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Charlize Theron finally escaped the endless hell of auditions and landed an actual role.
It was her first substantial role in this world—a supporting character with dialogue. She played the protagonist's ex-girlfriend, a dentist, in the film That Thing You Do!.
The reason this project was chosen was simple: the film was written, directed, and starred in by Tom Hanks, who had just won the Academy Award for Best Actor two years in a row, in 1993 and 1994.
As a key mber of Hollywood's Jewish community, Hanks was far from naïve in business matters. He might have appeared guileless in Forrest Gump, but in reality he was sharp and never sloppy. Without question, he was soone well worth getting to know.
In addition to this film, Charlize also secured roles in several other projects, with schedules already arranged. All of them were supporting roles of varying importance—so with only a handful of lines—and none were leading parts.
According to J.J. Harris, the goal for the first year was simple: be seen. Expecting overnight stardom was unrealistic—only a rare few were born with that kind of luck.
Supporting roles were ideal. They didn't have to carry box office pressure, and a newcor wouldn't be blad if a film underperford. A box-office failure attached to an untested leading actress could seriously damage her future prospects.
Although Henry, as the CEO of Stark Pictures, could theoretically cushion the blow, Charlize Theron still had very little margin for failure. J.J. Harris's advice—to advance steadily and cautiously—was the safer path.
Besides, by taking supporting roles and earning a proper acting inco, Charlize could finally escape the purgatory of part-ti jobs. In J.J. Harris's professional view, working side jobs just to survive was the most shaful waste of an actor's life.
During negotiations, J.J. Harris occasionally used the na of Stark Pictures as leverage, and Henry cooperated by offering tily support to help Charlize secure roles.
Naturally, this involved investnts and benefit exchanges. But business was business—Stark Pictures wasn't simply throwing money around to buy a role.
With J.J. Harris's experience, both Henry and Charlize were able to find mutually beneficial trade-offs rather than acting like gullible suckers.
After failing once to trap Henry, Mickey Schulhof went silent for a long ti—until new developnts erged.
Sony held a shareholders' eting in Japan, where Nobuyuki Idei officially beca President of Sony Corporation, while Akio Ohga retained his role as Chairman. Sony thus entered a "dual leadership" era.
Mickey Schulhof, President and CEO of Sony Arica, had been one of the contenders for the top position. His failure to ascend triggered a deep sense of crisis.
At the sa ti, Sony Pictures Entertainnt (SPE) executives Jon Peters and Peter Guber were dismissed by the new leadership. Sony Pictures was left without a head, and Japanese-appointed lawyers were sent in to clean up what Japan called a "ss"—which, in Hollywood's eyes, truly was one.
Schulhof survived only because of Ohga's full trust. Now, whether or not he could ever reach the presidency, he needed results to secure his position.
And so, once again, Henry Brown's digital imaging technology surfaced in the mind of a man struggling to stay afloat.
Since the disastrous trap-laden banquet, Henry had honored his agreent with Tony Stark. He didn't completely reject similar invitations and continued observing such circles—but he refused invitations that didn't match his status.
This wasn't arrogance; it was clarity. He wanted those people to understand that he knew exactly where he belonged.
To so self-important figures, associating with those beneath them was seen as degrading. Their invitations were both insults and tests.
Dealing with such people ant rules—endless rules.
Still, not all invitations were under their control. Henry simply attended gatherings appropriate to his standing, or where the host was a genuine peer.
From his years accompanying Audrey Hepburn to countless charity galas, Henry had learned plenty. He'd seen nouveau riche, the truly wealthy, and old-money elites up close.
Entering a circle wasn't about money, power, or designer clothes. It required recognition from within—and that was the hardest thing to earn.
For Henry, this was just another performance. To play it well, he needed convincing acting, a flawless disguise, and—above all—patience.
And patience paid off.
Mickey Schulhof finally made his move.
Whether or not Schulhof was part of that group didn't matter. Unlike Henry, who could afford to wait, Schulhof's trust from Ohga was not limitless. The pressure from Nobuyuki Idei was relentless.
To preserve his position, Schulhof sent Henry an invitation—not to a flashy Hollywood party, but to a private club.
In the United States, private clubs are circles incarnate—strictly invitation-only. Even paying mbers can't bring just anyone inside; invite the wrong person, and at best you lose your mbership. At worst, you might "disappear."
So clubs were less strict, depending on how wild the activities were and what benefits were offered. Ultimately, it ca down to one rule: you get what you pay for.
Henry didn't drive his old Cadillac. The club sent a car to pick him up.
If he'd insisted on driving himself, his antique car probably wouldn't have made it past the gate.
Like restaurants with dress codes, clubs had standards. Showing up in cheap clothes or a battered car ant being turned away without rcy.
Old-money aristocratic pride ensured that, even if they were starving, they'd still insist on dignity—an inheritance from British tradition, the last stubborn stand of old white n.
Henry had no intention of challenging those customs. He wore a navy-blue Armani suit—his only luxury item.
He wore no watch. In so eyes that looked cheap, but at least it wasn't improper.
Inside the club, marble floors and walls glead so brightly it felt like stepping into a hall of mirrors at an amusent park.
Aside from footsteps, there was no sound.
The attendant leading him forward was as restrained and silent as a British-trained butler.
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