511-515

*Chapter 511: Missed Call*

The emergence of TMZ undoubtedly marked a significant shift, creating ripples and causing a stir in the existing Hollywood gossip news market.

Built around seasoned paparazzi Harry and Colin, their network of information truly found a unique path.

Of course, no one knows what will happen next, but at least for now, Harry is full of confidence as he envisions a different future for his career.

The key is that they need to seize opportunities and tightly grasp every exclusive story.

For instance, right now—

Anson.

Eighty percent of TMZ’s initial traffic came from Anson and “Bennifer.” The site’s foundation is still too fragile to withstand any turmoil, so Harry must meticulously follow Anson’s every move.

Colin used his connections to get information about a Warner Records contract. Since Anson doesn’t carry much weight in the music world, it wasn’t classified information. After some effort, Colin managed to see the original contract.

$800,000, 20% royalties, one album.

However, Warner Records holds the right of first refusal for the band’s second album.

In other words, if the band releases a second album and decides to sign with another label, as long as Warner matches the contract terms, the band must sign with Warner, leaving no room for negotiation.

It’s hard to say whether Warner or the band got the short end of the stick.

However, it’s clear that Warner Records is accommodating the band. Without compromising their interests or hurting their bottom line, they didn’t exploit the new band but showed enough respect.

Even Colin, a professional, found the contract puzzling.

It’s not particularly advantageous to the band, but Warner didn’t push their advantage either. Overall, it’s... “fair.”

Don’t underestimate the word “fair”; it’s incredibly rare for a new artist.

Because of this, Colin believes that once the news breaks, it will cause quite a stir, and TMZ should be able to attract some industry attention.

Harry, thinking ahead, teased the news on TMZ with some figures—

The signing amount was under seven figures, the royalties hit double digits; an additional clause had a “1” and a “2,” bringing a surprising twist.

Ambiguous, unclear.

Finally, he set up a 24-hour countdown, promising to release the TMZ exclusive once it ended.

This move immediately captured the attention of netizens and industry media. Regardless of the news itself, TMZ had already garnered a wave of traffic.

Anson remains in the spotlight, with his popularity showing no signs of fading.

Even Colin agreed that they must secure exclusives on Anson. Now, other competitors are joining in, and the chaotic battle is becoming evident. The upcoming period will be crucial.

Every cell in Harry’s body was on alert—

So, while the band is resting, where is Anson?

Either the band is isolating Anson, leading to internal conflicts before the album is even finished, or Anson has something else to handle.

Whatever the case, Harry had no time for “Entertainment Weekly.”

“...That’s how it is.”

“Feel free to think it over and discuss it. You’re welcome to contact TMZ anytime. I’ll be waiting for your call. Thanks for your cooperation, and I sincerely appreciate your call.”

He casually tossed out some formalities without giving it much thought, then hung up the phone.

On the other end, “Entertainment Weekly”: ...

Beep beep beep.

Staring at the busy tone, the person on the other end stood there in shock, questioning life. Did that paparazzo just hang up?

However, Harry didn’t have time to care about the fragile feelings of traditional print media. He pushed open the car door and walked over. Even though he resisted getting closer to Anson, there was no other choice, was there?

After all, Anson wasn’t right in front of him.

Harry kept convincing himself as he prepared to deal with Conor and the others.

So, where is Anson?

Anson was answering a call.

To be precise, the band wasn’t having a productive day in the studio. After being cooped up in the studio for so long, their mood had become strange—both repressed and frustrated, which was normal.

They had planned to take a 30-minute break to clear their heads and reset. Anson joined them, but before leaving the studio, he glanced at his phone and noticed three missed calls.

All from the same person.

Clearly, it was something important, but Anson, fully immersed in the recording, hadn’t noticed his phone.

Since he saw it now, he decided to return the call during the break.

The phone rang for a while before finally connecting.

“Uncle Darren, sorry, I was in the studio just now.”

The missed calls were from Darren Star. Whatever it was, Anson had to call back.

The person on the other end paused briefly as Darren’s brain caught up, “Ah, oh yes, I remember now. You mentioned you were recording an album. God, I completely forgot. Looks like I’m getting old.”

