Chapter 875: Breaking Through Oneself

As Krull approached the grand entrance of Disney Studios, he clipped his Variety reporter ID to his lapel and presented his invitation letter to the security guard stationed at the gate. The guard, familiar with the name and the magazine's prestigious reputation, gave a nod and waved Krull through.

Variety, one of the most influential entertainment magazines in the United States, is often referred to as the "Hollywood Bible." It holds a position of unparalleled authority in the media and entertainment industry, rivaling even The Hollywood Reporter. For Krull, a seasoned journalist with nearly two decades in the field, this assignment was yet another opportunity to witness the magic of Hollywood up close.

As he made his way through the bustling studio grounds, it became clear that the studio crew was on high alert. Fire prevention, theft prevention, and most intriguingly, keeping reporters at bay, were the top priorities in their daily routines. Yet, here he was, escorted by security straight to the doors of Studio 1, where the much-anticipated film *Split* was in the midst of production.

At the entrance, York, the head of the crew's publicity department, greeted him with a professional smile. "Welcome, Mr. Krull," York said, ushering him inside. "The filming will continue for another hour. The crew has scheduled an interview slot for you this afternoon. In the meantime, feel free to observe the filming process."

Krull was eager to witness the making of this unique film firsthand. There had been a buzz in the industry about this project, especially about the lead role, a character with multiple personalities, a challenge even for the most skilled actors.

Inside the dimly lit set, Krull's eyes quickly found Martin, the star of the film. He was seated in front of the camera, deep in preparation for his next scene. The set was a hive of activity, but all the energy seemed to converge on Martin, who exuded a calm intensity.

As the crew prepared for the next shot, York leaned in close and whispered, "This scene is particularly demanding. Martin has to switch between several personalities within the same shot. The acting requirements are incredibly high."

Krull nodded, his interest piqued. He positioned himself at the edge of the set, careful not to disrupt the process, and watched intently as the scene unfolded.

Martin's performance began, and Krull immediately noticed the remarkable transformation happening before his eyes. Martin's face was like a canvas, rapidly shifting from one expression to another. The subtle arching of an eyebrow, the fleeting changes in his gaze, and the delicate play of his mouth conveyed a spectrum of emotions and personas, all within the same frame.

Krull had done his homework before arriving, he knew the stakes of this role. Portraying two or three different personalities might be manageable for a competent actor, but Martin was tasked with embodying at least seven or eight distinct characters, each with their own unique mannerisms and temperaments. It was as if he had to become multiple people, all at once, with just milliseconds to transition between them.

For someone who had spent nearly two decades in the industry, Krull thought he had seen it all. He had interviewed hundreds of Hollywood's biggest stars, observed their craft up close, but what Martin was doing here was something extraordinary. The common criticism that Martin was merely an action star, good only for fight scenes and flashy stunts, suddenly felt completely unfounded.

As he watched, Krull muttered under his breath, "This is the work of a genius. A role like this would overwhelm a lesser actor, no matter how hard they tried. But in the hands of someone with real talent, it becomes something alive, something tangible."

The scene continued, with Martin moving seamlessly through the personalities. After a half-minute-long take, Martin joined director David Fincher at the monitor. Krull noticed their intense focus, neither seemed entirely satisfied with the take. They returned to the set, ready to try again.

The shot was repeated five times, each iteration more refined than the last. With every take, Martin's portrayal became sharper, more nuanced. Krull could almost feel the distinct personalities emerging from beneath the surface, each one clearer, more three-dimensional than before.

By the end of the session, Krull was not just impressed, he was in awe. Martin was not just playing a character; he was bringing an entire ensemble of distinct identities to life, all within the confines of his own body. As Krull watched, he realized he was witnessing something rare: the birth of a performance that could very well become legendary.

The scene wrapped, and as soon as the director called "cut," Martin made his way to the rest area. He sank into a chair, closing his eyes to recharge. The intensity of the previous takes had drained him, and this brief moment of solitude was his only chance to regroup before diving back into the demanding role.

Krull watched from a distance, careful not to disturb him. The set was still active, with David Fincher orchestrating the crew as they filmed additional shots. These were "empty" shots, with no actors present, just the camera capturing various elements of the set.

