role of producer. We should make the most of his influence; otherwise, our efforts and struggles would be directionless and in vain.”

“Anson... I hope it all goes well.”

Having finally made a decision, McGee seemed to relax, like a burden had been lifted off his shoulders, though he also looked a bit exhausted.

Eric, still half confused, eventually nodded in agreement, “Anson, we’re counting on you.”

This time, it was Anson’s turn to be surprised. He thought they wouldn’t be able to let go of their attachment. But unexpectedly, things had taken a new turn.

Anson exhaled lightly, “You guys wait in the parking lot. I’ll be quick.”

McGee waved his hand repeatedly, “No, no, no, you don’t have to rush. Take your time... slowly, take the time you need.”

Anson quickly realized: if the meeting ended too soon, it probably wouldn’t be a good sign.

Anson smiled, “Then I’m off.”

He opened the car door and stepped out. After walking a few steps, he suddenly looked back and saw Eric and McGee both gazing at him like eager sheepdogs, their eyes filled with hope and anticipation, almost like they were about to start wagging their tails.

Chapter 577: A Minor Stir

Ding.

The elevator smoothly reached the fourteenth floor, but no one paid any attention to its arrival. Everyone was completely focused on their work, creating an atmosphere of tranquility.

This wasn't Anson's first time at the film company, but different departments had vastly different vibes. The one before him was a typical office setting – neat cubicles and glass offices with light gray blinds, orderly and quiet, easily mistakable for an accounting firm.

He paused briefly, glancing around before heading towards the reception desk on the right side of the elevator.

"Good morning."

"Anson Wood, 9:30 AM, Chris Bender."

The receptionist, Lena Wilson, quickly checked her computer, the crisp sound of typing filling the air.

"Please wait in the lounge area for a moment. Mr. Bender's secretary will come to get you."

After completing her instructions in a business-like manner, Lena paused, but before she could react, Anson had already turned and walked towards the lounge area across from her. A beat too late, Lena was left stunned.

Anson, the Anson?

Gasp.

She took a sharp breath.

Working at Warner Bros., she had seen her fair share of top stars – directors, actors, screenwriters, producers, you name it. But every time she encountered one of these legendary figures, her heart couldn't help but race.

Like now.

Anson Wood, currently the hottest young actor in North America, was just casually standing before her eyes?

Lena swore that after truly entering Hollywood, she had experienced disillusionment. Some radiant stars were repulsive in private. But at the same time, there were also seemingly aloof and unapproachable stars who were actually warm and friendly, exuding a genuine star quality.

People were different, and actors were no exception.

Involuntarily, Lena craned her neck to steal a few more glances at the new Spider-Man:

White shirt, smoke gray suit, black tie.

An ordinary and formal attire, yet it was clear at a glance that he was different. The fitted shoulders, the tapered waist, a rebellious rock-and-roll vibe amidst his slender frame. An understated yet stylish aura that broke the dullness of the suit, even casual wear could sense the trend.

That should be Dior Homme, right?

Slightly different from his image on the big screen and behind the camera, it was a shock that stripped away imagination while bringing surprises.

As she scanned him with her peripheral vision, her heart couldn't help but flutter. Even though Lena repeatedly warned herself not to peek, she couldn't resist taking another look.

Just by sitting there quietly, he effortlessly attracted attention.

A woman in a skirt suit, who was merely passing by, stopped in her tracks due to a casual glance. She took a closer look, gasped, and almost cried out.

Although she covered her mouth with her right hand to restrain herself, she couldn't control her feet. She involuntarily approached Anson and started chatting with him in a low voice, letting out a silver bell-like laughter. Subconsciously tucking her hair behind her ear, she giggled, seemingly unable to move her feet.

Witnessing this scene, Lena finally lost control. She picked up her phone, furtively placing it under the counter, and quickly typed a message.

"Oh my God! Anson Wood is at the front desk! He's even more charming than I imagined, just looking at him is making me melt! Unbelievable! How can he be so handsome and good-looking! Ah! Ahhhhhhhhhhhhh!!!"

"Sabina is trying to seduce him, the same Sabina from the rumors last time. I can't believe it, she's smiling and flirting with him!"

After a series of exclamation marks, the message spread like wildfire on the fourteenth floor. Lena's hands trembled uncontrollably, her heart pounded, and the buzzing in her ears made her mouth dry.