“Uncle Darren, your brain is filled with production details for your shows, and all the irrelevant stuff gets pushed to the side. That’s the right way to do it.”

With that tease, Anson successfully made Darren burst into hearty laughter, “Only you could put a positive spin on something so depressing.”

“So, is the album coming along well?”

Anson let out a long sigh, “Step by step, it’s a process. Honestly, we’ve hit some roadblocks in the past few days, making me wonder if this whole album idea was a terrible one.”

Darren sounded surprised, “Why?”

Anson shrugged lightly, “It’s just our first album, and we’re already facing a creative block halfway through. It doesn’t bode well.”

“Haha.” Darren laughed, “Or, another way to look at it is that you’re rookies. Everything’s new and unfamiliar, so naturally, you need to adjust and explore. Once you get the hang of it, things will flow smoothly.”

Anson, “Hmm, that does make some sense.”

Darren, “Of course. Look at those legendary artists—their first albums are often raw and incomplete. It’s not until their third or fourth albums that they start hitting their stride. Otherwise, if you peak with your first album, it’s all downhill from there.”

“Ha.” This time, Anson laughed, “Don’t think I didn’t catch that, Uncle Darren. You’re trying to coax me into making more albums.”

Darren didn’t hide his surprise, “Wait, are you only planning on recording one album?”

Anson: …“One at a time. Let’s get the first one done first.”

Darren couldn’t resist teasing, “Oh, millions of girls will be disappointed. Your performance in ‘The Princess Diaries’ was pretty good, after all.”

Anson chuckled and scratched his head, “Uncle Darren, I’m guessing you didn’t call just to tell me that, right?”

“Haha. Anson, I love your confidence, haha.” Darren laughed heartily, “No, I called to ask for a favor. It’s about a movie, and I was wondering if you might be able to help. Do you have time?”

*Chapter 512: TV Movie*

*A Movie?*

Anson was slightly surprised. Darren was mainly active in the television world. Although he had many friends in the film industry, Darren himself often said that film and television were two entirely different production systems. Movies were much more complex, and he wasn't planning to venture into the film industry anytime soon.

Of course, given Darren's status and connections, if he wanted to make a movie, he could easily find a large group of people willing to help.

"Darren, are you planning to make a movie? Of course, that's no problem. Just let me know the time and place, and I'll have Edgar arrange my schedule."

If it were anyone else, Anson might have politely said, "I'll think about it" or "I'll read the script." Although he was currently recording an album and had a tight schedule, that was only part of the reason. The real reason was Edgar's instructions:

After the massive success of "Spider-Man" and with "Catch Me If You Can"—a collaboration between Anson, Steven, and Tom Hanks—awaiting release, Anson had firmly established his place in Hollywood.

As expected, projects inviting Anson started popping up overnight—each with their own agenda.

Some just wanted to ride his wave of fame, some hoped to use Anson to stir up media buzz, some wanted to leverage his name to attract investors, and some simply threw roles his way regardless of whether they suited him, just to see what would happen.

Right now, Anson was the hottest commodity.

But that was only part of it. Setting aside the twists and turns of fame and fortune, Edgar's primary concern was Anson's career path.

What should Anson's next project be after "Spider-Man" and "Catch Me If You Can"?

The focus wasn't on the success or failure of the movie—of course, it would be great if it succeeded, but no one could guarantee that. Instead, the focus was on the type of movie, the style of the role, and the shaping of his image.

Should he continue choosing dashing, youthful roles to deepen the image of the public's dream man, or should he explore roles that challenge his acting abilities and emphasize his personal color before his image becomes too fixed?

Should he continue working with big directors and major projects, fully embracing commercial films, or should he balance his image by choosing an independent film to pave the way for potential awards season recognition?

Every actor must think about this. If the actor doesn't, then the agent must do it for them.

Take Sandra Bullock, for example, who chose to star in "Murder by Numbers."

Though "Murder by Numbers" didn't do particularly well, it at least showed Sandra's ambition and intentions. This sent a signal to Hollywood, naturally preventing others from simply shutting her out when considering roles, genres, or productions.

Hollywood has countless overnight sensations, but true success requires patience, building one step at a time, with an eye on the long term.

So, Edgar wasn't in a rush—

He was currently selecting scripts and projects, connecting with directors and producers, carefully choosing roles for Anson to maintain control.

