Chapter 181: Comedy Talent

"Pleasure working with you, Judd. Capet Pictures will definitely support your creations," Donna Langley, president of Burbank's Capet Entertainment, signed a three-film directing agreement with Judd Apatow, who wrote and directed the comedy The 40-Year-Old Virgin.

Judd Apatow was riding high on the success of his R-rated comedy The 40-Year-Old Virgin from last year. Capet Pictures persuaded him to sign a three-film directing deal while he was still enjoying his success.

"Actually, when I directed The 40-Year-Old Virgin last year, I had this idea. I'm currently perfecting the script. It's about a young couple who have a one-night stand after drinking and find out they're pregnant, leading to a series of romantic entanglements," Judd said.

"I plan to use the same crew from The 40-Year-Old Virgin, and I've already decided on Seth Rogen as the lead actor."

Donna Langley's eyes lit up. This was another R-rated comedy! Judd Apatow had just made The 40-Year-Old Virgin last year and Steve Carell had risen to fame because of it.

Seth Rogen, who was also a lead actor in The 40-Year-Old Virgin, had seen his popularity soar. He was a main player in the Hollywood Frat Pack, and it was common for members to make cameo appearances in each other's films.

Donna Langley had always supported Capet Pictures in developing low-budget romantic comedies, horrors, and other genres.

However, producing big-budget blockbuster films required enormous funds and later promotional expenses could be significant. Summer last year, Charles already noticed Judd Apatow and began reaching out to him back then.

Nevertheless, Judd Apatow was busy with The 40-Year-Old Virgin project, and it was only now that he finally signed a directing agreement with Capet Pictures.

While Judd Apatow and Donna Langley were discussing the movie project, Charles was also in his office talking over the script with Henry Winster.

"The script for Juno is really good. The dialogue is top-notch," Charles remarked, setting down the Juno script. It was written by Diablo Cody, who used to be an exotic dancer in Chicago.

Henry Winster laughed and added, "What initially drew attention to her was her blog, filled with selfies from her stripping days, and a memoir called Candy Girl: A Year in the Life of an Unlikely Stripper that caught the eyes of netizens and media. At her agent's suggestion, she sent us a draft outline last year. After getting approval, she began refining the script."

Charles knew about this. He had even read the ten-page script outline since it was originally his concept.

"Time to start preparations. This kind of script should attract the attention of independent producers or directors. It's not high-cost, so it suits us perfectly," Charles instructed.

Henry Winster nodded and left with the script.

In Hollywood, screenwriters were not highly respected, often leading to strikes every few years. Compared to East Asia's Japan and South Korea, or even Europe, where screenwriters were more valued, Hollywood's supply-demand dynamic was tough. Out of the fifty to sixty thousand scripts written every year, fewer than a hundred got filmed.

The odds for speculative scripts depended on luck. Movie companies mainly adapted novels, true events, comics, and games. Of course, producers or directors often had ideas that they hired screenwriters to adapt into scripts, which was a major job and income source for screenwriters.

In the afternoon, Phyllis Jones came to report to Charles about signing a three-picture deal with Judd Apatow.

"Does he have a project ready?" Charles asked, since Judd's comedies had always done well at the box office.

"He does. It's called Knocked Up. It's about..."

As Phyllis Jones explained, Charles's eyes grew brighter. Judd Apatow was indeed a comedy genius.

"Seth Rogen, huh? The Frat Pack members will likely make cameos too," Charles mused. He was quite familiar with the Frat Pack, who often made guest appearances in each other's films.

"Indeed, Steve Carell and Owen Wilson will be making cameos," Phyllis Jones quickly added.

Frat Pack movies were filled with plenty of crude and absurd humor, but they never lacked quality laughs. Such films often had a "gross-out" humor, where making jokes about sex was a trademark.

Typical American comedies focused primarily on the North American market with plenty of potty humor and R-rated jokes. British comedies had dry humor and self-deprecation, French comedies were flirtatious and slow with a beautiful woman paired with a fool, and Italian comedies often featured political satire.

"Looks like we beat Universal to the punch in working with Judd Apatow!" Charles laughed.

Phyllis Jones nodded, knowing that R-rated comedies had long been a key focus for Universal Pictures.

"Boss, should we focus on comedy and romance films too?" Phyllis Jones asked.

"We can't. Although these films are low-cost, their success rate is too low. Horror and thriller genres outperform them," Charles responded, shaking his head.

"Capet Pictures should primarily focus on genre films like sci-fi or action blockbusters with special effects, while romance comedies and horror thrillers can be supplementary."

Charles was joking. Capet Entertainment owned Marvel now. If they didn't focus on big special effects movies, why even run a film company?

"Boss, are you attending the Golden Globe Awards tomorrow night? Our films and TV shows are nominated!"

Prison Break, produced by Capet TV Company, was nominated for the Best Television Series at the Golden Globe Awards, and Wentworth Miller was nominated for Best Actor in a Television Series.

Charles shook his head. "No, I won't be going. Isn't Dona coming back to Los Angeles tomorrow?" He pulled Phyllis Jones onto his lap.

"Tomorrow, you can pick her up and go straight to Capet Manor. Is the door closed?"

Phyllis Jones nodded, then slid off Charles's lap to the floor.

"Darling, I wish you could be my assistant forever," Charles sighed as he leaned back in his chair.

Her response was just more intense effort.

*****

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