Chapter 854: Surrender!

Blake Lively ascended the stairs to the second floor of the studio, her heart quickening as she approached the door of the conference room. With a gentle push, she stepped inside, greeted by the low hum of conversation that quickly quieted as her presence was noticed.

The room was spacious, dominated by a long, polished table around which more than a dozen people were seated, each one a key player in the production. These were the department heads, the ones responsible for turning the director's vision into reality.

Blake's eyes quickly found Louise, the production manager, who occupied the first seat on the left side of the table. With a warm smile, Blake approached and exchanged a brief greeting before taking the seat next to her. The familiarity between them was evident, a testament to the hours they had spent planning and discussing this very moment.

Across the table, Assistant Director Steve Downton caught Blake's eye, offering her a welcoming nod. His smile was one of reassurance, a silent acknowledgment of the work that lay ahead. Blake returned the gesture, her mind already focused on the challenges they would soon tackle together.

At the far end of the table, Robert Eggers, a seasoned director known for his meticulous attention to detail, was engrossed in a stack of storyboards and shooting plans. His eyes traced each line, his brow furrowing slightly in concentration. As he flipped through the pages, he couldn't help but be impressed by the thoroughness of the preparation. The plans laid out before him were not those of an inexperienced director, but rather the work of someone who had spent years honing their craft.

Of course, Robert thought, Martin wasn't a novice. After a decade in Hollywood, starring in two films a year and wearing the dual hats of actor and producer, it made sense that Martin would have such a command of the process.

As the room settled, a hush fell over the group, signaling the start of the crew coordination meeting. Martin, the director, entered with a quiet confidence, crossing the room to Louise. He leaned in to exchange a few whispered words with her, his voice low but assured.

An assistant moved swiftly to the projector, flicking it on as Martin clapped his hands to draw everyone's attention. "Alright, everyone, let's get started," he announced, his voice cutting through the room with a blend of authority and enthusiasm.

Heads lifted, eyes turning toward him as the room fell into silence.

"The film we're about to embark on," Martin began, "is an intense, claustrophobic thriller. It's almost a one-man show, with a single actor carrying the entire story. The setting may be simple, but the stakes are incredibly high. I need every shot to capture the raw, visceral reality of this character's struggle for survival."

He glanced at Louise, his expression serious. "Louise, are all the funds secured?"

Louise nodded firmly. "Everything's in place. We're ready to go."

Satisfied, Martin turned his attention to Green, the head of the prop team. "Green, what's the status on the shark?"

Green, a veteran in the world of film props, leaned forward. "We're working on it, but there's a challenge. Given the tight schedule, a fully functional mechanical shark isn't feasible in time. We're focusing on the above-water sections first, and we've got a partial model ready to go."

He gestured to his assistant, who switched the projection to display an image of the mechanical shark, its triangular fin menacing above the water's surface.

Martin scrutinized the image before shifting his gaze to Hugh Bettup, the special effects supervisor. "Hugh, can we handle the underwater scenes with CGI?"

Hugh nodded, though his expression was cautious. "We can create the shark digitally. There's enough budget to make it look convincing. But when it comes to simulating the interaction with water, like the ripples on the surface as the shark moves, that's going to be tricky. Water effects are notoriously difficult and expensive to get right with current technology."

Martin absorbed this information, his mind racing. "Is there another way to achieve those effects without breaking the bank?"

Steve Downton, ever the problem solver, leaned forward. "We could use a mechanical model to mimic the shark's movements underwater. By inputting the swimming data, we could create the necessary ripples on the surface. Industrial Light & Magic has done something similar before. We can license their data, it'll save us time and resources."

Martin's face lit up with the prospect of a solution. "Great idea, Steve. Green, Hugh, I want you to collaborate on this. Let's get that data from ILM as soon as possible and start building the model."

Both men nodded in agreement, already mentally preparing for the task ahead.

Louise, ever the efficient organizer, made a quick note, indicating she would delegate someone to contact ILM immediately after the meeting.

