In the face of the overwhelming success of Spider-Man, Edgar remained calm, becoming even more so as the box office records continued to be shattered. He knew that popularity, buzz, and hype were all just temporary. They may seem exciting, but soon the excitent would wane, revealing the harsh truth of the entertainnt industry: profit is the ultimate goal.
Of course, Anson could ride this wave of success and take on a series of lead roles in major projects, staying in the spotlight. However, the pressure and backlash would gradually build up. If any of the films failed to et expectations, or even if the box office results were just slightly lower than anticipated, the bla would fall squarely on Anson. In such a case, with his still-fragile foundation, Anson's career could take a severe hit.
This short-sighted approach, known as "fishing with dynamite," was sothing Edgar was determined to avoid.
"I think," Edgar began, "we need to be more selective with projects that have a budget over $100 million. After all, Spider-Man 2 is already in the works, and that should be our primary focus. Unless there's an incredibly exciting script or a cast worth getting excited about, there's no rush to jump into another big-budget project."
"However," he continued, "imdiately diving into the independent film market wouldn't be a wise move either. Whether it's sothing special like Elephant or other projects that focus on acting and aim for awards, such a sharp turn might be too drastic."
Anson interjected, "A 180-degree turn."
Edgar blinked, "Huh?"
Anson smiled, "A 360-degree turn would bring us right back to where we started. A 180-degree turn is what you ant."
Edgar was montarily at a loss but then relaxed slightly, seeing that Anson was still in the mood to joke.
"A 180-degree turn," Edgar corrected himself with a chuckle. "What I an is that making such a drastic move would seem too aggressive and hasty, almost like completely abandoning the comrcial film market. That would undermine everything we've built up so far, and it would be a terrible decision."
It seed that, like Lucas and others, Edgar also had his concerns. Even though he never admitted it, the dia criticism had influenced him, prompting him to reassess his strategy.
Anson agreed with this sentint—there was no need to rush things.
"Transitioning from a pretty face to an award-winning actor isn't sothing that happens overnight. It takes ti and careful planning, or else people won't accept it," Anson said calmly.
Edgar smiled wryly, "You're not just a pretty face."
Anson shrugged, "People often think 'pretty face' is a derogatory term, but in reality, people always desire what they don't have. I imagine Jack Nicholson probably wishes he could be a pretty face, but that unattainable goal is what honed his acting skills."
Edgar couldn't help but laugh at the ntal image of Jack Nicholson's face in The Shining.
Anson remained unfazed, "So, what's the plan?"
Edgar composed himself, "So, we should take things step by step. Maybe projects with budgets between $10 million and $50 million would be a better choice for now."
Even though Hollywood's attention is often focused on projects with budgets over $100 million, in reality, even twenty years from now, mid-budget films will remain the backbone of Hollywood.
After all, even a powerhouse like Warner Bros. can only greenlight a limited number of major projects each year.
Mid-budget films offer a lot of variety and cover genres ranging from action and sci-fi to romance, cody, horror, and more. Even superhero movies sotis erge as B-movies in this category.
On one hand, the budget is sufficient to allow the production team so freedom, while on the other hand, it's not enough to burn on extensive CGI, forcing the team to focus on other aspects to ensure quality.
As a result, mid-budget films often discover a wider world, producing a surprising number of excellent works.
"Of course, mid-budget projects are limited by funds, so they might not have the sa grand scale, and their box office potential might be limited as well. Even if they succeed, it might only be a modest hit," Edgar explained. "But I believe these projects offer more opportunities for an actor to shine, rather than being overshadowed by special effects like in Spider-Man. This way, the audience can truly focus on you."
Not opting for a major comrcial blockbuster, nor diving into niche indie films, Edgar sought a middle ground—a buffer zone where quality was ensured while reducing pressure, allowing Anson to explore more possibilities as an actor.
It was clear that Edgar had put a lot of thought into this plan over the past few weeks.
Anson neither agreed nor disagreed. Instead, he asked, "So, what project have you found?"
Edgar hesitated, "Huh?"
Anson continued, "Ideas are all well and good, but that's just a general concept. You must have seen a specific project that perfectly aligns with your vision, which is why you've solidified this direction."
Edgar was taken aback, "Wow, do you have caras installed in my house?"
Anson replied seriously, "No, just in the office."
Edgar: …
Anson burst out laughing, "You should have seen your face. Actually, it's because you ntioned earlier that a script caught your eye, so I just made an educated guess."
Magic, after all, is just sleight of hand.
Edgar admitted defeat, "Indeed, I've found a project."
"In fact, it was initially handed to another agent at William Morris. However, my colleague thought the script was too complex and wouldn't have a market, so it ended up gathering dust in the storage room."
"Oh, and yes, William Morris has a storage room filled not only with products from sponsors and random stuff but also scripts that agents aren't interested in. They just sit there collecting dust. If you have the ti to go through them, you might find so hidden gems, though the chances are slim."
"Anyway, I saw this script, and I had a different opinion from my colleague. I actually think it's perfect for you."
"It's a love story—see, we need to continue building your heartthrob image. But it's also a sci-fi story, which ans you can dig into the character and deliver a performance that shows different aspects of yourself to the audience."
"So, I thought you should take a look at the script. You can read it while you're in Columbus, just to pass the ti."
"If you're interested, we can reach out to the director or writer to discuss it further. If not, we'll keep looking."
"No pressure, no rush. We have plenty of ti to find the right project."
So that's what it was.
As he spoke, Edgar prepared to leave, "That's the gist of it. I'll let you enjoy your family vacation. Have a great ti."
"Edgar, the script." Anson called out, exasperated.
Edgar slapped his forehead, clearly still dazed from the chaos the Wood family had caused that morning, and hadn't fully recovered.
"Sorry, my mory." Edgar apologized, stopping in his tracks and pulling a thick script from his briefcase. He handed it to Anson. "Don't worry, the script isn't that long. It just has so production notes included. Apparently, the director is still unsure about the ending."
Anson took the script and glanced at the cover, where the title was written in bold letters—
The Butterfly Effect.
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