Jeff Robinov pushed open his office door, his mind racing.

Although it was only October, with more than two months left until the end of 2002, they should start planning for the 2004 film market.

Currently, major projects centered around "Harry Potter" and "The Lord of the Rings" were on track, but no one could ignore the tremendous success of "Spider-Man" this summer. Warner Bros., holding the DC Comics rights, naturally couldn't overlook it either.

Of course, Jeff agreed. They needed to value the resources they had. But as a film enthusiast, Jeff also firmly believed that they couldn't solely focus on these adaptation projects.

"Harry Potter," "The Lord of the Rings," DC Comics – these works shared a common trait: they were adapted from original works.

Such works needed attention, but the power of originality couldn't be ignored, as original works were the source of inspiration that kept cinema vibrant.

If they poured all their energy and resources into these adaptations, once "Harry Potter," "The Lord of the Rings," and other similar works concluded, Warner Bros. would find itself in trouble.

However, this was just Jeff's own concern. At most, it was a precaution. Without better projects, Jeff couldn't convince Warner Bros. to allocate more resources to original works.

After all, the overall trend in Hollywood was a decline in originality. After half a century of vibrant development, originality was indeed entering a bottleneck.

If there were so many excellent original works, film companies wouldn't be rashly shifting their focus to adaptations. This was a dilemma.

Now, Jeff was pondering how to strategize for 2004.

His gaze wandered forward, inadvertently landing on a figure.

Honestly, it was hard to miss him. His presence itself was a statement. And Jeff was certain it wasn't his imagination; compared to their last encounter, his aura was even more captivating, with a touch of confident and rebellion, gradually blossoming.

It felt like... this was the real him.

Interestingly, Jeff also recognized the woman in the skirt suit, Sabina. Her tight-fitting attire accentuated her curves, the buttons on her blouse and suit jacket threatening to burst, easily capturing the attention of passersby.

Last month, four men from different departments within the company had fought over Sabina. Yet, this sexy and glamorous woman had feigned innocence, refusing to be associated with any of them, and cleanly extricated herself without a hair out of place, leaving everyone dumbfounded.

But now, standing before Anson, she was completely overshadowed. Jeff noticed Sabina, but his gaze remained fixed on Anson.

"Hey, Wood."

Jeff stopped, smiling, and greeted him playfully.

Instantly, all eyes turned towards them. The woman in the skirt suit held her breath, glanced at Jeff briefly, exchanged a few pleasantries, and then quickly turned to leave. Though reluctant, her footsteps hurried away.

Anson raised an eyebrow slightly but didn't speak. He merely looked meaningfully at the woman's departing figure, then back at Jeff.

Jeff, with his bald head, raised his hands in a gesture of surrender. "I'm really a good guy."

Chapter 578: Interception

"I'm really a good guy."

Jeff raised his hands, his face full of innocence. However, his image and appearance weren't convincing. The more he emphasized it, the more he resembled a mastermind, creating a stark contrast.

Anson deliberately adjusted his expression, his face serious. "I believe you one hundred percent." His words expressed belief, but his demeanor conveyed something else.

The back-and-forth banter lightened the mood.

Jeff looked around. "What brings you to Warner Bros. today? An audition? God, which short-sighted producer actually asked you to audition? You should have called me beforehand."

Anson chuckled. "Honestly, I seriously considered it. But the thing is, I haven't called you before, and suddenly calling to ask for a favor... my skin isn't thick enough for that kind of composure."

"Ha." Jeff laughed. "This is Hollywood. Feel free to make requests, propose deals. If I need to refuse, I'll do so without hesitation."

"But who knows? Maybe I'll agree?"

"Surviving in Hollywood requires many skills, and thick skin is definitely one of them."

Anson also laughed. "I haven't thanked you for your recommendation yet, which helped me secure a very important role."

Jeff spread his hands. "I'm playing a long game. Now you owe us a favor. How about that? We should have made a good deal."

The smile reached Anson's eyes. "Oh, as it happens, I'm here today to return the favor."

Jeff was taken aback. "Wait, you're not really here for an audition, are you? God, if that's the case, then we've been impolite."

