Chapter 692: I'm Not Buying Insurance

[Chapter 692: I'm Not Buying Insurance]

"The script synopsis revolves around two vastly different detective partners who, while investigating a case, mistakenly swap identities in front of a key witness. To gain the witness's trust, they are forced to live each other's lives during the subsequent investigation."

Jerry Bruckheimer didn't notice the subtle shift in Eric's expression. Compared to David Weisberg, who had been a bit verbose when introducing The Rock, Bruckheimer succinctly summarized the story in high-concept movie terms. The simple details showcased the vast difference between a seasoned producer and a run-of-the-mill screenwriter.

"That's actually a solid idea. The buddy cop duo has proven to be very successful in both Lethal Weapon and Beverley Hills Cop. The identity swap adds an innovative element to the story. Jerry, have you selected a director yet?"

Upon hearing Eric's question, Bruckheimer straightened up and asked, "Eric, you wouldn't be interested in this story, would you?"

In the original timeline, Bad Boys had catapulted two heavyweights in Hollywood, Michael Bay and Will Smith, to stardom. Although it was just a low-budget crime film, it was undeniably excellent. Eric certainly wouldn't let this pass by. He nodded and replied, "Why not? This story is quite compelling, and it carries a low budget. It might achieve unexpected success."

Bruckheimer, who had initially intended for small talk, turned serious and addressed Eric's previous question. "You know, we just wrapped the Jurassic Park 2 project, so I've only recently had time to prepare for the next phase of work. I received this script last year and reviewed it with Firefly Pictures. They felt that similar films had already been produced too many times, so it didn't go through. Originally, I hadn't planned to bring it to you. My contacts with Columbia have just started, and right now, we only have budget numbers -- nothing on directors or actors yet."

Firefly's film division primarily operated through several major production houses. Other than a few highlight projects each year that Eric personally oversaw and produced, he didn't pay much attention to other mid-budget or low-budget films.

Hearing that the script had been rejected by Firefly, Eric didn't harbor any resentment toward the production department, nor did Bruckheimer imply anything negative about Firefly's decision-making. In Hollywood, everyone understood that production heads needed to sift through a massive pile of scripts each year, ultimately selecting only a handful for production. It was impossible to determine the potential of every script. Many films, initially passed over by all studios, eventually ended up being massive hits.

Moreover, if it hadn't been for Eric's memories from a past life, he might have found the script overly conventional. Putting aside those mediocre knock-offs, even the most renowned series like Lethal Weapon and Beverley Hills Cop had spawned numerous sequels.

"Let's see, let's drop the collaboration with Columbia. I think this project deserves some serious consideration. We could aim for a release by the end of this year. Firefly has only confirmed the Christmas release of 101 Dalmatians, so perhaps we could slot this film for Thanksgiving."

"Eric, Thanksgiving? You're not joking, right?" Bruckheimer exclaimed. He had initially anticipated that such a low-budget crime action film would be lucky to secure an Easter release, not even considering the quiet autumn slot.

"Of course not," Eric replied. "However, I haven't seen the script yet, so this is just a preliminary thought. Ultimately, it will depend on the quality after production. If the idea is good but the outcome is a dud, then Thanksgiving is off the table."

Bruckheimer responded, "I'll call someone to have the script sent over."

Eric glanced at his watch and said, "That works, but I have other commitments. If the script comes, I can only look at it this evening."

Bruckheimer didn't seem rushed. "Sure, take your time. I'll focus on The Rock for now; let's talk again when you're free."

...

After seeing Bruckheimer off, Eric mulled over the matter. The experiences with The Rock and Bad Boys parallelled his previous life and were both directed by Michael Bay. It seemed it was time to pull the bombastic Bay into Hollywood.

In the original timeline, although Michael Bay was often dubbed "Bayhem" and found himself on critics' lists of the most hated bad directors, he was an absolute darling of Hollywood producers. This was largely because he never strayed into deep storytelling; he dedicated himself solely to making commercial films. Most of his movies turned a profit for the studios, and perhaps even more importantly, he never exceeded production budgets or timelines, coming off like a rather peculiar Hollywood office worker.

