Brian Swardstorm, at just thirty-eight years old, had started as an actor and producer, but his career in those fields was less than stellar. However, after transitioning into the agent business, he quickly rose to prominence.
In just a few short years, he beca one of William Morris's top agents, managing A-list stars like Ben Affleck, Matt Damon, and Catherine Zeta-Jones. His clients won three Emmys last year, making him one of the hottest figures in the industry right now.
As of this year, Brian beca a senior partner at William Morris. Although he's not the CEO yet, he's already responsible for various operations, including organizing partner etings.
At a hierarchical company like William Morris, so believed that Brian, who lacked long-standing experience, might face controversy and challenges. However, Brian, with his smooth and tactful approach, managed to maintain good relationships with the other partners.
He wasn't arrogant or aggressive. Instead, he skillfully navigated the different power dynamics, playing the role of "Switzerland" by cleverly uniting the upper echelons of William Morris.
Ti was precious, and Brian wasn't one for lengthy speeches. He got straight to the point.
"Whose client is this?"
Brian raised a photo, showing it to everyone in the room. But his pace was so quick that the seasoned attendees were still busy with their own tasks, their attention not imdiately focused, and their responses a bit sluggish.
This didn't surprise Brian—
Hollywood's agent business operates in a way where actors often follow agents, not agencies. What does that an?
It ans that if Brian were to leave William Morris for another agency, it's likely that the actors under him would follow him to the new agency.
This grants agents significant power, and their relationship with the agency becos more delicate.
Of course, there are exceptions. Aside from outliers like Leonardo DiCaprio, who switches agents to collaborate with Martin Scorsese, there are also cases where actors switch companies because they are unhappy with their agents.
The most famous example is Halle Berry. She was originally with CAA (Creative Artists Agency), where they helped her win an Oscar for Best Actress. However, after reaching the pinnacle at the Oscars in 2003, Halle beca dissatisfied with the company's attitude and planning, so she jumped to William Morris in 2005 without her agent.
Later, after spending more than a decade at William Morris, Halle returned to CAA, hoping to re-strategize her career.
In short, the relationship between agents, agencies, and actors is not simple.
The agents in the room were all powerful figures with strong resources, so Brian had to drop a bombshell to grab their attention.
Brian wasn't anxious. He placed the photo on the table, signaling for it to be passed around, while continuing to highlight the main point of this impromptu eting.
"This upcoming casting for 'Spider-Man' should be our opportunity to turn things around."
"Sony-Columbia isn't limiting the selection to any one agency. Sam Raimi is open to all possibilities."
"We all know CAA will undoubtedly pull out all the stops to seize this opportunity, but I hope we can take it, because I've heard that Sony-Columbia is planning a sequel, and they're very determined."
With just a few words, he had captured everyone's attention. All eyes were now on him.
Brian didn't need to elaborate; the seasoned professionals present understood exactly what this ant.
In today's film market, sequels are everywhere; there's nothing special about that. But in the year 2000, it wasn't common practice to package sequels together. Usually, it was a step-by-step process.
In the future, it beca common practice for projects to be planned as trilogies from the outset, with three movies forming a series and even laying out the entire trilogy's frawork during the initial creative phase. This trend owes much to the interconnectedness established by the "Marvel Cinematic Universe."
But at the mont, things were different. When a movie was made, it was treated as a standalone project, and it wasn't even certain if the film would leave any threads for a sequel. Only when a movie beca a blockbuster at the box office would plans for a sequel be made.
Moreover, directors were not particularly keen on shooting sequels. The "Alien" series was the most typical example of this; despite its critical and comrcial success, each of the three films was directed by a different director, with only weak connections between them.
But!
Brian's statent that Sony-Columbia planned to shoot a sequel during the preparation stage was indeed groundbreaking.
First, it showed Sony-Columbia's determination—they were bound to put more effort into the movie.
Second, planning a sequel even before the first film was shot was extrely rare and without precedent in the year 2000. This ant agents could negotiate for higher pay for their actors since Sony-Columbia wouldn't want to replace the lead actor if the first film was successful.
Third, they might be able to use this as leverage to secure more supporting roles.
Lastly, and most importantly, they were in a cutthroat competition with CAA.
In the blink of an eye, the atmosphere in the eting room subtly shifted.
Brian was not surprised by the effect he had created, his expression remained calm.
"Yesterday, the first batch of actors arrived in New York for auditions. Sam Raimi, along with producers from Sony-Columbia and Marvel, will all be present for the official screen tests."
The scale was grand.
"But none of the actors we represent are among them."
There was a faint stir in the room. "Brian, we submitted a list of thirty-six young actors per Sony-Columbia's request. We've done our best."
Brian looked in the direction of the voice and casually replied, "But clearly, it wasn't enough."
Leaning forward slightly, Brian continued, "Hey, we're talking about a $100 million project. While the final investnt number is still uncertain, it's almost certain that this is the biggest project since 'Titanic.' We need to do better than just 'thirty-six actors.'"
Everyone exchanged looks in silence.
Brian didn't push any further, stopping just short of becoming overbearing.
He then shifted the focus.
"This morning, Ian Bryce called and gave a na. He hopes this actor can be in New York by the end of the day, and I don't want to disappoint him."
Ian Bryce is an incredibly important na in Hollywood. He was the producer of films like "Saving Private Ryan," "Speed," and "Batman Returns." Later on, he also produced the first "Transforrs" movie.
His na also appeared on the list of producers for "Spider-Man."
"But I have a question. Whose client is this?"
Brian's gaze returned to the photograph, bringing the discussion back to the opening topic.
*Shuffle, shuffle, shuffle.*
All eyes were now laser-focused on the photo, with an entirely different level of concentration.
Harry Smith happened to catch a glimpse of the photo. "Wait..." He almost choked on his own spit. "I know him." His eyes were wide open—
Wait, what was his na again?
However.
Before Harry could piece together a clue, a voice erged from the back of the eting room, like a sound echoing from the depths of a cavern, instantly shattering the balance of the space and causing a stir of emotions.
Like a thunderclap.
"It's !"
End of the fifth update.
User Comments
0 comments from readers