Chapter 842: Social Turmoil!

At Davis Manor, the atmosphere buzzed with a low hum of chatter as a small party gathered in the grand drawing room. Leonardo, leaning casually against the mantel, shot a curious glance at Martin. His eyes narrowed slightly as he observed his friend's unusually secretive demeanor.

"Martin, you've been acting awfully mysterious lately," Leonardo said, a hint of teasing in his voice. "I invited you out for a drink, but you barely budged from your spot."

Martin coughed lightly, as if stalling for time, then replied, "I've been under the weather. It's contagious, and the last thing I want is to pass it on to you."

Nicholson, who was lounging on the plush sofa nearby, raised an eyebrow and asked, "It's nothing serious, I hope?"

Martin waved dismissively, a faint smile playing on his lips. "No, no. Just a little bug. I'm fully recovered now."

Nicholson sighed, a hint of regret in his tone. "I was hoping we could go out and stir up some fun. With everything happening in Los Angeles lately, there's been no shortage of excitement."

Leonardo nodded in agreement, his voice carrying a note of amusement. "You missed quite the spectacle, my friend."

Martin chuckled, leaning back in his chair. "I kept up with it all, newspapers, TV, the internet. It was certainly captivating."

Nicholson's eyes gleamed with a touch of mischief. "It's a shame Michelle Bryan didn't make it. If she had, we might have had even more drama to enjoy."

Leonardo's gaze sharpened, seeing through the layers of intrigue. "If she hadn't died, who knows how much chaos would have ensued in North America? A few big names in Washington might have found themselves in deep water."

Martin nodded thoughtfully. "To avoid causing even more trouble, Michelle wisely chose to bow out on her own terms."

At that, all three men burst into laughter, their amusement laced with a dark irony.

Just then, Bruce strode in from the hallway, a stack of newspapers tucked under his arm. Nicholson perked up, his curiosity piqued. "Bruce, what's the latest buzz?"

Bruce's eyes flickered briefly to Martin, who gave a subtle nod, signaling it was fine to proceed. "It's about Michelle Bryan," Bruce began, his tone serious. "Turns out one of the two people protesting in Ukraine is Michelle."

Leonardo leaned forward, picking up the thread of the conversation. "And the other? Brunel, the French fashion mogul, right? I know the guy."

Nicholson chimed in, "Yeah, I know Brunel too. Quite the character."

Bruce continued, his voice steady. "The French authorities have just launched an investigation, but before they could dig too deep, Brunel was found hanged in his Paris apartment."

Leonardo's eyes widened in surprise. "Suicide? By hanging?"

Nicholson shook his head, a smirk playing on his lips. "No creativity at all."

Martin added, his tone almost clinical, "They acted fast, cutting off the loose ends before anyone could tug at them."

Leonardo turned to Bruce, his curiosity piqued. "Are you sure it was suicide?"

Bruce nodded. "The French held a press conference, confirmed it, and even his relatives have accepted the outcome."

Nicholson's mind was already racing ahead, piecing together the implications. "His relatives must have inherited Brunel's estate, no questions asked."

Martin snorted, his tone laced with cynicism. "France is just as efficient as America when it comes to tidying up loose ends."

Leonardo sighed, a note of disappointment creeping into his voice. "I was thinking we might take a trip to Europe to catch some live drama, but it looks like the curtain's already fallen."

As the conversation began to lull, Nicholson suddenly shifted gears, a mischievous glint in his eye as he turned to Leonardo. "Speaking of dramas, weren't you and Martin in a bit of a competition? Something about the Oscars?"

Leonardo straightened, a grin spreading across his face. "Ah, yes. But it's not just about winning an Oscar first. He's aiming for Best Director, and I'm gunning for Best Actor. Let's see who gets there first."

Martin rolled his eyes, unable to resist the banter. "You've got it all wrong. We were both competing for Best Actor."

Leonardo shot him a playful glare. "Come on, man! You're on the path to becoming a director, where's your ambition?"