With the technical details addressed, Martin turned to Blake. "Blake, this is going to be one of the most physically demanding roles you've ever taken on. You'll be acting against nothing but green screens and props for much of the time. And with the water sequences, it's going to be relentless."

Blake met his gaze, her expression resolute. "I'm ready, Martin. I've been preparing for this role for eight months. Whatever it takes, I'm in."

Her words hung in the air, a quiet testament to the dedication that everyone in the room shared. This film would be a challenge, but it was one they were all prepared to meet head-on. The coordination meeting was just the beginning of a journey that would test their skills, creativity, and endurance, but they were ready.

Many on the set looked to Blake Lively, recognizing that she was far more than just a pretty face or Martin's co-star. Her talent and commitment were undeniable, and everyone knew she had what it took to bring this demanding role to life. Martin's professionalism was equally respected, his reputation for diligence well-established.

Martin turned his attention to Dan Rostesin, the director of photography, with a critical question. "Dan, there are a lot of underwater shots in this project. How are you preparing for them?"

Dan leaned forward, his voice steady with the confidence of a seasoned professional. "We've rented four of Arri's specialized mini-cameras designed specifically for underwater filming. They're top of the line for this kind of work. On top of that, I've set up a 50-foot-long telescopic rotating jib at the Rosarito Island studio, which will help us navigate complex underwater environments."

He paused, considering Martin's earlier concerns. "And of course, we're using all digital cameras."

Martin nodded, pleased with the choice. With their budget constraints, opting for digital cameras was not just practical, it was necessary. Film cameras, while offering a certain aesthetic, were prohibitively expensive, especially when considering the costs of both shooting and post-production. In today's industry, film was becoming as outdated as black-and-white silent movies, its decline inevitable in the face of digital efficiency.

Next on Martin's agenda was the lighting and artistic setup, crucial elements for the film's visual style. The film relied heavily on natural sunlight, but as every filmmaker knows, light is fickle, shifting dramatically between dawn, dusk, and night. Matching the lighting between on-location shoots and studio settings required precise calculations and a keen artistic sense.

Martin laid out his requirements, and the lighting technicians listened intently, taking notes and asking questions to ensure they understood his vision. They would need to be meticulous to maintain continuity and achieve the desired atmosphere throughout the film.

After the crew coordination meeting wrapped up, Martin called for a separate session with the directors, including Robert Eggers and Steve Downton. The group, comprising eight assistant directors, gathered to discuss the all-important shooting schedule.

In filmmaking, sticking to the schedule is crucial, going off-track can cause budgets to spiral out of control. Steve Downton, always pragmatic, spoke first. "We've got a 35-day shooting schedule, which seems reasonable on paper, but I recommend adding another five days. While we can control the environment fairly well in closed sets, shooting on an open beach is a different story. The environment out there is unpredictable."

His point was sharp and well-taken. "Every Hollywood movie shot on water in the last 30 years has ended up over budget and behind schedule," Steve emphasized, his tone carrying the weight of experience.

Robert Eggers nodded in agreement, adding his own perspective. "The sea can be a real beast during filming. Wind, rain, even a sudden change in tides, any one of these can halt production entirely. It's better to plan for the worst."

Rosarito Island, surrounded by the unpredictable sea, posed its own set of challenges. While it wasn't the rainy season, the seaside climate was notoriously capricious. Martin took only a moment to weigh the options before making his decision. "Alright, let's add five extra days as a buffer."

Of course, those extra days would increase the budget, but Martin wasn't overly concerned. The film's budget was healthy, and he was willing to spend a little more to ensure they had the time they needed to get everything right.

As the meeting continued, the team tackled various other logistical issues, each one a vital piece of the larger puzzle. By the time they neared the end, Steve Downton offered one last piece of advice, his voice carrying a note of caution. "No matter how well we prepare, filming in and around water will always bring unforeseen challenges. Water and film, they're natural adversaries."

Martin absorbed the words, nodding thoughtfully. "That's why we need to prepare as thoroughly as possible. The better our groundwork, the easier it will be to solve problems when they arise."

With that, the directors' meeting concluded. Martin didn't waste any time; he headed straight to the producer's office to meet with Louise and discuss the necessary budget adjustments.

