Chapter 626: The Perfect Plan!

In the bustling confines of Pacific Pictures, Louise perused the project plan for "Argo", her black-rimmed glasses perched atop her head. She lowered them, rubbed the corners of her eyes, and turned to Martin, who sat across from her. "Are you overly optimistic about this project?" she inquired, a faint grin tugging at the corners of her lips.

Martin leaned back, a confident smirk playing on his lips. "At the Oscar level, this film is politically astute; on a market level, it's the stuff of legends—an audacious CIA escape from the heart of Tehran. Real-life drama with a Hollywood twist. Movies wouldn't dare touch it for fear of being called out for lack of imagination."

Louise chuckled softly. "Reality often outstrips fiction in its audacity."

Indeed, without the factual backbone, "Argo" would face harsh critique from both audiences and critics alike.

Martin leaned forward, his tone earnest. "But I believe this film not only has commercial viability but also aligns with our strategic goals."

A knock interrupted their conversation, and their assistant entered, announcing, "Mr. Graham King is here."

Martin and Louise rose to greet him as he entered.

As Graham stepped off the elevator, he spotted Martin and Louise, exchanging handshakes before heading into the reception room together.

Martin wasted no time. "Have you settled on the male lead yet?"

Graham, familiar with Martin's style, handed over the script. "Director, actors, investment—nothing's finalized yet. A few actors have expressed interest, but filming won't commence until the latter half of next year."

Martin skimmed the script. "Financially, Louise and I can cover most of it."

Graham understood—their involvement meant more than just money; it meant credibility and leverage.

With funding and casting on the table, along with their proven track record, the project's viability seemed assured.

Graham grinned. "With you two onboard, most of our problems vanish. How could I say no?"

Louise jumped in. "Why don't we co-invest in production?"

Graham's GK Films Co., while not a major player, still held sway. Louise's proposal was met with an immediate nod. "Send someone over to negotiate a deal with my company."

Louise glanced at Martin, who nodded subtly, confirming his approval.

"We'll have someone there this afternoon," she confirmed.

Martin, ever the meticulous planner, added, "And for the 'Prince of Thieves' project, we need you as producer."

Graham readily agreed. "Consider it done. My schedule's tight, possibly not until 2012."

Martin mirrored the sentiment, juggling commitments for next year's slate of films, including "The Martian" and "Argo." "Likewise. Let's aim for 2012."

With the major details settled, they left the finer points to their teams, confident in their partnership's success.

The trio engaged in lively discussion, eventually turning their attention to the crucial role of the director.

Graham sighed, "Originally, I had Spielberg in mind, but his schedule was tied up with 'Lincoln', and his fee was exorbitant."

Martin nodded thoughtfully. "While Spielberg's talent is undeniable, his hefty price tag often means most of the profits end up in his pocket."

Graham lamented, "Scorsese expressed interest, but the theme isn't his usual forte, and finding a suitable replacement is proving challenging."

They weren't just actors and producers; they were shrewd businessmen, keenly aware of the financial implications of their choices, including the director.

Martin interjected, "What about David Fincher?"

Graham nodded, "Certainly worth considering. I'll reach out to him."

Louise chimed in, "Fincher's skill is unquestionable. It all hinges on his availability."

Martin made a mental note, "I'll meet with him this afternoon to gauge his interest."

Graham concurred, "If he's keen, we'll discuss the specifics of collaboration."

After their discussion, Graham bid farewell and departed.

As Graham left Pacific Pictures, he received a call from Matt Damon.

"Hey Matt, what's up?" Graham greeted.

Matt Damon's voice crackled through the line, "I stumbled upon a project at the agency, 'Argo', based on a real CIA rescue operation. Heard your project is casting for a male lead. Any chance?"

He added, "I've got firsthand experience dealing with the CIA. I know their modus operandi inside out."

Graham regretted the timing. "Matt, we've already secured someone for the lead role."

But Matt Damon persisted, "Who's got the role? Let me have a word with them."

Graham sighed internally. Hollywood power plays were commonplace. He divulged, "Martin Davis and Louise Mayer of Pacific Pictures have finalized the deal."

Silence followed on Matt Damon's end.

"Let's catch up over a drink sometime," Graham offered before ending the call.

Meanwhile, in his Brentwood mansion, Matt Damon slammed down the phone.

His concerned agent inquired, "What's wrong? What did Graham King say?"

Matt Damon grumbled, "Martin Davis swooped in and snagged the project."

The agent pressed, "No chance of a comeback? This project's a goldmine, Matt. It's based on a real-life saga, bound to captivate audiences..."

Matt Damon cut him off. "Enough. We're backing off."

The agent furrowed his brow, "Giving up so easily?"

Matt Damon's tone turned serious. "Remember this: we steer clear of any project involving Martin Davis. No competition. Understood?"

The agent nodded solemnly, "Crystal clear."

With a heavy heart, Matt Damon discarded the project materials, watching as they landed in the trash.

As the agent bid farewell, Matt Damon stood before a framed photo of himself with Ben and Casey Affleck, lost in thought.

In the frame, three brothers stood united, their bond unbreakable despite the trials they faced.

It wasn't that Matt Damon lacked strategies; it was the formidable adversaries they faced.

Harvey Weinstein, in particular, seemed like a lost cause, and Matt had long abandoned any hope of dealing with him.

The core of the Foot Gang now comprised Matt Damon, Quentin Tarantino, and Robert Rodriguez.

While Quentin and Robert focused on their filmmaking, steering clear of trouble, Matt had witnessed firsthand the ruthlessness of the Face Gang led by Martin Davis. He was determined not to fall into the same traps as his colleagues.

Muttering to himself, Matt reflected, "I can't afford to cross him. I'll just have to steer clear."

From that moment on, Matt resolved to steer clear of any project that piqued Martin Davis's interest.

...

Pasadena, California Institute of Technology.

Fresh from a promotional roadshow for "Gone Girl," Martin approached David Fincher. "Got a new project for you. Care to take a peek?"

Having collaborated with Martin before, David knew the offer was worth considering. "What's on the table?"

At a juncture when David was eyeing Oscars, Martin handed him the script for "Argo," touting its potential for award recognition and its basis in a legendary real-life incident.

David delved into the script, captivated by the sensational rescue story involving fake Hollywood crews. After perusing it, he remarked, "Well-written script. The rescue operation itself is ripe with drama and intrigue."

He inquired, "Planning to cast the lead role of Tony Mendes?"

Martin nodded. "Pretty much confirmed. We've got funding lined up from GK Pictures, Pacific Pictures, and my studio. Just need a director."

"When's the shooting schedule?" David asked.

"Second half of next year," Martin replied.

David nodded in agreement. "Sounds doable."

Curious, Martin asked, "Got any projects of your own in the pipeline?"

David closed the script with a smile. "You probably won't find it intriguing. Netflix is eyeing a political thriller based on a British drama. They've tapped me to direct and produce."

Martin recognized the project as "House of Cards." "You didn't take it?"

David chuckled. "Couldn't resist. Netflix made an offer I couldn't refuse."

Martin acknowledged, "Money talks."

"Indeed," David agreed. "Without it, even the best filmmakers are left empty-handed." He gestured to the script. "Leave this with me. When the project's greenlit, have Louise negotiate the director's contract."

With Martin's rising status in Hollywood, securing a director for the project was no longer the arduous task it once was.