And Anson could enjoy a short break, after two intense months of promotion and a hectic schedule that had taken a toll on his body and energy. Now, he could rest and recover.

When Anson said he was ready to record an album, Edgar wholeheartedly agreed, partly for this reason.

The best part was that "Spider-Man's" success had far exceeded expectations. Now, anticipation and interest in Anson's next project had skyrocketed. And this so-called "next project" was already well-planned:

"Catch Me If You Can."

A flawless choice, giving Edgar more room to maneuver and allowing him to carefully select Anson's following project.

If it were someone else, Anson might have dodged the issue, but on the other end of the line was Darren, and Anson had no reason to refuse.

Not only did he not refuse, but he readily agreed.

Darren chuckled—

Regardless of the truth, hearing Anson's response brought a smile to his face, and Darren felt a wave of satisfaction.

"You said it; I'll hold you to it, and next time, I'll find a chance to make good on it." Darren chuckled, "But this time, it's not my project."

"But indeed, I do need a little help."

This time, Anson wasn't in a hurry; he listened patiently.

"Anson, you're standing at a critical point right now. Every move you make is closely watched, and those eager to see you fall are lurking around, so you need to be careful. That's the right approach."

"I need your help, but there's no rush to agree. Listen to the project first, then decide."

In Darren's eyes, Anson was family, no different from his own children. He would prioritize Anson over any trade-offs in the world of fame.

Anson smiled, "Uncle Darren, in that case, tell me, who asked you for help? I'll consider it based on their importance."

As expected, Anson was sharp.

Darren's eyes gleamed with a hint of amusement, "HBO."

Anson: … "It looks like there's no way I can refuse this one."

HBO, the network behind "Sex and the City," and Darren's boss.

If HBO asked Darren for help, Anson naturally couldn't say no.

Darren laughed heartily again, "You clever rascal, it's not that serious, don't worry. I still have some say at HBO. Besides, this favor isn't a big deal to HBO; I just think it's an opportunity that suits you, so I took the initiative to recommend you to HBO, suggesting you might want to consider it."

So that's how it was.

Anson exaggeratedly sighed, "Then I can breathe a little easier. So, what's the show?"

During the turn of the millennium, HBO was a powerhouse of classics, producing countless iconic works like "The Sopranos," "Six Feet Under," "Sex and the City," "Band of Brothers," "The Wire," "Oz," "Entourage," and so on. These had stood the test of time, making HBO a brand in itself.

Naturally, Anson assumed Darren was discussing a series with him.

But Darren shook his head, "No, actually, it's a movie."

"Not a TV movie, but a theatrical release."

Anson raised an eyebrow—

A TV movie is a film made specifically for television. Because of the small screen, it lacks the cinematic quality of a theater screen, so TV movies aren't as visually demanding and don't emphasize audiovisual language. Instead, they focus on dramatic storytelling to grab the audience's attention.

Though TV movies are relatively niche, networks continue to produce them, and the Emmys even have a category dedicated to them.

In other words, it's common for networks to produce TV movies; however, it's very rare for them to produce a theatrical film.

Anson indeed didn't see that coming.

Darren knew that Anson was at a peak in his career, and if it wasn't for a movie project, he wouldn't have approached Anson. After all, returning to TV shows or TV movies wasn't a wise move for Anson right now.

"You know the director Gus Van Sant?" Darren asked.

*Chapter 513: The School Incident*

Gus Van Sant, a director with a distinctive style who has consistently explored the language of cinema, is not interested in flashy techniques but rather in extending the length of his shots to capture the states of characters and scenes, using the camera to capture time.

Just last year, Gus, along with Matt Damon and Casey Affleck, spent ten days filming an experimental movie called "Gerry"—

The entire movie contains only fifty shots, making it exceptionally concise compared to other films that might have thousands of shots. From start to finish, it's just Matt and Casey walking through the desert, chatting as they walk, engaging in self-exploration and analysis in a minimalist way.

The film was released earlier this year and was undoubtedly a unique attempt.

From such a project, one can see Gus’s dedication to cinematic exploration; in the realm of American independent film, Gus is undoubtedly a prominent figure.

