Chapter 391: Tit For Tat

Back at Paramount Studios, Martin stood beside Thomas, his agent, with one clear objective securing a significant contract for Martin.

As Martin approached the studio door, he was met by Bob, who eagerly said, "Please, come this way."

Meanwhile, Martin was on his way to meet Finch.

Thomas made his way to the producer's office, preparing to discuss specific contract terms with Kathleen Kennedy.

Inside a conference room, Martin found himself face to face with David Fincher.

Shortly thereafter, Cate Blanchett entered the same room.

Martin greeted her with a casual, "Long time no see, Cate."

Cate Blanchett's stern expression remained unchanged as she replied, "If possible, I'd rather not see you."

Martin's smile transformed, taking on a deeper tone as he added, "My boss, Jack, has always missed you."

The mention of Jack Nicholson's name seemed to trigger Blanchett, who snapped, "Don't bring up that jerk to me!"

Martin abandoned his smile and remained silent.

Blanchett couldn't help but recall past encounters with Jack at Pinewood Studios, which left her furious and unwilling to speak further.

Watching this exchange, David Fincher developed a headache. Balancing the on-screen love between two characters when the real-life male and female leads were at odds was no easy task.

Thankfully, he had dealt with similar situations in the past. During the filming of "Fight Club," Brad Pitt and Edward Norton had their share of disagreements.

David Fincher intervened, saying, "You are both seasoned actors. Your personal conflicts should not affect the crew's work."

Martin was the first to agree, stating, "I have no issues here."

Cate Blanchett reluctantly agreed, adding, "As long as Nicholson doesn't visit the set, we can work together."

Martin chuckled, "Why can't old Jack pay us a visit? I'll ask the crew if they allow Australian actors besides the staff."

Catr Blanchett retorted, "You're pushing it."

Martin sported a sunny smile and said, "Jack is nearly 70, what harm could he do? Will he bother you?"

Cate Blanchett's stern face revealed her growing frustration.

David Fincher intervened, raising his hand to halt their argument. "Let's set aside personal conflicts while on set, shall we?"

He recognized that mediating was futile and decided to exert his authority as a top director. "I know you're both talented actors, and I expect your on-set performance to match your hefty paychecks."

Martin nodded, and Cate Blanchett fell silent.

David Fincher concluded, "That's enough for now. If there are any updates, I'll get in touch."

Martin exited the conference room first and waited in the studio's front hall for Thomas.

Cate Blanchett walked by.

With a touch of Jack Nicholson's audacity, Martin asked, "Do you have time for lunch? I'll invite Jack to join us."

Cate Blanchett quickened her pace.

Martin continued, "Jack just loves you!"

These words caught Blanchett off guard as she descended the steps, almost stumbling.

A young man nearby extended a helping hand, and she reacted with irritation, snapping, "Move out of the way!"

Shia LaBeouf quickly stepped back, raising his hands in surrender.

They first crossed paths during the filming of "Raiders of the Lost Ark."

Cate Blanchett, fueled by anger, tapped her chest and fired a sharp remark, "No man is any good."

Shia LaBeouf, puzzled, inquired, "Kate, what did you say?"

Ignoring him, Cate Blanchett simply shook her head and briskly walked away.

Shia LaBeouf, feeling a bit ruffled, lightly touched the back of his head and muttered, "There's something off about that woman."

As he stepped inside the door, he encountered Martin.

Although Martin didn't immediately recognize the person who had worn makeup the previous day, Shia LaBeouf still remembered the face without any embellishments.

This man seemed somewhat familiar, and he pulled up a chair, sitting across from Martin. He asked, "We don't have any issues, do we?"

Martin nodded, saying, "Strictly speaking, no."

Shia LaBeouf, still somewhat irate, questioned, "Why did you spook me yesterday?" He mimicked a grin, pulling his mouth wide like Jack Nicholson in "The Shining." "You had me so scared I nearly wet my pants." Martin suddenly broke into a smile.

With a start, Shia LaBeouf's chair tumbled over, and he leaped up, much like a startled rabbit.

"I've been jumpy since I was a kid, so don't scare me!" He strode into the studio without looking back, muttering, "There's something off about everyone in this theater." To himself, he remarked, "The director's a gloomy schizophrenic, the leading lady's got delusions of persecution, and the hero is downright eerie. Luckily, I'm the normal one around here, keeping the crew's sanity intact." This young actor certainly had confidence in himself.

Martin patiently waited for a while, and then Thomas emerged from the producer's office. They left together and climbed into the Cadillac driven by Bruce.

"We've just had initial discussions today," Thomas explained regarding the initial negotiations. "We were only talking about the compensation."