Martin snorted, holding back a laugh. "Best Director, huh? Do you know how many years it took Scorsese to win that? Or Fincher? Even Spielberg took over a decade, and George Lucas still hasn't touched it…"

Leonardo didn't miss a beat, seizing the opportunity to tease Martin. "You always manage to find a way to wiggle out."

Before Martin could retort, Nicholson jumped in, his eyes gleaming with mischief. "So, have you finished the script for the film you're going to direct?"

The room fell into a comfortable silence, the kind that comes only among old friends, as Martin pondered his answer, knowing full well that with this group, the banter was far from over.

Martin nodded subtly, then murmured something to Bruce, who promptly disappeared into the study. Moments later, he returned, holding a thick script written by Bradt's team.

Nicholson, ever the skeptic, took the script and started flipping through the pages with a practiced eye. After skimming for a few moments, he leaned back and smirked. "Just as I expected from one of the Asshole Trio, he's a master at cutting corners. The scenes are minimal, the cast is tiny, and the plot... well, it's mildly interesting, but it's clearly pandering to the current social climate. Women saving themselves? How very trendy."

Leonardo, intrigued by Nicholson's take, asked to see the script. He rifled through it quickly, his eyes darting across the pages. "The success of this film will hinge on the choice of the leading actress," he remarked, tossing the script onto the coffee table.

Nicholson, always direct, added with a knowing grin, "This actress needs to be a knockout, stunning looks, perfect body. That's non-negotiable."

Martin nodded in agreement. "Exactly what I was thinking."

Nicholson chuckled, "Assholes think alike, I guess."

The three of them continued to discuss the film, each adding their own twisted ideas to the mix. At one point, Leonardo, half-serious, offered to drop by the set and direct a scene or two if his schedule allowed.

Martin, clearly not too invested in the project, shrugged and agreed without much thought.

Once Leonardo and Nicholson had left, Martin made a quick call to Blake Lively, just before Lily and Elizabeth returned. Blake, who had fully recovered from her previous injury, was back in full swing with a rigorous regimen of fitness, swimming, and surfing.

On top of that, after nearly a year of careful image crafting, Blake's following on Twitter and Instagram had exploded. Her reputation as Hollywood's reigning gossip queen had spread like wildfire across the United States. Among the starlets of Tinseltown, she was now one of the most followed women online.

The next morning, Martin found himself rushing to a meeting at DC Films. "Joker" had officially been greenlit, and DC had hired a team of screenwriters to draft the initial script. The meeting was set to discuss the plot with Martin, who was not only the lead actor but also a producer, alongside Christopher Nolan, who was also producing.

As Martin stepped into the conference room, he took in the familiar faces around the long table. Scott, the head of the screenwriting team, sat alongside Hamada, the president of DC Films, and representatives from Warner Bros., one of the film's major investors. Martin and Nolan took their seats on one side of the table, while Scott, Todd Phillips, and Bruce Berman occupied the opposite side.

Hamada, positioned at the head of the table, opened the meeting, but it was clear from the start that the "Joker" project wasn't getting the same level of attention as DC's bigger films. With "Man of Steel" nearing its release and "Batman v Superman" moving into full pre-production, "Joker" was still very much in its infancy.

The projector flickered on, casting text onto the screen as Scott, script in hand, began outlining the plot. "We're planning to delve deep into the Joker's family background," he explained, pointing at the screen with a laser pen. "His parents' dysfunctional genes, coupled with their abuse, are what drive him to become the Joker..."

Martin, who had heard enough, raised a hand to stop him mid-sentence. "Hold on," he said, his voice firm.

Scott hesitated, then glanced over at Hamada, clearly taken aback by the interruption. He had been under the impression that his plot outline had already been approved by the higher-ups at DC and Warner Bros.

Daniel, the president of Warner Bros., turned to Martin, sensing the tension in the room. "Martin, what's on your mind?"

Martin exchanged a quick look with Nolan, a silent confirmation of their earlier conversation. Turning back to the table, Martin spoke up, "The Joker wasn't born a clown. Sure, genetics might play a role, but that's not the whole story."