As early as 1989, "Drugstore Cowboy" brought Gus into the spotlight; in 1991, his collaboration with River Phoenix and Keanu Reeves on "My Own Private Idaho" cemented his place in the film industry, showcasing his unique directorial charm.

In 1997, "Good Will Hunting," and in 2008, "Milk" earned Gus Oscar nominations for Best Picture and Best Director, marking the peak of his career.

Overall, Gus is a director who believes in and is passionate about the camera. He especially loves using the camera to capture the interactions between actors and characters, which often results in captivating performances from the actors, whose charisma can sometimes overshadow the film itself.

However, Gus has a strong air of detachment from the mainstream and a lack of interest in fame. He has never directed a commercial film, and the success of "Good Will Hunting" at the box office seemed more like a beautiful accident. Most of the time, he is focused on writing scripts and studying films, making him a director that the general public might not be familiar with.

When people think of "My Own Private Idaho," they remember River Phoenix; when they think of "Good Will Hunting," they think of Matt Damon and Ben Affleck. But unless you're a film enthusiast, you might not remember Gus.

So, Darren asked.

"Do you know a director named Gus Van Sant?"

Anson's smile widened, "Of course. Earlier this year, I watched 'Gerry' in the cinema and fell asleep right in the theater. I almost caught a cold; how could I forget?"

At first, Darren thought Anson was about to praise Gus, and he was surprised. But halfway through the sentence, the tone shifted to an unexpected area, and Darren couldn't help but laugh out loud.

"Haha, you might want to discuss it with Gus. Honestly, I haven't seen that movie myself. My God, what were Casey and Matt thinking?"

Casey Affleck, Ben Affleck's brother, is also Gus's neighbor, and along with Matt Damon, they all hang out together regularly—

The "Gerry" project was inspired by Gus after he admired Béla Tarr's seven-and-a-half-hour masterpiece "Sátántangó" and discussed it with his neighbor Casey.

"How boys turn into men," Anson answered Darren's question with a serious face.

Darren: ??? "Huh?"

A beat later, Darren realized what was happening and couldn't help but laugh, "Kid, you and Gus would get along great."

After speaking, Darren burst out laughing.

"That's a good thing."

"Here's the deal, do you remember the year before last—no, the year before that—wow, 1999 was that long ago? Time flies. Anyway, do you remember the Columbine incident in 1999?"

Remember? How could anyone forget?

Even though Anson's soul had traveled from another world, he'd heard of this news from across the Pacific—a school shooting that shocked the world.

On April 20, 1999, a school shooting occurred at Columbine High School in the Denver suburbs of Colorado.

Two teenage students armed with guns and explosives entered the campus. After failing to detonate their bombs, they opened fire, killing twelve students and a teacher, injuring another twenty-five, before committing suicide.

This event was considered the bloodiest and most violent school shooting in North American history, until the Virginia Tech shooting in 2007.

The incident led to a moral panic across society, sparking widespread attention to issues such as social outcasts, school violence, teenage depression, violent movies and video games, religious beliefs, and more.

Even in 2002, discussions around the event hadn't died down.

More precisely, not long ago, a documentary called "Bowling for Columbine" premiered at the Cannes Film Festival, garnering widespread attention again. After winning the 55th Anniversary Prize, it was released in North America to wide acclaim.

Discussions about violence and the value of life should never be ignored.

Wait a minute, Columbine High School, Gus Van Sant?

The keywords collided in Anson's mind, and he immediately thought of a movie—

The Palme d'Or winner at the 56th Cannes Film Festival, "Elephant."

"Elephant" is a very special work, another exploration of film language by Gus. The film, in a pseudo-documentary style, records an ordinary high school’s daily routine, an utterly normal, simple, peaceful day, and then, in the last twenty minutes, everything is violently destroyed by gun violence.

In the film, Gus's directorial perspective is calm, almost detached. He doesn't analyze, take a stand, or condemn; instead, he presents the undercurrents beneath the calm in an almost cold-blooded manner, yet vividly showcases the tension, agitation, and madness between the characters and their environment, creating a chilling impact.

In the first half, Gus uses a detailed and fragmentary approach to create ordinary and vivid student characters, treating them as real people. In the final part, he mercilessly crushes everyone, displaying an icy and brutal disregard for human life. The contrast and impact perfectly express the cruelty and bloodiness flowing through the imagery.