Although Martin had assembled a team of highly skilled professionals through his connections, reputation, and competitive salaries, he knew his job as a director was far from over. He wasn't the type to delegate and then step back. A director's role demanded deep involvement from the earliest stages of a project, right through to the final cut.

Unlike an actor who can focus solely on mastering a single role, a director's task is far more complex, requiring a constant balancing act of artistic vision, practical constraints, and the ever-present ticking of the clock. Martin was fully aware of this, and he was ready to take on the challenge.

Directors like Christopher Nolan, David Fincher, and Chad Stahelski have all openly critiqued Martin's work behind the camera, labeling him as a mediocre director. Even Chad, often considered the least accomplished among them, dismissively claimed he could do better.

After discussing the project at hand, Martin shifted the conversation with Louise to a more personal note. "You know," he began, leaning back in his chair, "until you're actually in the trenches, it's impossible to fully grasp the challenges of this job."

He paused, reflecting on the magnitude of the task ahead. "Honestly, if I didn't have the financial backing, making this film would be an uphill battle. But with the right amount of money, I can surround myself with experienced people who can execute my vision. All I have to do is direct them."

Louise adjusted her black-rimmed glasses, giving him a pointed look. "Do you regret taking on this project?"

Martin shook his head, a smile tugging at his lips. "No regrets. If you don't push your boundaries, you'll never know how far you can go. Besides," he added with a chuckle, "I refuse to let that bastard Leonardo get the last laugh."

Louise laughed too, catching the playful rivalry. "You're not planning on being the butt of jokes among your so-called 'asshole trio,' are you?"

Martin suddenly remembered something Bruce had mentioned to him earlier. He leaned in, his tone dropping to a conspiratorial whisper. "Listen, darling, keep a close eye on this project for me. I really don't want to be the one who ends up with the century's biggest problem, okay?"

Louise gave him a playful shove, rolling her eyes. "Save those melodramatic lines for Kelly."

The mention of Kelly sparked a thought in Martin's mind. "Speaking of Kelly, she's been climbing the ranks quickly within the Donkey Party lately. I think it's about time I introduced her to some key players."

He recalled that in another time, in another life, the village chief had received significant support from the Donkey Party.

Louise leaned closer, her voice low and teasing. "If you really connect with her, you won't have to worry about any of these issues."

Martin nodded. "Once this film wraps up, I'll give Kelly a call. We'll all get together in Los Angeles, have a proper reunion."

Louise smiled at the idea. "Sounds perfect. I haven't seen that wild one in a while."

Martin checked his watch and stood up. "I need to go check on the mechanical shark."

"I'll join you," Louise said, rising to follow him.

Together, they made their way to the warehouse on the first floor, where the prop team had set up a large makeshift pool. The crew was hard at work, testing the prop sharks they had crafted. In addition to the dorsal fin model they had already completed, they were now customizing another shark model specifically designed to create realistic water ripples, based on Martin's precise instructions.

The work was painstaking and detailed. Martin made sure to review everything personally, ensuring that each department met his exacting standards. Since Blake Lively was essentially carrying the film as a one-woman show, she spent her time rehearsing alone. Martin regularly checked in with her, discussing the nuances of her role and refining her performance.

In addition to overseeing rehearsals, Martin kept a close eye on the tides and weather conditions on Rosarito Island, where much of the filming would take place.

Meanwhile, over at Disney Studios, preparations were ramping up for the promotional campaign for "John Wick 3." A publicity and distribution meeting had been called to strategize the film's pre-release buzz. Set to premiere over Memorial Day weekend, the film was entering the final stretch of its marketing blitz.

With a solid fan base already established by the first two films and the third installment's trailer making waves during the Super Bowl halftime show, "John Wick 3" had already captured the attention of both media and moviegoers. The marketing strategy was straightforward: follow Disney's tried-and-true promotional plan, no need for gimmicks.

Martin had already participated in a couple of TV and online interviews but planned to keep a low profile until "The Shallows" wrapped. Once filming was complete in May, he would fully commit to promoting "John Wick 3."

