Chapter 244: Personal Vendetta

Having a good script or a story template is a fundamental requirement to sway investors, but it's not the only key factor. No film company decides to greenlight a project based solely on a script.

Murphy's Deadpool project is not the typical Hollywood production where a studio sets up a project and then hires a director and other staff - like the major productions of Spider-Man and others, where the project is established first and then writers and directors are recruited. This Hollywood standard is different from Murphy's approach, which is director and producer-driven. Besides the script, a viable plan is essential.

For a director like Murphy, who can't even be considered second-tier, just tossing a script to a film company without a solid rationale wouldn't secure investment.

That's why Murphy prepared a detailed plan for Cara Fess, with a crucial part being the budget proposal, estimating an initial budget of $60 million.

This carefully calculated figure was a result of his previous film successes, making such an investment relatively easy to secure. Moreover, one couldn't expect 20th Century Fox to invest heavily in a not-so-famous superhero like Deadpool.

Murphy's script and plan were sent to CAA (Creative Artists Agency). Leveraging the success of his previous films and Bill Rossis' rising position at CAA, securing CAA's support wasn't too difficult.

At this stage, Murphy also needed CAA's power. For a director at his level, CAA's one-stop package service could save a lot of unnecessary trouble, shorten project preparation time, reduce workload, and allow him to focus more on film production.

After a meeting with Bill Rossis and CAA's film department head Brian Lourd, Murphy agreed to let CAA handle the project.

With CAA's assistance, Cara Fess also had a better chance of securing the film adaptation rights for Deadpool.

Bill Rossis fully supported Cara Fess in her negotiations with the higher-ups at 20th Century Fox.

Additionally, he brought Murphy some other news: Mike, influenced by some people, had gone to seek support from Ridley Scott for another project. Although Mike had no chance of providing packaging services for that project, nor was he qualified, he was still preparing to get deeply involved.

Seeing such a significant project, Mike bet the future of himself and his potential clients on it.

The only exception was Jessica Chastain, who was planning to terminate her contract with Mike and move to another agent at CAA.

Considering various factors, Bill Rossis didn't take on Jessica Chastain but introduced her to another excellent female agent at the company.

Then there was the progress at 20th Century Fox. Cara Fess had officially submitted the project, but it faced obstruction from film production director Dave Scolar. The competition between the two was evident, and his strong opposition was not surprising.

Cara Fess was no pushover. Her current position was due to her own efforts and the appreciation and support of the higher-ups at Fox Group.

Her hand was hovering around two projects led by Dave Scolar: 'X-Men 3' and another project confirmed as 'Kingdom of Heaven'. She seemed ready to snatch a piece from either.

Especially with 'Kingdom of Heaven', Cara Fess had a fierce argument with Dave Scolar about the director and producer of the project in a high-level meeting at 20th Century Fox.

"I don't think it's appropriate to bring in Ridley Scott as the director of the project!" Cara's voice was loud enough to fill every corner of the meeting room. "As a director, Ridley Scott's filming concept and directing ability are unquestionable, but he tends to make market-unfriendly moves in post-production, especially in overly personalized editing. His failures always follow this pattern!"

"I have something to say!" Dave Scolar immediately stood up. "These concerns are unfounded. The production will be controlled by the producer, and Ridley Scott won't have the final editing rights!"

Cara stood her ground. "The producer you proposed is also problematic. Given the huge investment in this project, the producer must be outstanding. I propose Jon Landau!"

Many in the room, including 20th Century Fox CEO Harry Arlens, nodded slightly. Having Jon Landau protect the project would significantly reduce the risk.

Hearing Cara drag in the producer of 'Titanic', Dave Scolar realized his producer choice was no longer viable. In terms of experience, fame, qualification, and ability, the two were leagues apart.

But handing the project to Jon Landau...

Dave Scolar immediately dismissed the idea. Landau was exceptionally assertive. If the project went to him, would Dave still have control?

"Jon Landau has been resting for the past few years and has been out of the market for some time," Dave Scolar said to Cara. "I will personally take charge as the producer of this project, controlling every step of the production!"

Cara pretended to be caught off guard, her brief smirk of contempt barely noticeable. "I still think Ridley Scott isn't suitable."

"You're just opposing for the sake of opposing!" Dave Scolar was on the verge of exploding. "What do you know about making films, coming from the news industry?"

"I admit, I'm not as experienced as you in this area," Cara responded seriously. "But the project's total investment might reach $150 million. We have to be cautious!"

Dave Scolar glared. "You..."

"Enough!" Harry Arlens interrupted before Dave could finish. "Stop arguing!"

Cara and Dave exchanged glances and sat back down.

"The investment in this project is huge," Harry Arlens stated. "Continue with the preliminary research and review."

Dave Scolar's face darkened upon hearing this, and then he saw Cara's triumphant glance. She looked like a victor.

Suppressing his anger and waiting for the meeting to end, Dave Scolar immediately sought Cara Fess.

Standing in the hallway, Cara looked at Dave, slightly tilting her chin up. "What is it?"

"I want to talk to you," Dave Scolar said straightforwardly.

"About the movie project," Cara retorted unapologetically. "I've said all I have to."

As the hall cleared, Dave, holding back his impatience, said in a low voice, "Let's have an open and honest talk."

Cara hesitated, then replied, "Come to my office."

Leading the way, she entered her office, followed by Dave. She pointed to the sofa but sat down in her chair without paying him much attention, sharp and dismissive.

Dave frowned but didn't comment. He was there to solve a problem, not to have his project indefinitely delayed.

"You're only making other departments look down on our production department," he said, standing across the table, domineering like a superior reprimanding a subordinate.

"Performance is the only thing that represents a department's capabilities," Cara said unaffected. "Nothing else."

Dave spoke in a low voice. "What do you want?"

"I don't want anything," Cara spread her hands, shrugged playfully, and said matter-of-factly, "You vehemently oppose my project, create obstacles at every turn. I just have to follow your approach."

"You want the film rights to Deadpool?" Dave scoffed. "You're naive. Murphy Stanton, a Cult film director, directing a superhero movie is absurd! He'll ruin Deadpool, ruin X-Men, and impact the entire company!"

"Don't be so righteous," Cara said carelessly. "We both know it's not about the company's interest, but a personal vendetta."

They were at odds - one aiming for a higher position, the other not willing to relinquish his.

Unwilling to appear weak in front of a woman, Dave said, "As long as I'm the director, forget about Deadpool."

"Oh…" Cara smiled. "Then 'Kingdom of Heaven' will also be indefinitely postponed."

Before Dave could respond, she added, "I don't mind. 'Deadpool' is just a small project, with an expected investment of only around $60 million. Murphy is full of dark ideas; Deadpool is just his attempt at a superhero film. Miramax is still eagerly inviting him to direct 'Sin City 2'. With my relationship with him, getting 20th Century Fox a stake in it won't be difficult."

"And your project?" Cara's tone was unmistakably mocking. "Total investment around $150 million? Expected North American box office of $300 million? Global projection of $800 million? With your credentials and contributions to the X-Men series, if you can make this film a huge success, even advancing to Executive CEO of Fox or another position seems possible…"

She stood up, her gaze casually drifting over Dave. "Are you really planning to trade my small project for such a big one?"

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