Preferences

Roy had to take a deep breath, readjust his thoughts, and began explaining with gravity, "In all honesty, "Thor" is a top-tier production. Marvel Studios and Paramount Pictures have complete confidence in this project, so they've given a whopping budget of $150M! $150M, that's the average investment level for Hollywood's top productions these days."

As the official agent of SAG, Roy mostly handled independent production invitations. That's because almost 95% of projects with budgets over $100M were controlled by the top agents of the Big Five agencies. Other agents rarely had access to these resources, let alone a top-tier investment of $150M, and particularly not for the most sought-after comic book adaptation of the past two years!

"If you succeed in the audition, you would be the male lead of a top-tier production. You know, in Hollywood, 99% of male actors are willing to strip naked and climb into a producer's bed for an opportunity like this, without caring whether that producer is a man or a woman!" Roy's vivid metaphor made Renly chuckle and smile, leaving Roy a bit speechless. "No, even if it's just an audition, it's enough to spread your name within the industry." Roy emphasized strongly. For Hollywood, opportunity is a delicate thing. Sometimes, the chance to be represented by a top agent or to audition for a top-tier project is enough to flip an actor's future upside down.

Renly didn't impatiently interrupt Roy but continued smiling while listening attentively. After making sure Roy had finished, he spoke up, "I know, I'm aware of all that. But I also know what it means once the audition succeeds," Renly paused for a moment, "It means at least a five to six movie contract; it means fully cooperating with Marvel for promotion, with almost no room for my own development; it means that the label of a commercial actor will accompany me indefinitely."

The most representative example is Chris Evans. Before becoming a sensation, he had mainly been active in youth comedies, relying on flaunting his muscles and silly humor to sustain his career. Later, he caught Disney's eye, which had completed the acquisition of Marvel Entertainment, and he played "Captain America".

At that time, Chris signed a six-movie contract in one go, with a measly salary of only $300,000 per film. Later, when the movies became huge hits, Robert Downey Jr., who portrayed Iron Man, had a salary that reached $40M. In a symbolic gesture, Disney slightly increased Chris's salary and gave him a share of the box office, but compared to Robert, there was a world of difference.

Of course, what was even more significant was that, for the next six to seven years, "Captain America" completely became Chris's label, even shackles. Aside from Marvel films, his acting career was almost entirely stuck in a quagmire. Not only because his on-screen image was fixed after the movie's success, but also due to Marvel's contractual requirements. Actors had to maintain a corresponding positive image to match the promotional activities. In other words, their lives both on and off-screen were tightly constrained.

In fact, it wasn't just Chris. Most of the main actors in the Marvel film series faced the same issue. Even Robert Downey Jr. wasn't an exception. After most of his projects outside of Marvel flopped, he was single-mindedly focused on exploring the potential of the "Sherlock Holmes" series, hoping to expand his career's territory.

Marvel both makes and breaks careers.

Roy didn't immediately speak; he fell into silence, thoughtfully considering, "You're not interested in commercial films?" That was the only explanation Roy could think of.

From Renly's solid acting in "The Pacific", to the folk music style of "Cleopatra", and then the polishing of his acting skills at the Outer Broadway, these details all pointed towards Renly being an actor who sought artistic achievement. He must be hoping to make breakthroughs in his acting, so it wasn't surprising if he refused commercial films.

In Hollywood, an actor's category is of utmost importance. In simpler terms, they are classified into artistic actors and commercial actors. As the names suggest, the former predominantly thrive in independent art films, relying on solid acting skills to make their way in Hollywood, while the latter focus primarily on commercial films, using their box office appeal and audience affinity as their primary assets for ascending to the A-list.

Though it's common for commercial film actors to occasionally star in art films to build favor or vice versa, crossing over successfully is a daunting task. This is one of the reasons for Steven Spielberg's unique position in the industry, and likewise, a significant factor in Meryl Streep's elevated status within it.

Two actors can serve as examples: one being George Clooney. After transitioning from television to film, the catastrophic failure of "Batman & Robin" led Warner Bros. to shelve the Batman character for a whole decade. This led George to steer clear of commercial films and instead focus entirely on artistic film projects. While he achieved minor victories with the "Ocean's Eleven" series, the crushing failure of "Tomorrowland" in 2015 brought him back to square one.