Thinking about Michael Bay naturally led to Transformers. Eric suddenly realized he still hadn't secured the rights to this infinitely potential blockbuster series.

However, the fame of Transformers was immense, and acquiring the rights would undoubtedly require some hurdles.

...

After jotting down all this in his work memo, Eric heard a knock at his office door. Shortly after, Emily poked her head in and said, "Eric, it's been several days! You're not planning to stand me up again, are you?"

Eric put his memo away, stood up, and smiled at Emily, who stood at the door. "You don't have to be so harsh; are you blocking my door now?"

"You can't even deny it! Just for me to look at an ad reel, and it takes you this long," Emily retorted.

As they walked out together, Eric said, "I cleared my afternoon meetings for you, but there were unforeseen circumstances! You know how busy I've been lately. Between death postcards and rattlesnakes, I'm just like the lead from Robert Altman's The Player --135 calls a day. That adds up to over 50,000 in a year!"

Emily, clearly unfamiliar with The Player, scoffed, "That's impossible."

Eric looked at Emily and chuckled. "If you just need me to look at the Victoria's Secret ad reel, you could just bring the tape to my office. You insisting I go to the post-production studio means you have some other plans, right? Better fess up now; otherwise, I definitely won't cooperate later."

For a brief moment, Emily showed a hint of guilt, but she quickly gain her composure and said, "Shouldn't a smart guy act a bit dense when the time's right?"

"That's a responsibility Chris should bear; it's not my problem."

"Never had much expectation for you anyway," Emily replied. "Here's the situation: we've shortlisted a potential director for this year's Victoria's Secret Show. He has an impressive track record in ad and MTV productions and has even won some industry awards. We just collaborated on one ad, and we haven't finalized if we're giving the show to him, so I wanted you to take a look."

Eric shook his head, laughing. "I think the situation is that he wants to transition into films but lacks connections in Hollywood. You want him to direct the Victoria's Secret Show, so here I am selling myself out."

With an exasperated look, Emily admitted, "Okay, okay! I admit you're a tad smarter than Chris, alright?"

Eric stopped joking and said earnestly, "Let's set things straight first -- this is just a meeting; I can't guarantee anything. If you've made any promises in advance, you'd best sort them out yourself."

"I'm not an idiot; how could I possibly promise anything beforehand? Creating an opportunity to connect with you is a dream come true for many. He wouldn't be foolish enough to ask for anything more."

"Touche. I guess it makes sense; I'm somewhat of a big deal now," Eric shrugged. "What's the guy's name?"

"Michael Bay."

"Uh... what?" Eric had just nodded when he instinctively raised his voice, his surprise difficult to mask.

"Michael Bay, what's the matter?"

"It's nothing; I feel like I've heard that name somewhere," Eric defended himself, inwardly feeling a mix of amazement and disbelief. Was today Explosion Day?

In the original timeline, Michael Bay was indeed the go-to director for Victoria's Secret commercials. The female lead of Transformers 3 was even a former Victoria's Secret Angel. Through Emily's introduction, Eric learned that at this point, Michael Bay had already gained some fame in the MTV and advertising circle, having won a series of MTV and commercial awards.

However, even achieving the utmost success in the MTV or commercial directing sphere, the stature still paled in comparison to that of a film director; in fact, even that of a television director. Just like stage actors, many MTV or commercial directors longed to break into feature films. The most successful in this regard are Michael Bay and David Fincher.

...

At the post-production center of Firefly Pictures, it was Eric's first time watching Michael Bay's advertising work in the screening room. Thanks to his years of honing his craft in the MTV and advertising industry, he had developed a striking personal style in color control, rapid camera movements, and editing. Anyone who had seen a Michael Bay film knew he was exceptionally skilled at showcasing the beauty of the female form, like the iconic shot of Megan Fox leaning on the hood of Bumblebee in Transformers -- a scene memorable to all male viewers. Collaborating with Victoria's Secret on lingerie commercials seemed like a match made in heaven.

As Eric finished viewing a one-and-a-half-minute commercial, he found no major flaws aside from its lack of originality. Furthermore, the creative aspect was not Michael Bay's responsibility.

When the lights came on, Emily, sitting next to Eric, was most concerned about Victoria's Secret itself, impatiently asking, "Eric, what do you think?"