Scott, visibly relieved at the apparent concession, let out a small breath. But he was in for a surprise, as Martin wasn't about to let go of his vision that easily.

Martin leaned forward, his voice cutting through the tension in the room. "But the Joker didn't start as a maniac. He became one, a madman, an agent of chaos. And let's not forget, environmental factors played a crucial role in that transformation."

The conference room was filled with executives and creative minds, each weighing the direction of this highly anticipated project. Martin scanned the room, his eyes locking onto each person as he continued, raising his voice slightly to ensure his point was made clear. "This film will continue in the vein of 'The Dark Knight'. We're abandoning the comic book style altogether, opting instead for a gritty, realistic approach. That means placing the Joker in a world that feels tangible, grounded in a social context that audiences can relate to."

Christopher Nolan, seated at the head of the table, nodded in agreement. "I completely agree with Martin," he said, his voice calm but authoritative, lending weight to Martin's vision.

But not everyone was on board. Scott, the screenwriter, furrowed his brow slightly, the first sign of resistance in a room that had been mostly unified up to this point.

Hamada, another key player from Warner Bros., leaned back in his chair, clearly uncomfortable. "I still think we're dealing with a comic book character here," he remarked, his tone filled with skepticism.

Hamada's concerns were long-winded and, to Martin, almost nonsensical. The Warner team had been notorious for their heavy-handed approach to DC films, often stifling creativity under the guise of protecting the brand. Martin had seen it before, their input often led to bloated budgets and compromised visions. This time, he wasn't going to let them derail the project.

As Hamada's voice droned on, Martin mentally tuned out, his mind already spinning with ways to push his vision forward. When Hamada finally finished, Martin didn't bother to address his concerns directly. Instead, he shifted the conversation back to the larger picture. "Since the 2008 financial crisis, we've seen economic development stagnate. The lower and middle classes are struggling, not just financially but mentally. This pressure has driven many to the brink, some have snapped, and others have turned to crime. In this context, doesn't the Joker's descent into madness feel more believable? Doesn't it resonate more?"

Nolan leaned in, his voice filled with conviction. "Exactly. This approach will make the characters real, credible, and relatable. It's a story that can evoke a powerful emotional response from the audience."

Hamada, however, remained unconvinced, his mind still entrenched in the traditional comic book world. But before he could voice another objection, Daniel, another executive who had been quietly observing, spoke up. "This perspective is critical for the film's market success. We all know that over 90% of moviegoers come from the lower and middle classes. This is the audience we need to connect with."

Scott shifted uncomfortably in his seat. His creative ideas were being systematically dismantled, and it was clear that the project was slipping out of his control. But his influence paled in comparison to Martin and Nolan, and he knew that winning Hamada's support was his only chance.

Sensing an opportunity, Daniel proposed, "I think we should bring in a new writing team to draft another script, one that aligns more closely with this vision."

Hamada was quick to object, "DC doesn't have the budget for that."

Daniel countered smoothly, "But Warner Pictures does."

"And so does Davis Studio," Martin added, his tone matter-of-fact.

Hamada frowned, clearly displeased. He couldn't get behind a project that didn't fit neatly into the established DC Universe. The dissonance between his vision and that of Martin and Nolan was becoming more apparent by the minute.

Daniel pressed on, sensing Hamada's hesitation. "Perhaps it's best if Warner Bros. takes full ownership of this project. Hamada, your focus should remain on the broader DC movie universe."

Hamada sighed, the weight of the decision settling on him. He didn't like where this was going, but the project was already greenlit, and the contracts were signed. Pulling out wasn't an option, but neither was continuing under these circumstances. "Fine," he said finally, sounding exhausted. "You take the lead on this. But DC won't be putting any more money into it."

This was the compromise Hamada could live with. If the project failed, DC would be insulated from the fallout. But if it succeeded, the studio would still reap the benefits of the copyright revenue.

Scott, sensing the end of his involvement, tried to interject. "President Hamada, I..."

But Hamada raised a hand to cut him off. "I'm initiating the withdrawal procedure. You and your team will be stepping back from the 'Joker' project."