Anson waved his hand. "No, no, no. I'm here as a producer today. I have a meeting scheduled with Mr. Chris Bender."

With that, Anson raised the briefcase in his hand and patted it lightly. "I think this is the best opportunity to return the favor."

In reality, this should have been Anson's second time asking for a favor, needing Warner Bros.' help. But now, Anson shifted his position, presenting a high profile, as if countless competitors were vying for this project, and Anson was prioritizing Warner Bros. to return the favor.

The situation was instantly different.

Once again, Jeff Robinov realized that Anson was no ordinary person. With his vast experience, he immediately saw through Anson's repositioning tactic, but it was precisely this tactic that piqued Jeff's interest.

Perhaps Anson's skin wasn't thick enough, but he was smart and wise, leaving an impression with every interaction. That wasn't easy.

His thoughts paused briefly.

Jeff looked at Anson. "An original screenplay? Or a novel or a comic book?"

"Original, of course." Anson was confident. "Mr. Robinov, I'm not as wealthy as you think, casually buying up a bunch of novel adaptation rights."

"Haha." Jeff laughed heartily. "That's what someone who just became a Malibu resident would say."

Anson's eyes widened in surprise. "I thought I was being low-key."

Jeff replied, "Indeed, you are low-key. But your real estate agent isn't."

I see.

Anson slightly raised his chin. "It seems I still have a lot to learn."

"It's okay, you're still young. You have plenty of time ahead of you. As for now, why don't we sit down and take a look at your script?"

Jeff made an inviting gesture.

Anson was slightly surprised. "What about Mr. Bender?"

Jeff chuckled. "Consider this me intercepting Chris." He turned to the receptionist. "Tell Chris that Anson is in my office."

Turning back, Jeff extended the invitation again, and this time Anson didn't refuse.

Lena noticed Anson looking at her again, nodding politely in thanks. The slight upward curve of his lips made her heart skip a beat.

The longer one stayed in Hollywood, the clearer it became that looks were just skin deep. Everyone had different aesthetic preferences, and there was no shortage of attractive people, so there was no need to be overly infatuated. But it wasn't about the soul either, even though interesting souls were rare, and truly soulful people in Hollywood were even rarer. What mattered was –

Aura.

The aura emanating from within, that was the key to standing out.

Anson was like that. The aura he exuded with every gesture captured attention, making hearts flutter without any special effort.

Her racing heartbeat didn't lie.

Lena watched as Jeff and Anson walked away, her eyes filled with reluctance, her entire being seemingly leaving with Anson.

Until –

Bam.

A figure crashed into the reception desk at full sprint, braking abruptly, panting and looking around frantically.

"Anson... where's Anson?"

...

"So, what kind of project is it that actually caught your attention?"

Getting straight to the point, Jeff went directly to the heart of the matter.

"After all, Gus Van Sant got the first pick. Now everyone's fighting over the next opportunity. If I remember correctly, we also have a project waiting for your response, but it seems the chances are slim now, right?"

So, the trap was waiting here.

Anson needed something from Jeff, and Jeff also needed something from Anson.

A smile crept onto Anson's lips. "I didn't know I was so sought-after. I thought everyone would still need to wait and see, not rushing to join the excitement."

Jeff shook his head slightly. "No, no, no. Hollywood loves to join the excitement. No one wants Sony Columbia to monopolize the only Anson."

This was also one of the key differences between now and ten years later.

Ten years later, an actor playing a superhero often meant being typecast. Although their exposure continued to rise, the number of film offers would decrease, or the types of roles offered would become extremely limited.

But now, there were only two people who had truly broken through with superhero roles: Hugh Jackman as "Wolverine" and Anson. So, they were rare commodities, and their film offers were exploding.

What Jeff said was true.

"So, you're not interested in our proposal?"

Anson understood that he had walked into the lion's den, voluntarily offering himself up. So, he needed to give a positive response. "I'm not interested in the role of Paris, but apparently, you're not considering other roles."

"Such as?" Jeff raised an eyebrow slightly.

Anson replied, "Hector."

Jeff said, "You know that's not suitable."

Anson flashed a bright smile. "I know, the age isn't right. But I believe there are many actors suitable for the role of Paris. I'm not irreplaceable, unless you have other plans."

His words were meaningful.

The two were engaged in a battle of wits, a silent duel.