Eric glanced at the now fixated Michael Bay, who was eagerly listening, and nodded. "The color, editing, and music are all outstanding. If this were solely for a five-second TV spot, it would suffice. But overall, this ad lacks creativity. The one-and-a-half-minute ad is just a clumsy accumulation of sensual elements; I see no focal point at all."

"We mean to trim it down for a TV spot. But Eric, do you have any ideas?"

"Well," Eric shrugged and said, "pick a decent advertising agency, and let them handle it. I really don't have more time to deal with this. But think about those timeless great commercials; you'll realize how vital creativity is, so it's best to prioritize it."

Emily felt a bit resigned but understood that she couldn't ask for too much more. Eric had already created a major ad for Victoria's Secret; he couldn't dedicate additional energy to that.

Leaning back, she introduced, "Eric, this is Michael Bay."

Michael Bay quickly stood up and extended his hand, saying, "Mr. Williams, it's a pleasure to meet you."

Eric shook Bay's hand and smiled. "That camera work in the ad was impressive. Emily mentioned you'd be taking over this year's Victoria's Secret Show; I hope you can create an unforgettable lingerie show once again."

"I'll do my best, Mr. Williams."

As they expressed pleasantries, they all left the screening room, heading through a long corridor toward another conference room.

...

Michael Bay trailed behind the group, watching Eric whispering with Emily and Edward Razek. He initially felt disappointed, thinking this opportunity had slipped away. But after a moment, he saw Eric wave him over, prompting him to stride forward.

"We're done here; come with me," Eric said as he turned away from Emily and the others toward the stairs, heading downstairs.

Michael Bay was momentarily puzzled, standing in place until Edward Razek patted his shoulder enviously, prompting him to follow swiftly, excitement bubbling within him.

After several years of development, besides the oversized studio areas, the digital domain studio, film studio administrative block, and post-production center were now nestled amidst greenery.

Eric led Michael Bay out of the post-production center, walking leisurely along the tree-lined path toward the administration area while occasionally nodding at the staff who greeted him.

Michael Bay slightly stepped back to keep pace beside Eric. He knew nothing about Eric's personality. Though he wanted to impress, he hesitated to speak out since Eric didn't open up. He quietly observed this young man who suddenly rose in Hollywood over the past few years. Despite being a few years younger, Bay could feel Eric exuded a maturity that was strikingly out of character for his age. He recognized it was no illusion, but a combination of power and wealth radiated an inherent brilliance.

The Hollywood leading director he once looked up to was now following behind him as if he were an underling. Having lived this life for many years, Eric didn't feel any shallow, egotistical sense of pride, only a slight nostalgia.

As they approached the administrative building, Eric finally said to Michael Bay, "Emily mentioned you've won many awards in music MTV and commercial production. I watched your ad just now, and it was well-crafted. So, if you want to make films, you certainly have the foundation."

Michael Bay hadn't anticipated that everything would feel so easy; his excitement nearly got the better of him, but he quickly realized that Eric hadn't finished speaking. He straightened, ready to listen intently.

Eric smiled and said, "You're probably waiting for the 'but'?"

Michael Bay grinned, acknowledging the point.

Eric explained, "There's no real 'but' -- just one thing. For last year's Victoria's Secret Show, I invested over half a year planning it. It was a labor of love. The groundwork is laid, so this year's show will be much easier to produce, but I hope you can dedicate at least three months of effort on it."

"Mr. Williams, I assure you, you won't be disappointed."

"Just call me Eric. It feels a little strange when people older than me address me so formally."

As they entered the administrative building and reached Eric's office door, the studio's office secretary handed him a folder upon seeing him return. "Mr. Williams, this is the package Mr. Bruckheimer just had sent over."

Eric took the folder, entered his office, and instead of heading to his desk, he sat on the sofa in the guest area, motioning for Michael Bay to feel at ease. "What would you like to drink? I'll have Gina get it."

"Coffee, just coffee will be fine," Michael Bay replied, quickly rising slightly to politely address the office secretary as she looked over.

The female secretary nodded and left without questioning Eric, clearly familiar with his preferences.