Intrigued, Krull observed Fincher's meticulous approach. Even in these seemingly simple shots, there was a purpose, a deeper meaning woven into the details. For instance, the camera lingered on a bathroom sink lined with multiple toothbrush cups. Each cup held several toothbrushes, all differing in color and shape. Krull leaned in, mentally counting, 24 toothbrushes in total.

A chill ran down his spine as he realized the significance. The number of toothbrushes matched the 24 distinct personalities of the film's protagonist. This attention to detail was a hallmark of Fincher's genius, a testament to why he was considered one of Hollywood's best directors for psychological thrillers.

Krull had a growing sense that this film, a collaboration between Martin and Fincher, was going to be something truly special, perhaps even a groundbreaking piece in its genre.

As the crew wrapped up the day's shoot, Fincher remained engrossed in his work, while Martin headed off to remove his makeup and change out of his costume. The assistant director approached Martin to inform him that the Variety reporter was ready for the scheduled interview.

Martin nodded, acknowledging the reminder. This interview had been planned the week before, so he wasn't caught off guard. He retreated to his trailer to quickly review the interview script, a common practice for interviews of this caliber. Just like talk shows, these interviews often followed a loose script, with most questions agreed upon in advance to ensure a smooth flow.

After skimming through the script, Martin changed into a comfortable set of casual clothes and returned to the studio. By the time he arrived, David Fincher was already waiting, ready to join him for the interview.

The crew had set up the interview space right on the film set, arranging three sofa chairs against a backdrop of the movie's set pieces. The informal setup hinted that this interview would feel more like a casual conversation than a formal Q&A.

Krull greeted Martin with a handshake, recognizing the actor from previous encounters. Martin, in turn, offered a warm smile and took a seat next to Fincher.

After making sure everything was in place, Krull switched on his recorder and began the interview. "I first heard about Billy Milligan over a decade ago," he started. "Hollywood has drawn inspiration from his story for numerous films, but few have attempted what you're doing, portraying a character with so many distinct personalities."

Fincher jumped in, his passion evident. "When I made *Panic Room* and *Fight Club*, I was already fascinated by characters like Milligan. When Martin brought me the script, I was immediately intrigued. I knew this was a project I wanted to be part of."

Krull turned his attention to Fincher. "David, you've explored characters with mental instability before. What draws you to these kinds of stories?"

Fincher gave a thoughtful smile. "This might actually be my last foray into this kind of subject matter. I've always been drawn to complex characters, but as my career progresses, I want to explore different genres and challenges."

Shifting his focus to Martin, Krull asked, "Earlier, I watched you switch between at least four different personalities in just a short span. It was like seeing four entirely different people. How challenging has this been for you?"

Martin nodded, his expression serious. "It's been incredibly challenging. I'm not just playing two or three different characters; there are seven or eight distinct personalities, each with its own unique traits. Preparing for this role took months. Since I started working on the script, I've been researching cases of dissociative identity disorder. I studied over 50 cases in detail, taking extensive notes, two notebooks' worth, to be exact. All that preparation was necessary to make the performance feel authentic."

Krull leaned forward, intrigued. "Out of all these personalities, which one has been the hardest to bring to life?"

Martin paused, considering his response. "So far, we've filmed two of the personalities, Patri, who is a woman, and Hedwig, who is a 10-year-old boy in an adult's body. Both are incredibly difficult to portray, especially since I've never tackled roles like these before. The challenge isn't just in performing them individually but in maintaining the subtle connections between them since they all exist within the same person."

Krull nodded, clearly impressed. "It's evident that you've put a lot of thought and effort into this. Your performance earlier was nothing short of breathtaking."

Fincher, always one to push his actors to their limits, added with a grin, "And Martin's just getting started. There's still so much potential in his acting, and I plan to draw out every bit of it as we continue filming."

The interview continued, with a sense of anticipation in the air. Krull knew he was witnessing the creation of something extraordinary, a film that, once released, might just redefine the standards of its genre.