They were discussing Warner Bros.' upcoming epic film, "Troy."

This project had invited German director Wolfgang Petersen to helm it, adapting Homer's epic poem to recreate the story of the Trojan Horse and the fall of Troy, with a budget of up to 200 million dollars.

Undoubtedly, this was a major project. Wolfgang had gained international fame in 1981 with "Das Boot," which received six Oscar nominations that year. He later directed successful commercial films like "Air Force One" and "The Perfect Storm," securing his place in Hollywood. Taking on "Troy" this time was also highly anticipated.

And Warner Bros. had set their sights on Anson.

Chapter 579: Each to His Own

"Troy," another Warner Bros. epic with a production cost of up to 200 million dollars. After all, a year ago, "Gladiator" had just won the Oscar for Best Picture and achieved great box office success, briefly bringing epic films to a period of prosperity.

Naturally, Warner Bros. was preparing to assemble a star-studded cast.

Thus, Anson, who had emerged this summer, came into their sight.

Paris, the prince of Troy.

Hector, the eldest prince of Sparta, brother of Achilles.

Currently, Brad Pitt was close to securing the role of Achilles. This Hollywood heartthrob was ready to portray an ancient Greek war god, pushing his sexy image to new heights. Warner Bros. invited Anson to play Paris, and if they didn't have any other motives, Anson wouldn't believe it for a second –

"Brad vs. Anson 3.0"?

If it happened, it would be a major publicity stunt.

Setting aside the feud between Brad and Anson, these two actors were currently at the peak of their popularity. One was a sexy male god, the other a dream lover. If they could share the screen, the news media would be ecstatic.

Warner Bros. showed great sincerity. Even though Paris was just a supporting role, they were willing to offer a considerable salary. However, they didn't expect Anson to have no interest at all.

From his memories of his past life, "Troy" didn't meet expectations in terms of both critical acclaim and box office performance. It became one of the significant markers of the decline of epic films in the new century. The only praiseworthy aspect was Eric Bana's portrayal of Hector, as it was the only character with a complete arc.

Now, Anson and Jeff were engaged in a subtle confrontation.

Compared to the project in Anson's hands, Jeff was more interested in "Troy."

Anson had a hunch that perhaps Jeff wasn't the only one interested –

Chris Bender was too.

That was why Warner Bros. reacted faster than DreamWorks. He had escaped Sony Columbia, but not Warner Bros.

But this was Hollywood, an exchange of interests, fair or not.

Looking at Anson, Jeff's lips curled slightly, but he wasn't easily persuaded. "Anson, I think you may not realize your position. There's only one Anson Wood in Hollywood, no one can replace you."

Anson chuckled. "Thank you for the compliment."

"But."

"We both know that in Hollywood, no one is irreplaceable, including Tom Cruise, including Brad Pitt."

Pausing briefly, Anson quietly looked at Jeff.

Jeff was taken aback. He had a feeling:

Anson knew that Warner Bros. was in talks with Brad Pitt to play Achilles.

But how did Anson know?

Warner Bros. had good confidentiality measures in place. He believed there shouldn't have been any leaks.

A slight smile appeared on Anson's lips. Not only did he know that Brad Pitt was playing Achilles, but he also knew that Orlando Bloom was playing Paris.

With "The Lord of the Rings" and "Pirates of the Caribbean," Orlando had become a new generation male god, starring in several big-budget blockbusters with eye-candy roles, including "Troy."

Anson continued.

"Maybe I am special, but not in 'Troy.'"

"In such projects, the main characters are usually between thirty-five and forty-five years old. I'm too young, not a necessary presence no matter what."

Jeff: I see.

It seemed that the information hadn't been leaked within Warner Bros., which made Jeff slightly relieved. But then he thought, Anson actually had insights into the entire industry. This young man once again refreshed his impression.

Involuntarily, Jeff looked at Anson and teased meaningfully, "So, are you complaining about not being offered the lead role?"

This was a trap that required a careful response.

A slight smile appeared on Anson's lips, showing no panic or nervousness. "No, I'm inviting you to consider a project that perfectly fits my age and image."

Calmly, he shifted the topic back to the main point of today's meeting.

Anson took out the script from his briefcase and placed it in front of Jeff.

"And, there's more."