As Eric opened the folder, he discovered scripts for The Rock and Bad Boys. He casually passed the Bad Boys script to Michael Bay while he started reading The Rock. Bay didn't understand Eric's intentions but diligently began flipping through the script.

After about ten minutes, Eric skimmed through The Rock script. He glanced at Michael Bay. If this large production script could be shelved for a year, it wouldn't be too bad to give it to Michael Bay, the original director. However, to fill the summer release slot for the next year, that plan would have to wait.

Noticing Eric had halted, Michael Bay raised his head at an opportune moment, rearranging what he had just read in the script to prepare for any questions Eric might pose.

Eric placed The Rock script on his lap and asked Bay across from him, "What do you think of this story?"

Bay assumed Eric was referring to the Bad Boys script and nodded, saying, "It combines the crime elements of Lethal Weapon with the comedic style of Beverley Hills Cop. It's thrilling; if produced, it will undoubtedly be an excellent film."

"Sure thing -- let Gina make you a copy of this script to take home and study. In a couple of days, I'll have someone contact you to discuss putting the production team together."

Upon hearing this, Michael Bay's head buzzed, unsure if he heard correctly. He asked, "Mr... Eric, are you saying I'm to direct this film?"

"Yes, or do you think you need to continue honing your skills in the advertising world?"

Michael Bay shook his head vigorously, instinctively gripping the script tightly. "No, no, Eric, I don't need to... hone anymore. I can take the job."

Although he felt Eric's decision was perhaps a bit rash, Bay was resolute in not questioning it further and decisively accepted.

Eric smiled and nodded in satisfaction, saying, "Great, but let me remind you of two points. First, as I mentioned, you need to allocate three months for the Victoria's Secret Show, so this film must be fully wrapped by August."

With seven months to go, Bay recalled the script's scenes he had just seen. There weren't too many grand set pieces or effects involved, and then nodded, stating, "No problem."

"You must think my decision is a bit impulsive, even reckless, right?"

"Not at all, absolutely not."

"If that's honestly how you feel, that's fine. But second, you must understand that as long as the film's production quality is up to snuff, we plan for it to hit theaters at Thanksgiving. In addition to myself, Jerry will co-produce with credit attached. We take our reputations seriously; if it flops, there won't be a position left for you in Hollywood, and you'll be forced to return to making commercials."

The gravity of Eric's words settled into Michael Bay, causing his earlier excitement to deflate completely.

He had previously thought Eric's decision a bit whimsical, but after this speech, he realized the script in hand was very much a high-priority project for Firefly. Eric and Jerry Bruckheimer wouldn't associate their names with it if it weren't. If the film floundered, the media would direct all criticism toward the two seasoned producers, whereas this novice director would struggle to stay afloat in Hollywood afterward.

Eric observed the shifting expressions on Michael Bay's face and asked, "So, do you still dare to take on this job?"

Michael Bay wanted a few days to consider, but he recognized that hesitation would only disappoint this young Hollywood mogul before him. After a slight pause, he nodded decisively, "Eric, I'll take it."

"Excellent," Eric confirmed with satisfaction. "And one last thing -- you can rest assured. If any issues arise with the film down the line that aren't your responsibility, Jerry and I won't take it out on you. Just do your best."

This endorsement eased some tension for Michael Bay, who quickly nodded in agreement.

...

Half an hour later, Michael Bay left the administrative building and walked down the studio's tree-lined path. The excitement from grasping the film script washed over him once more as he reveled in his good fortune. Bay was almost oblivious to the increasing foot traffic as it neared the end of the workday. He clenched his fist, letting out a delighted laugh, took a few swift strides, jumped, and mimicked a shooting motion. Unable to contain his glee, he broke off the main road onto the studio's lawn, pulled out his Motorola phone, and without considering who was on the other end, scrolled through his contacts and dialed a number. The moment he heard a voice, he exclaimed, "Hey, buddy! You'll never guess what just happened! I got the script -- a movie script! I'm about to make a movie, and it was personally given to me by Eric Williams, Eric Williams -- the guy from Jurassic Park! Haha! I am going to..."

"Uh, oh, sorry, really sorry. No, I'm not buying insurance. No, I'm not buying car insurance either..."

*****

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