Undoubtedly a masterpiece.

People’s impressions of Gus often stay with the loneliness and confusion in "My Own Private Idaho" or the warmth and inspiration in "Good Will Hunting," but Gus casually threw out "Elephant," completely shattering all expectations.

But if Anson remembers correctly, Gus shot this movie using an entirely amateur cast; all the characters in the movie weren't actors but just regular students—

Otherwise, if Gus needed actors, Matt Damon or the Affleck brothers could easily do it with just one word. He wouldn't need to worry about the cast at all.

He definitely wouldn’t need Darren’s help.

Could Anson have guessed wrong? Was the project Darren was discussing not "Elephant"?

Anson didn't rush to conclusions and remained patient, following Darren's lead. "Of course, so is Gus planning to shoot a movie about Columbine?"

Darren didn’t keep him in suspense and got straight to the point.

"Yes."

So, it is indeed "Elephant"?

*Chapter 514: Amateur Performance*

"This is how it went down."

"Gus was preparing to shoot a movie about Columbine for a cable TV network. The project was nearly finalized, and Gus had begun preparations for filming."

"But then, out of nowhere, that documentary landed at Cannes. Because of widespread discussion, it suddenly pushed the Columbine incident back into the spotlight, and the recent discussions and controversies just won't stop."

"The TV executives realized that the situation might be slightly different from what they had imagined."

"First, the impact of the Columbine incident is still far greater than expected; second, showcasing such raw, bloody violence on television might not be very appropriate."

"They were worried about putting themselves in the hot seat and causing controversy, so they backed out at the last minute, leading to Gus's project being put on hold."

"After hearing about the situation, HBO expressed interest in taking over, but they needed to make some changes."

"It couldn't directly reference the Columbine incident. Instead, they wanted to create a fictional script based on the event."

Indeed, it was "Elephant."

Sigh.

The sound of Darren's long sigh came through the phone, and even over the line, Anson could sense the heaviness behind the words, making him chuckle.

"Uncle Darren, that phone call just aged you ten years."

A playful remark made Darren shake his head lightly. "At most, three years. No way it could be ten. At my age, aging even a year is tough, so don't exaggerate."

"Haha," Anson laughed heartily.

Darren's tense nerves relaxed a bit.

"Gus plans to start filming in Portland..."

"Which Portland?" There’s more than one city named Portland in North America.

"The one in Oregon. Right next to Salem."

Ah, that made sense. Anson understood immediately—

Oregon, situated between California and Washington, not far from Colorado. Clearly, Gus was trying to find a small town similar to Columbine High School, at least in terms of atmosphere.

Even though the city chosen is Portland, it’s probably the suburbs he’s after, as Columbine High School is located in the suburbs of Denver; at the same time, Salem is just southwest of Portland.

Historically, the "Salem Witch Trials" are quite famous, having had a profound impact in fields like journalism, communication studies, and psychology. However, that Salem is in Massachusetts, on the East Coast of North America, a region still among the most conservative in New England.

But the Salem in question here is in Oregon, on the West Coast.

Obviously, these are two different things.

But from the details, Gus was subtly playing with words, using Portland to mirror Denver, Salem to mirror Salem, and a fictional high school to mirror Columbine High School.

This is filmmaking—

The average viewer might wonder why so many filmmakers insist on shooting on location and aren’t too fond of studio or green screen shooting.

The reason is that a city's streets, buildings, and environment often carry a certain texture of time, giving the film a unique atmosphere on camera.

Before a film begins shooting, the director needs to scout for locations, a preparatory step that forms the foundation of a film's unique vibe.

In the past, watching a movie was often just about enjoying the excitement—watching the story, the effects, the emotions; but now, having entered the film industry as an actor and seeing it from a different perspective, Anson could slowly start to see the various elements that make up a great film.

Back and forth, question and answer, Darren didn’t even realize that he had already spilled the beans.

Pausing slightly, a hint of satisfaction appeared in Darren's eyes. "It seems working with Steven Spielberg has indeed taught you a lot."

That's a good thing. It seems that Anson's choice to become an actor was indeed the right one.