Martin tapped the front seat and requested that Bruce drive back to the company.

Thomas continued, "The crew proposed a compensation model similar to 'The Dark Knight,' with a base pay plus a share of the North American online box office."

Martin inquired, "What are the specific amounts and percentages?"

Thomas replied, "A base pay of $5 million and originally 2% of the North American online box office, which was $150 million. I suggested $100 million, but it didn't sit well with them." He looked at Martin. "If the film manages to gross $200 million at the North American box office, I can start discussions at $10 million, but this kind of film..." The nature of the film made it unlikely to reach $200 million at the North American box office. Martin, with his extensive experience in Hollywood, understood that commercial appeal often outweighed the star power in determining box office success.

"What about the offline share?" Martin knew this film was targeting the awards season. Furthermore, David Fincher's films typically generated much higher offline commercial revenue than their theater box office earnings, sometimes four to five times as much.

Thomas replied, "Kathleen Kennedy isn't willing to discuss offline shares at this point."

After some consideration, Martin proposed, "If they insist on a compensation structure of base pay plus a share, I'll ask for a share of the North American box office as well as a share of DVD and TV rights under the agreement."

He remembered something else, adding, "Include the sharing of new media such as streaming well."

Thomas assured him, "I'll do my best to negotiate for it."

However, considering that DreamWorks, Warner Bros., and Paramount were all intertwined in the project, and Martin's related parties had no investment, he pragmatically stated, "These are preliminary negotiation terms. Ultimately, I want a $15 million salary." Thomas revealed, "Even if we can't secure the full $15 million, we can workaround the compensation clauses. Perhaps $13 million plus other bonuses." Martin was well-versed in this payment structure, knowing that, given his current standing, he might only achieve about $13 million, but when he signed the contract with the "Benjamin" crew, "The Dark Knight" hadn't been released yet. This film would undoubtedly be released before "Benjamin," and if "The Dark Knight" became a hit, "Benjamin Botton" would benefit as well.

This strategy allowed him to potentially secure a compensation clause with the "Benjamin botton" crew, outlining specific terms regarding the North American box office earnings of "The Dark Knight" and how much additional payment he would receive.

These types of clauses are frequently utilized by Hollywood stars today, with Will Smith being a notable example.

Will smith's film schedule remained packed, often receiving offers from new productions even before completing his current projects. Turning down promising opportunities would result in missed gains, while taking on new projects could boost his salary significantly if they turned into box office successes.

The compensation clause emerged as a perfect solution to these dilemmas.

However, not all Hollywood stars, even the most renowned, can employ this clause. It requires a streak of consecutive successful films featuring actors like Martin and Will Smith, whose careers are on the rise and have significant box office appeal.

Confident in the potential success of "The Dark Knight," Martin declared, "I can confidently say that this film will be a box office hit."

Thomas, cautious but optimistic, assured Martin, "We'll secure a base salary of $13 million, plus performance-based compensation."

Realizing this was something they couldn't leave to chance, Martin urged, "Go ahead and negotiate it."

While Thomas engaged in discussions and haggling with Kathleen Kennedy, Martin diligently maintained his schedule, attending psychological clinic sessions and visiting the elderly in the nursing home, bringing them gifts.

Every day, he spent considerable time observing the elderly residents' movements, interactions, and activities, all in preparation for his role in the film.

His professionalism was impeccable, garnering recognition from those around him and in the public eye.

Hard work, when visible, can't help but make a positive impact.

Martin also attended gatherings with industry veterans through his connections with Warren Beatty and Annette Bening, closely observing their behavior and seeking acting advice, earning him respect among the Academy's seasoned professionals.

In the realm of human interaction, first impressions play a significant role; if that initial impression is favorable, it often colors all subsequent interactions, and Martin Davis was the embodiment of the former. On the other hand, if the first impression is unfavorable, subsequent interactions can feel uncomfortable, much like Leonardo DiCaprio's case.

Ivan was diligent in capturing Martin's dedication through timely photographs, which were shared through the media.

Martin also enjoyed a positive reputation among critics in Los Angeles.

In mid-September, Thomas successfully concluded negotiations for Martin's acting contract, securing a two-part compensation. The actor's salary was set at $14 million, commensurate with his current stature.

Additionally, they inked a compensation clause: if the North American box office for the film in which he starred exceeded $250 million before the release of "Benjamin," the crew would pay an additional $2 million. Should the North American box office surpass $500 million, the crew would further compensate him with an extra $3 million.

In essence, the crew hoped for one of Martin's two upcoming films to become a box office sensation.