Martin spread his hands dramatically, a playful glint in his eye. "David, what you're saying is absolutely terrible!" he exclaimed, feigning despair. "I'm only getting paid for one movie, but I'm giving the performance of a lifetime! I'm really getting the short end of the stick here!"

The room erupted in laughter, with Krull and David Fincher joining in. Martin's lighthearted quip had hit just the right note, adding a touch of humor to the intense atmosphere of the interview.

Once the interview wrapped up, York, the head of the publicity department, approached Krull with a bundle of materials. "Here are some on-set photos, a few newly designed posters, and other promotional content," York said, handing over the package. "We hope you find these useful for your piece."

Krull thanked York and left the studio, already mentally outlining the article he would write. That night, back at the Variety office, he dove into work. With the deadline looming, he meticulously transcribed the interview recordings, carefully selecting the best quotes. He spent hours poring over the stills and posters, ensuring that each visual element complemented the narrative he was crafting. For two days straight, Krull worked tirelessly, fine-tuning every detail of the exclusive interview.

*Variety* was a weekly publication, and Krull knew that his article would need to stand out. Unlike the immediate coverage of events like the Grammys or the Oscars, his piece had to capture readers' attention in a single, impactful issue. After several rounds of revisions, Krull's interview was finally ready for print. It not only made the front page of the new issue but also featured Martin's striking first poster for *Split* as the cover image.

The cover line was bold and attention-grabbing: *"Split: Martin Davis' Ambitious Breakthrough!"* It was designed to spark curiosity and anticipation among readers.

The accompanying report delved deep into the film's premise, providing readers with exclusive insights from Martin and David Fincher. The detailed coverage and behind-the-scenes photos generated an immediate buzz among fans. When the online version went live, the response was overwhelming.

Comments flooded in from eager fans:

"I can't wait for Martin's new film!"

*"I hope Martin really captures the complexity of these personalities, not just skims the surface."*

*"This is the challenge of the century, and I believe Martin will nail it!"*

The anticipation for *Split* grew rapidly, with moviegoers eagerly awaiting the film's release. Martin's portrayal of a man with multiple personalities had become a hot topic, cementing the film's place in the public consciousness.

Meanwhile, back on set, the filming continued under Fincher's meticulous direction. Instead of shooting scenes in chronological order, Fincher had devised a unique approach. He organized the shooting schedule by the personalities Martin was portraying. This method was crucial for maintaining the integrity of each character and preventing Martin from slipping into a confusing blend of personalities.

For example, all the scenes featuring Martin's female personality were filmed first, followed by those of the child personality, and then the fashion designer. This approach allowed Martin to fully immerse himself in each character without the risk of blurring their distinct identities.

In real life, people often juggle conflicting thoughts and personalities, but in a film, clarity and logic are essential. Without these, the film would quickly fall apart. Fincher's strategy ensured that *Split* would not only make sense but also resonate deeply with audiences.

As the cameras rolled, Martin transformed effortlessly into his next character: a trendy fashion designer. Compared to the challenges of portraying a woman or a child, this personality came more naturally to him. Over the years, Martin had become well-acquainted with the fashion world, even having had high-profile relationships with supermodels like Karolina Kurkova and Angela Lindvall. Despite their engagements, both women would still reach out to Martin for some fun, further entrenching him in the fashion elite.

On set, Martin's portrayal of the designer was seamless. He moved with confidence, embodying the role with ease. However, even in the midst of this seemingly relaxed role, Martin knew the importance of self-care. Every day after lunch, Ana de Armas would visit his trailer to provide a soothing foot massage, a ritual that helped him stay grounded and energized for the demanding scenes ahead.

In the evenings, another routine had developed. Anya Taylor-Joy, his co-star, would often invite Martin to rehearse their scenes together. These private rehearsals were invaluable, allowing them to refine their chemistry and ensure that their performances were pitch-perfect. By the time they filmed, they were so well-rehearsed that most scenes were captured in just one take.

Martin's dedication didn't stop with his own performance. Always one to support his colleagues, he recommended Ana de Armas for a role in a project at Disney Studios. It was a gesture that underscored Martin's reputation as a considerate and generous actor, someone who looked out for others even amidst the pressures of his own career.