"Also, Gus hopes to cast local high school students, using non-professional actors to truly capture the daily life of a high school campus."

"However, Gus is considering having one or two key roles—those with pivotal significance—played by real actors to maintain continuity."

"Right now, among the 17- and 18-year-old actors in Hollywood, it’s not easy to find someone with the right vibe for such a unique project. The critical issue is that the film’s budget is limited, so Gus can’t conduct an open casting call. He has neither the time nor the money."

"And among the actors Gus is familiar with, the youngest is Casey Affleck, who is already 27 years old."

"For God's sake, Gus definitely doesn’t want a 27-year-old playing a high school student. He thinks that would ruin the film's authenticity by making a commercial compromise."

"So, HBO needs a bit of help, and I thought maybe you could give it a shot."

After circling around, Darren finally dialed Anson's number.

And even made a little joke.

"Right now, all of Hollywood knows Anson Wood, the go-to actor for high school roles."

Anson immediately caught the playful tone in Darren's words. "Sorry, my first appearance on the small screen already destroyed that image; that clearly wasn't a high schooler."

"Haha," Darren burst into laughter.

If you look closely at mainstream Hollywood movies, whether they're commercial blockbusters or artistic independent projects, the protagonists are usually between 30 and 50 years old.

The reason is very simple and straightforward—because the target audience, the mainstream market, falls within this age range. That's why movie studios and producers keep digging for more projects that tell their stories, explore their realities, and even superheroes often fall into this age range.

On the other hand, the target audience for school movies is usually girls—chick flicks, where those romantic and beautiful fantasies are more likely to resonate with them. Naturally, vibrant and youthful girls tend to land many roles, but boys of the same age often end up playing mere side characters.

As a result, Hollywood's actor structure presents an interesting phenomenon. Male actors are often around 35 years old, with this age as the core, while female actors are usually around 25, always young, always beautiful, always full of life.

Of course, this isn’t absolute, but it’s a common trend.

This also leads to a strange situation where female actors might struggle to find roles after 45, while male actors under 25 might also have trouble landing projects.

Gus is facing this very issue—he wants to find a 17- or 18-year-old to play in "Elephant," but all he sees are pretty faces.

Anson included. He was just a pretty face in "The Princess Diaries," and "Spider-Man" was an exception.

Clearly, Darren recommending Anson to the "Elephant" production wasn’t just to help HBO, but also to give Anson's acting career a boost.

In Darren's view, working with Gus might help Anson break into the industry—

After all, even if Anson continues to play youthful high school roles, he can't remain a pretty face forever, right? Even within the realm of teenage roles, Anson could find a way to stand out and showcase his unique qualities.

But Darren also knew it wouldn’t be that simple.

"There's one issue. This movie is indeed a sensitive topic. If you're worried about getting caught up in controversy and want to turn it down, I would understand."

### Chapter 515: An Adventure

Darren was a professional, not some casual bystander who panics at the slightest sign of trouble.

He knew very well that choosing Anson was a risky move, both for Anson and for "The Elephant."

For Anson, the image he had painstakingly built—youthful, handsome, and steadily moving towards becoming America's new heartthrob—was at stake. At such a crucial juncture, starring in a controversial film could easily drag him into a whirlwind of public opinion.

For "The Elephant," the project was already under heavy pressure. Casting Anson would undoubtedly attract the full attention of North America, potentially overshadowing the film's thematic focus due to Anson's presence, thereby blurring its intended message.

In every aspect, this was a collaboration fraught with uncertainty.

Moreover…

"There's one more thing: the budget for this movie is limited."

"Although HBO didn't give me specific numbers, the word I got is that the budget is around $3 million. Considering that this movie requires a professional team for gun effects, the costs won't come down. This means every penny has to be spent wisely."

"I'm afraid the pay might not be that high."

As Darren and Anson continued their discussion, "Spider-Man" was still in theaters, with box office numbers climbing steadily, though the final tally was yet to be determined. Even so, Anson's base salary for "Spider-Man" was $2 million—a price the "Elephant" crew could never afford.

In fact, Anson's contract for "Spider-Man" included $2 million plus a 3% share of the box office revenue—only if the North American box office exceeded $100 million.