The trilogy would conclude with this film, at least for the time being. As a parting gift, Chad had even included a new Easter egg in the final moments of "John Wick 3," teasing a future storyline involving Winston, the character played by Menez.

Martin knew the fans would love it, just another reason to ensure everything on his current project went smoothly. He had no intention of letting anything slip through the cracks.

The next installment in the franchise, "The Continental Hotel New York," would star Mene in the lead role. In the training studio at Disney Studios, Mene collapsed onto a cushion, panting heavily after an intense workout session. He then eased into a lounge chair, accepting a bottle of water from Martin with a grateful smile. He took a few sips, allowing his breathing to steady and the exhaustion to ebb away.

Martin, watching him closely, nodded in approval. "Your movement training has really taken off," he remarked, a hint of pride in his voice.

Mene scratched the back of his head sheepishly, a grin spreading across his face. "Thanks, boss. I've been working on action scenes with you for years now, no way I'm slacking off on the exercise."

At that moment, Chad Stahelski sauntered over, a teasing glint in his eye. "Mene's been putting in the work, alright. His physical skills are catching up to his sharp tongue."

Martin laughed, catching the playful jab. "Is that so? If you were half as good in a gunfight as you are with the witty comebacks, this film would be a box-office juggernaut."

Mene chuckled, acknowledging his own limitations. "Honestly, I'll be happy if the box office even hits a third of what your movies make."

Martin turned to Chad with a question. "When's filming scheduled to start?"

Chad glanced at his watch as if calculating the timeline in his head. "We're aiming for a July release, once the buzz from the third film fully kicks in."

Martin nodded, satisfied. "I'll make sure to come by and cheer you guys on."

After a bit more banter, Martin excused himself, leaving the studio to check on the progress of "The Shallows."

After nearly three months of meticulous preparation in Los Angeles, the crew had chartered a special flight in late March, transporting everyone to Rosarito Island to begin filming. Upon arrival, Martin was pleased to see that the studio they had rented had undergone significant renovations.

The art director and set design team had worked tirelessly, blending the natural beauty of the bay area with the expansive pool, transforming it into a realistic seascape that closely resembled the actual bay. The crew had even gone so far as to fill the pool with seawater brought in directly from the bay, ensuring every detail was authentic.

In line with Martin's precise vision, the lighting team had spent days recording and analyzing the natural light in the Bay Area. Using this data, they carefully selected lamps to replicate the shifting light patterns at various times of the day, recreating the bay's unique atmosphere within the controlled environment of the studio.

Meanwhile, the mechanical shark model had arrived, and after integrating data purchased from industrial sources, the prop and special effects teams conducted a series of experiments to perfect its realism before filming began.

Martin was a constant presence on set, scrutinizing every detail and making adjustments to ensure that everything met his high standards. Two days before filming was set to begin, Blake Lively arrived at the pool, eager to familiarize herself with the shooting process. Martin exchanged a few words with her, ensuring she was comfortable and ready.

As they were talking, Bruce suddenly appeared, his expression serious. Martin sensed something was off and led Bruce away from the pool to a quieter spot in the rest area.

"Is there a problem?" Martin asked, taking a seat and gesturing for Bruce to join him.

Bruce sat down, leaning in to speak in a low tone. "I just got a call from Alexandrovich. The election has reached a critical phase with intense publicity and debates. He's hit a snag."

Martin's brow furrowed. "Is it a financial issue?"

Bruce shook his head, his voice still hushed. "No, it's more political. In several of his previous works, Alexandrovich employed a lot of Russians. The oligarch backing him, Igor, has strong pro-Russian ties. His opponents are using this to attack him, claiming that if he's elected, he'll be too soft on Russia."

Martin sighed, feeling a headache coming on. "That's absurd."

Bruce nodded. "It is, but they're planning to bring it up during the live debate, which will be televised. Alexandrovich has prepared, but he's not confident in how effective his defenses are. He's reaching out to see if we have any better strategies."

Martin rubbed his temples, deep in thought. After a moment, he looked up and said, "Tell him to call me back. We need to figure out a way to handle this."