"I think this is an interesting script, reminiscent of '2001: A Space Odyssey' and 'Blade Runner.' We need works like this."

From the start, Anson had captured Jeff's attention.

Jeff glanced down at the script on the desk, a smile appearing in his eyes. "So, you're suggesting a project that will be critically acclaimed but a box office flop?"

He could actually interpret it that way?

不愧是Jeff, this was equivalent to asking Anson if he was preparing to make Warner Bros. lose money.

Clearly, both of them had their own agendas. They were talking based on their own needs. Just now, Anson hadn't interrupted Jeff, and now Jeff didn't interrupt Anson, but that didn't mean they wouldn't subtly challenge each other.

However, Anson wasn't flustered.

Not only that, but the smile on his lips even widened as he joked, "Phew, I can finally breathe a sigh of relief. Thankfully, you didn't question whether this work deserves such praise. I'm also a bit tongue-tied."

So calm, so honest.

A smile appeared in Jeff's eyes. "So, it can't compare to '2001: A Space Odyssey'?"

"No, it can't." Anson gave a straightforward affirmative answer.

Jeff laughed out loud. "Haha. So you were just using it as a gimmick?"

But this time, Anson couldn't directly admit it. "I mean they both offer room for interpretation, both use science fiction as a theme to delve into a proposition. As for the depth of that proposition, it's a matter of opinion."

"However."

"From another perspective, maybe it's a good thing that this project can't compare to '2001: A Space Odyssey' and 'Blade Runner.'"

His words clearly weren't finished. Anson was waiting for Jeff's response.

However, Jeff didn't play by the usual rules. "Why? Everyone dreams of making the second '2001: A Space Odyssey' or the second 'Blade Runner.' Whenever a new science fiction film comes out, critics and seasoned movie fans always compare it to '2001: A Space Odyssey.' Every film company hopes to surpass that benchmark."

Although Jeff regained the initiative, Anson wasn't annoyed. He countered, "So, does Warner Bros. want to make a '2001: A Space Odyssey' that performs poorly at the box office and only gains recognition five or ten years later, or an 'Aliens' that performs well at the box office but might be slightly less profound?"

A fatal blow.

Jeff opened his mouth, a smile gradually spreading across his face. "Why can't we have both? Like 'Forrest Gump' or 'Titanic'? Box office success, awards, and critical acclaim."

"Oh, no, that's having all three."

As he spoke, Jeff even held up three fingers towards Anson.

Anson spread his hands. "Sorry, my abilities are limited."

Jeff was completely caught off guard. "What?"

Anson repeated, "My abilities are limited. There's only one James Cameron. Although I also wish to be greedy and have both box office success and depth, I'm sorry, this is just my first attempt as a producer. I don't think it's healthy to harbor such ambitions."

*Chapter 580: Just Right*

"...I don't think harboring such ambition is a healthy thing."

Anson’s face was open and sincere as he met Jeff’s gaze with honesty and directness.

Jeff was momentarily taken aback by Anson's demeanor, then a slight smile crept up the corners of his mouth. He couldn't help but lightly clap his hands, giving Anson a round of applause—

Admiration.

The last time Jeff and Anson met was at the Emmy Awards after-party. Jeff had already been quite impressed with Anson back then, so much so that he recommended Anson to Steven Spielberg, recognizing his talent.

Today, Jeff’s impression was renewed, and Anson standing before him was truly a pleasant surprise.

However, admiration aside, Jeff, being a professional, wasn’t easily swayed. For the first time, he focused his attention on the project at hand.

"So, what you’re saying is that you don’t have ambition and want this project to be comprehensive. But you're confident that this project will be successful."

"Reputation? Box office? Awards?"

"Which one are you aiming for?"

Anson didn't hesitate. "Box office."

To be honest, it should be reputation. After all, in his previous life, The Butterfly Effect had a mediocre box office performance and only turned around thanks to DVD rentals and sales.

But Anson wasn't stupid; he knew when to be honest and when to sell a dream. He had a sense of propriety.

And that's not all; Anson continued.

"After all, the only thing I can pursue, and should pursue right now, is the box office."

Was this a self-deprecating jab at being a "pretty face"?

Jeff couldn't help but smile.

Anson went on.