At the time of signing, Sony Columbia saw this as a good deal—saving on costs, investing in production, and transferring risk. While the box office share was a bold move, given that no superhero film had crossed the $100 million mark in North America for a decade, they viewed Anson's decision as standing in solidarity with the film crew. Everyone from top to bottom admired and agreed with this approach.

However, no one expected…

Six hundred million in North America. Six hundred million? Six hundred million!

Sony Columbia was utterly shocked. Amidst their surprise and excitement, they realized what that contract meant.

In the end, Anson earned a whopping $15 million in box office bonuses from "Spider-Man," bringing his total earnings to an astonishing $17 million.

Incredible! Astonishing!

Anson had skyrocketed to the top, landing a spot near the pinnacle of the industry.

Although he hadn't quite reached the $20 million club, he was close, instantly establishing himself at the top of the pyramid.

Of course, as of now, Anson didn't know that "Spider-Man" would ultimately cross the $600 million mark in North America—a truly remarkable feat. But even without knowing, it didn't stop Anson from making a rational and objective decision.

First, the fact that his total earnings for "Spider-Man" reached such heights was an unexpected bonus. While this allowed Anson to increase his asking price, for someone who had only starred in two films, demanding $15 million upfront would make it difficult to find projects.

On this, Edgar remained clear-headed, believing they should set the asking price at around $10 million, which was the most appropriate:

If it's lower, they could consider a box office share; if it's higher, producers might be hesitant to commit.

Second, commercial films and independent art films are two different worlds, and the pay should be considered separately.

For Anson, these concerns weren't particularly important—at least not that important.

Controversy, after all, represents a form of discussion and reflection.

Some films are purely for entertainment, and it's okay if they lack depth. But some films, from the moment they're conceived, are meant to provoke thought and reflection. The ability to stir up controversy, draw attention, and spark discussion is the true purpose of such films.

It's certainly better than those long-winded films that fail to address any meaningful issues and offer no solutions, merely serving as superficial comfort.

Violence won't disappear just because we refuse to discuss it. On the contrary, after violence occurs, only by confronting the problem and digging deeper—addressing the root causes in the family and society—can we prevent future tragedies.

"The Elephant" is that kind of film.

The potential controversies aren't something to fear; they should be welcomed with open arms.

As for the pay? That's even less important.

Being part of such a project—experiencing, portraying, and discussing these issues as an actor—is also part of the art.

"Haha, I know, but the pay isn't the focus here, nor should it be, right?" Anson said.

"Uncle Darren, how about this: tell Director Gus that I'm willing to join the project, and he can decide my pay. I don't think the numbers are that important."

Revenue sharing?

That's not necessary either.

A film like "The Elephant" won't garner much attention during awards season, nor will it draw crowds to theaters. Its box office numbers are likely negligible. Although Anson couldn't remember the film's box office figures, he was sure it didn't surpass $10 million—not even with the Golden Palm award attached.

In regular theatrical releases, only a handful of art-house audiences would be willing to buy tickets.

So, how does such a film turn a profit?

After all, aside from its artistic value and social significance, HBO didn't invest in this project out of charity.

Projects like these typically require special screenings at various film festivals, where seasoned film enthusiasts would buy tickets. The rest of the profits would come from VHS, DVDs, and other rentals and sales.

So, as Anson said, the pay really doesn't matter.

"But the person who really needs to be considered here is Director Gus, don't you think?"

"Usually, independent films seek famous actors mainly to attract producers' attention and secure funding; but Director Gus doesn't have to worry about that since HBO has already stepped up."

"So, he might prefer to cast non-professional actors to maintain the film's raw and unpolished feel. The success of 'Spider-Man' could be a burden for him."

"Are you sure Director Gus will be interested in this offer?"

"Otherwise, given his reputation in the independent film world, a single call from him would bring in a flood of actors eager to take part—there's no shortage of talented young actors in Hollywood."

"After all, this is Hollywood."

Anson remained rational and clear-headed, despite the groundbreaking success of "Spider-Man," which impressed Darren even more.

Darren couldn't help but smile.

"Haha, I will definitely need to consult with the director about this. Before I speak with him, I wanted to confirm your willingness and thoughts."

"But, Anson, are you sure?"

"If the director agrees, would you really be willing to star in this film?"