The other example is Scarlett Johansson. In her debut roles in "Lost in Translation", "Girl with a Pearl Earring", and "Match Point", she showcased immense potential as a budding acting talent. After portraying Black Widow in "Iron Man 2", she achieved unparalleled commercial success, yet her standing in artistic films declined, failing to garner favor from the academy.

At this point, the significance of agents becomes evident. Agents have a clear plan for an actor's future—when to take on art films, when to participate in commercial films for increased exposure, how to select commercial projects, whether art films should focus on networking with directors and producers or simply on script-based choices. All these considerations are intricate and contribute to the ability of top agents to negotiate a ten percent profit share for their clients.

"But if that's the case, then you should all the more participate in the audition," Roy assumed a professional posture and advised, "Not just to succeed in the audition, but to boost your exposure. Only then will you have enough freedom to choose future projects. Otherwise, with the stance of a newcomer, no one would know you, and you won't even have auditions, let alone talk about future positioning."

Aim too high, this is a flaw every newcomer actor has.

"Firstly, if I participate in an audition, naturally, I would give my all to strive for the role. Isn't that right?" Renly's response momentarily stunned Roy. His confident attitude was hard to refute, leaving Roy chuckling, "Furthermore, I am interested in commercial films. In fact, I believe that appearing in commercial films should be a wonderful experience. If given the opportunity, I will definitely strive for it."

Renly spoke the truth. Commercial films were indeed distinctive. Although they didn't extensively test acting skills, Renly firmly believed that the charm and depth actors bring to their roles were unrelated to the subject matter. Matt Damon's solid performance in the "Bourne" series was impressively memorable, not to mention Heath Ledger's iconic portrayal in "The Dark Knight".

Moreover, the rewards gained from performing in commercial films were entirely different. Imagine immersing oneself in the magical world of "The Lord of the Rings" or "Harry Potter", or the spy universe of "007", or the grand universe of "Star Wars". These were experiences beyond the grasp of everyday life, and participating as an actor would undoubtedly be incredibly fascinating.

Being able to taste different flavors of life is the reason Renly has always held a passion for the acting profession. So, not only did he not reject the idea, but he was also eager to give it a try.

However, Marvel films were not his preference, at least not for a lead role. Renly was acutely aware that once he took on such a role, he might be shackled by it. If he were to play a villain in a Marvel film, he thought it could be a good proposition.

"I'm just not interested in Thor. But if it's Loki, I'd give it a shot," Renly's response nearly made Roy's eyes pop out of their sockets. Giving up a lead role for a supporting one? It might be understandable for top-tier actors, but Renly was just a fledgling newcomer. This... this was simply unbelievable.

Roy swallowed a gulp of saliva, suddenly unsure of what to say. If Renly rejected commercial films but was willing to audition for the role of Loki, if he was proactive but rejected the invitation for Thor... "You know, you don't have the bargaining power."

Renly shrugged with a smile, "That's why I chose to decline earlier." Renly also knew that such opportunities were indeed rare. However, it wasn't what he wanted. "But I'm really not interested in playing a superhero. I don't think I have the superhero temperament." After speaking, he chuckled self-deprecatingly, his demeanor relaxed and content.

Finally, Roy understood. It wasn't that Renly was foolish or overly arrogant, quite the contrary. Renly was remarkably astute and experienced; he knew what he wanted. He had clear goals and distinct preferences, and he wouldn't easily compromise, nor would he give up lightly. Such a person, upon entering Hollywood, might face a winding path initially, but given a chance, he could firmly grasp it and radiate boundless brilliance.

Suddenly, Roy realized, was "The Pacific" such an opportunity? Could the audition invitation for "Thor" be the first signal?

"Phew..." Roy let out a long breath, reorganized his thoughts, and continued, "Here's the deal, I brought the script with me, take it and have a look." Seeing that Renly was about to say something, Roy stopped him this time and said, "If you find the script intriguing and intend to audition, then it's an opportunity for yourself as well. At least you can stand in front of the producers and express your desire to play the role of Loki."

Renly couldn't help but chuckle lightly.

"And if you find it uninteresting, just give me a call when the time comes. I'll handle the Marvel side." Villain roles were still best dealt with by agents. Otherwise, if the production company's impression of an actor turned sour, it would be difficult to reverse.