"A science fiction film’s depth and quality often come from its reflections—on the future, on elements beyond the real world, on ethics and morals. These reflections often mean being ahead of their time, so if a sci-fi film pursues depth, it might deviate from mainstream market preferences."

"Films like Aliens, Terminator 2, and E.T. were successful at the box office because they were made as another genre of film."

"Disaster movies. Monster movies. Adventure movies."

"And this project is a romance movie."

"Through the lens of love and family, it explores destiny and the value of life."

"It's not perfect, because the protagonist is a college student in his early twenties. We’re still impulsive, still reckless, still harboring unrealistic dreams, so we make mistakes and might mess everything up."

"But it’s precisely because of this that it has market potential."

Anson's measured and articulate speech fully captured Jeff’s attention, and the office subtly fell into Anson's rhythm.

Jeff slightly raised his chin. "Alright, I admit it, I'm a bit curious."

However, Jeff didn't rush to read the script. His gaze remained on Anson.

"Tell me, what’s the story about?"

Finally!

After all the circling around, Anson finally got the opportunity to discuss the script.

To his slight surprise, Anson didn’t launch into an enthusiastic, detailed explanation.

"The male protagonist accidentally discovers he can go back in time. To achieve the perfect life he imagines, he goes back again and again, only to find things seem to be getting worse."

"You could imagine it as Groundhog Day meets Back to the Future, but this is a tragedy, with a sad tone set from the beginning."

And then... that was it.

Jeff had to admit, Anson knew exactly what he was doing.

Often, when writers or directors present their projects, they like to embellish, getting more excited and detailed as they go.

But producers don't care about those details. They care about the selling points or hooks, the film’s market competition and potential profitability, and the production direction—things like that.

The script?

Not that important, really.

Unless it's by Aaron Sorkin.

If they go on and on about the story's plot and settings, probably less than ten percent of it sticks with the producer.

Of course, there are exceptions, but most of the time, this is how it works. Producers and writers or directors have different perspectives on projects, and naturally, the key information that helps them make decisions differs too.

Now, Anson was approaching it the right way.

Back to the Future and Groundhog Day are both relatively light-hearted films, using a simple setup to connect the plot through the characters' fate and psychological changes, offering some reflection while entertaining.

Moreover, Anson hit the nail on the head: one mention of The Butterfly Effect explained the script’s core selling point. Given Anson's earlier references to classic sci-fi films, the movie likely offers some philosophical musings on fate without going too deep.

This kind of sci-fi film often sparks heated discussions among dedicated moviegoers and has the potential to resonate in the box office.

In just a short conversation, as Anson spoke, Jeff’s mind was already racing, easily grasping the key points and throwing out a crucial question.

"Director? Cast?"

Anson: It’s here.

Although Anson hadn't been part of the previous production meetings and didn't know the details of McGee and Eric’s discussions, one thing was certain:

For two writers directing their first film, asking for a $20 million budget without an A-list cast, it was almost impossible for a studio to agree.

This was also one of the reasons Anson had the two writers wait in the parking lot today:

Anson planned to use his own name as a front, to try to get things moving.

So.

Anson spread his hands. "I lack experience and am waiting for professionals to guide me."

Jeff chuckled softly. "Anson, you're not being entirely honest. With your personality, there’s no way you’d show up unprepared."

Anson maintained an innocent look. "Jeff, if I were lying, you wouldn’t be able to tell; would you believe me?"

Jeff was taken aback—

Oh, right. How could he forget? This "pretty face" was just a disguise; Anson was definitely not as simple as he appeared.

Anson only paused slightly before continuing, "I really don't have many ideas. Honestly, I’m still in the phase of learning and exploring step by step, hoping seasoned veterans can help get things started."

"I'm not sure, but maybe we should control costs, relying more on the script. The director and cast should be chosen based on fit, which is the most important thing."

Jeff slightly raised his chin. "So, you're saying you want to be the core around which the entire project is built? Are you really preparing to make a Groundhog Day?"

Groundhog Day, released in 1993, only had one big star, Bill Murray, with a production cost of about $10 million. It grossed $70 million at the box office and was the twelfth highest-grossing film in North America that year.

Now, it seems that in every way, Anson is preparing to make such a film.

Anson adjusted his sitting position, humbly asking, "Am I qualified to do so?"