With every passing day, the excitement around *Split* continued to build, and it was clear that Martin Davis and David Fincher were on the cusp of delivering a cinematic masterpiece that would leave a lasting impact on audiences worldwide.

As long as her basic acting skills are solid, securing a leading role in a mid- to low-budget project shouldn't be an issue for her.

Martin had already begun mapping out his plans for Anya Taylor-Joy.

It's a well-known truth: once someone or something conquers a great challenge, the potential to become a formidable force themselves is inevitable.

---

The Ritz-Carlton Hotel, top floor, in a luxurious private suite.

They had just finished rehearsing a tense scene where the hero tortures and ultimately kills the heroine. The atmosphere between them was thick with the intensity of their performance.

Martin, still in character, carried Anya into the bathroom, gently placing her in the bathtub with the tenderness of a lover. But Anya, not one to be outdone, quickly reached up, pulling him in with her, a playful smile on her lips.

Martin adjusted himself in the tub, finding a comfortable position as he leaned back, letting out a satisfied sigh. Anya settled in front of him, resting in the warmth of his embrace. She looked up at him and said, "I'm only 18 this year, Martin. I don't plan on having a boyfriend until I'm at least 24."

Martin caught the underlying message immediately. "Well," he said with a knowing smile, "you can come to me whenever you need during that time."

"Of course," Anya replied, her voice sultry as she leaned in to kiss his neck. "I'll give you my best years. Do whatever you want with me."

Unlike the Hollywood elite, who often came from established backgrounds like Blake Lively, Anya was straightforward and unguarded. She was a young actress without powerful connections, and she knew what she needed to do to survive and thrive in this brutal industry.

Martin appreciated her candor, much like he admired Julie's relentless spirit. He smirked, "Every man loves an eighteen-year-old."

Eighteen is a fleeting age for a starlet, but Hollywood always has a fresh crop of actresses stepping into that spotlight.

Anya laughed, her voice light and carefree. Her youth and beauty were her greatest assets, and she was acutely aware of it. Beyond that, she had little else to offer, yet.

Martin thought of the girl who had almost lost herself in the pursuit of perfection, the one who nearly succumbed to Hollywood's pressure to conform to an unrealistic ideal. He leaned in, his tone more serious now. "One thing you have to remember: don't even think about plastic surgery before you're 25, and don't go losing weight to the point of being skin and bones."

Anya touched her face, still full of youthful collagen, and nodded. "I promise. No plastic surgery, no extreme dieting. I'll keep my figure and my face just as they are."

Martin, satisfied with her response, shifted the conversation to business. "This film should wrap by mid-December. Do you have any other roles lined up after that?"

Anya's smile faded slightly as she sighed. "Not much luck there. I've been to several auditions, but the best I got was making it to the second round. Most of the time, I'm cut after the first screening."

She was candid, her voice tinged with frustration. "It takes a lot for an actress to land good roles in Hollywood. Auditions often come with... extra conditions. I've turned those down, so naturally, I didn't get the parts."

The fall of Harvey Weinstein had shaken Hollywood, but it hadn't uprooted its deep-seated issues. The power dynamics remained, only slightly more hidden.

Martin, not one to mince words, got straight to the point. "Take some time to visit a bookstore and buy a novel called *The Queen's Gambit.* My studio is planning to adapt it into a series, and the script is already in the works."

Anya's eyes widened as she quickly memorized the title. "What kind of chess? I can start learning it now."

"Chess," Martin explained, "and this is a project that absolutely requires a strong female lead. If you audition and meet the conditions, the role is practically yours."

Anya was stunned, her surprise evident as she turned to face him, gripping his arm in excitement.

Martin chuckled, "Hold on, there's more. There's another project, a low-budget horror-thriller. It's also female-led, and I think you'd be perfect for it."

Anya's hands trembled with excitement. Two lead roles, one in a series and one in a movie, both centered around her.

For an 18-year-old actress, opportunities like these were worth their weight in gold, a chance to truly break into the industry.

Overcome with emotion, Anya's head dipped beneath the water, overwhelmed by the possibilities now laid out before her.