Scott knew better than to argue. Screenwriters had little power in situations like these, and he realized his time on the project was over. He remained silent as the meeting came to an abrupt end.

As the room began to clear, Martin turned to Nolan and Daniel, exchanging knowing glances. The vision for the film was now firmly in their hands, and they walked out, leaving Scott's discarded script behind, already thinking ahead to the next steps in bringing their version of the Joker to life.

As the day wore on, Martin found himself deep in thought. Nolan had already returned to the studio, fully engrossed in the post-production of 'Interstellar'. Despite his busy schedule, he made it clear he was fully behind Martin, offering unwavering support.

Meanwhile, Martin and Daniel headed to Warner Bros. to continue hashing out the details of the script for their new project. Martin had come prepared, armed with a series of creative ideas that he was eager to see adopted into the script. He had high hopes that Warner Bros. would be on the same page. But as the discussions progressed, it became clear he had misjudged their mindset.

The disconnect was palpable; they were simply not in sync. Warner Bros. had their own rigid way of thinking, one that didn't quite align with Martin's vision. Frustrated but not defeated, the two men left the meeting and headed to Daniel's office to regroup.

As they settled in, Martin broke the silence, "At least there's some good news, DC isn't involved."

Daniel, ever the pragmatist, asked his assistant to bring in tea. He sighed, "The project timeline is going to be pushed back again."

Martin nodded, having already considered this on the way over. "We'll take a year to finish the script. After that, we can start preparing for the film."

Daniel, recalling Martin's track record, raised an eyebrow. "Do you have a screenwriter in mind?"

A small smile played on Martin's lips. "I do. My old friend and collaborator, Bradt."

Bradt wasn't just any screenwriter. He had worked with Martin for years, and the two shared a creative shorthand that was hard to find elsewhere. Bradt understood Martin's vision intimately, making him the perfect choice for this project.

"Bradt's excellent," Daniel agreed, remembering the successes they'd had together. "Many of your collaborations have been major hits."

Martin leaned forward, a spark of excitement in his eyes. "Exactly. Let's focus on getting the script right first. Once that's in place, we can move on to the rest of the preparations."

Daniel nodded, sealing their plan. "That sounds like a solid approach."

As Martin left Warner Bros., he immediately called Bradt. By the time he arrived back at Davis Studio, Bradt was already there, waiting for him. The two of them dove straight into discussions about the 'Joker' script, their creative energies sparking off one another.

Over the next two days, Martin set aside all other work, immersing himself fully in the scriptwriting process with Bradt. The synergy between them was undeniable. Bradt quickly sketched out a simple outline, which resonated with Martin far more than any of the ideas they had heard from Warner Bros.

Unlike the unreliable feedback from the Warner team, Bradt's creativity was a breath of fresh air. He assured Martin that he could complete the first draft of the 'Joker' script within six months. This wasn't going to be your typical action movie. Bradt's vision was to strip away the exaggerated elements of the comics and instead tell a raw, compelling story about a man's descent into madness amid societal turmoil.

By mid-October, with the script in good hands, Martin temporarily shifted his focus. He joined the crew of 'La La Land' to kick off the pre-release promotional tour alongside director Damien Chazelle and leading actress Saoirse Ronan. The film was entering a period of intense publicity, with announcements, roadshows, and promotional material flooding the streets of North America.

Disney even hosted a preview screening of 'La La Land', which was met with unanimous praise. Theater managers were already hailing it as the best Hollywood musical in the past decade. Although musicals had seen a decline in recent years, every so often, one would come along that captured both critical acclaim and box office success, like 'Chicago', 'Mamma Mia!', and 'Pitch Perfect'.

'La La Land' was poised to be the next big hit in this genre. The buzz was strong, and the reviews from the preview screenings were glowing. North American theaters responded in kind, scheduling a massive opening in 3,955 theaters.

And so, Martin found himself once again in the familiar cycle of airport lounges, hotel rooms, and back-to-back promotional appearances. But with the early signs pointing to a hit, it was a grind he was more than willing to endure.