Chapter 121: William Morris

At the end of their regular Monday partner meeting, the executives at William Morris Associates (WMA) gathered to discuss important customer matters, and the conversation shifted toward potential clients.

Sharon, responsible for daily affairs coordination, signaled to her assistant, who promptly connected a projector to her laptop.

Sharon opened the Saturn Awards news and began, "Martin Davis, our level-six client, secured the Saturn Award for Best Young Actor last weekend. His achievement has garnered significant attention in entertainment newspapers and online media, and he has influential backers supporting his rise."

Ali Emmanuel, a co-partner, inquired, "Have we utilized the company's resources?"

"Very minimally," Sharon replied, "Other than his agent, Thomas, no other company resources have been employed."

Ali directed his gaze at the projector screen and asked, "How did he secure the award?"

Sharon clicked her mouse, revealing an image of Wes Craven. She explained, "Martin invited Craven to his private party, and he got Craven's endorsement."

Jim Witt, another co-partner, chimed in, "Louise Meyer from Pacific Pictures recommended him to us. Martin starred in the theatrical movie 'Zombie Stripper,' which earned him recognition among our level-six clients."

According to WMA's internal rules, actors who have taken on at least one significant role in a theatrical movie or TV series can qualify as level-six clients. This strict criterion excludes the majority of actors in the industry.

Level-six clients are often referred to as actors within WMA, and they are actors who have exclusive managers. Above them are well-known actors, celebrities, famous stars, superstars, and super giants, each categorized based on their salary, influence, and power. Resource allocation is clearly defined, with clients who can pay higher fees receiving premium resources.

WMA currently doesn't have any super giants. Its most prominent clients include Michael Bay and Clint Eastwood.

Ali remarked, "I know that newcomer Thomas may not have been capable of handling Craven. This young man must have some tricks up his sleeve."

Sharon, meticulous as always, explained, "Martin also played the lead role in 'House of Wax,' although the film hasn't been released yet. I spoke with the producer, Susan, and the director, Jaume, who praised Martin's acting skills and his ability to build strong relationships."

Ali concluded, "With both talent and connections, we should elevate Martin to level five, granting him priority access to level-five resources."

In less than two minutes, the discussion about Martin concluded. While potential clients were given consideration, their ascent within the ranks depended on various factors, including luck.

Sharon then introduced the real star of their new clients, Blake Lively.

The men engaged in a nearly ten-minute discussion as Ernie Lively, her father, helped her carry a platter.

WMA aimed to include as many clients as possible in this elite circle.

After the meeting, Sharon made a call to Thomas and exchanged a few words with him.

Within the office partition, Thomas couldn't contain his excitement, getting one step closer to securing an independent office. He glanced up at the mirror, noticing what appeared to be a receding hairline. A few hairs fell onto his desk, which he quickly brushed away.

While Thomas was filled with enthusiasm, he took a deep breath, picked up his phone, and dialed Martin's number. "Come to the office; we've got some good news."

Half an hour later, Martin arrived in the office partition.

Thomas had just printed out a thick stack of documents retrieved from the company's internal system. Martin glanced at them and recognized they were emails regarding potential acting roles sent by various production teams.

"Pour yourself some water," Thomas said, his excitement still evident as he involuntarily shook his head and more hair fell. He began by sharing the latest development. "Winning the Best Young Actor Award has made the company highly prioritize you. Your client level has been elevated to level five, granting you priority access to level-five resources. For many roles falling within this level, the company will recommend you as the top choice."

Martin, well aware of the industry dynamics, inquired, "Do you have any promising character recommendations?"

Thomas handed him a printout eagerly and said, "There's a project from Castle Rock Pictures called 'Crazy Hostages,' which features dual protagonists." Martin perused the documents, which included simple scripts, character descriptions, and introductions. However, nothing struck a chord with him.

This project was meticulously chosen by Thomas. He explained, "The production budget is $8 million, and it's a family entertainment genre. I anticipate the salary won't be less than $300,000. There's always a market for family entertainment."

Martin closed the printout and questioned, "Are you certain that a group of adults wielding weapons is a suitable theme for family-friendly entertainment? Is it Disneyland material?"

Thomas asked, "What's the concern?"

"I have reservations," Martin replied and picked up another printout, a project from Universal Pictures.

Thomas added, "George Romero plans to remake Land of the Living Dead, and this is one of the lead roles. Competition might be intense."

For Martin, his sole recollection of the film was zombies watching fireworks. He put the project aside.

Thomas, not in a rush to decide, handed Martin another option. "Dimension Pictures has a project titled 'The Brothers Grimm,' within the fantasy genre, with overseas financing mainly from Germany. It features a dual protagonist setup, with Matt Damon confirmed for the first lead and plans to cast a newcomer actor for the second lead."

Martin promptly declined, saying, "Fantasy films are a pass for me."

He cited Louise's advice about Germany being a hub for Hollywood money laundering, hinting at questionable investments in such projects. Thomas pointed out, "The success of 'Lord of the Rings' has sparked a fantasy craze."

Martin countered, "Have you seen the box office and reviews for 'Van Helsing,' released earlier this month? It's been two weeks now, and it's not doing well. I simply have no interest in fantasy and epic genres."

Thomas warned, "You might miss out on many opportunities."

Martin preferred not to argue further, stating, "I trust Louise Meyer's judgment."

Thomas, attempting to push his point, mentioned, "But she invested in 'Alexander the Great.'"

Martin's response cut like a knife, "Louise already regrets that decision. When it comes to film selection, I trust the expertise of a producer." The implication was clear, leaving Thomas without a retort. Compared to film selection, most agents couldn't match the knowledge and experience of producers who dealt directly with the market.

Thomas conceded, "It's a good thing to be selective, but our options are limited."

Martin nodded, asking, "Are these the only ones?"

"For now, these are the ones we can call lead roles," Thomas replied. "It's unlikely we can recruit actors for simultaneous film projects over the next two years. Some crews or companies seldom collaborate with WMA."

Martin grasped the situation, saying, "So, by the time we're considering them, it's usually the roles left after the stars have chosen."

Thomas agreed, "That's right. The remaining roles are all supporting characters. Our two major director clients, Michael Bay and Clint Eastwood, are casting for supporting roles in their upcoming films."

These films were titled "The Island" and "Million Dollar Baby," respectively. Martin knew that securing a minor supporting role in such films wouldn't propel his career unless the paycheck was substantial, which was unlikely.

Thomas noticed that the company's system had updated with new projects and roles automatically pushed to his OA. He eagerly showed Martin, "There's a project looking for young actors, with Blake Lively confirmed as the leading actress. It's called 'The Sisterhood of the Traveling Pants,' adapted from Brashers' novel."

Martin recalled this film as a girl-centric story, and he questioned, "Two male characters?"

Thomas clarified, "One is a football coach, and the other is a Greek guy." His surprise grew, "But the budget is $25 million!" The mention of the budget piqued Martin's interest, and he remarked, "If the role pays well, sign me up. I've been struggling financially lately. But if the pay is low, forget it."

Thomas took note and asked, "Do you think there are suitable roles for the others?"

Martin expressed his difficulty in finding fitting roles. While there were many opportunities, the quality and potential pitfalls concerned him. Movie success rates were already relatively low, and navigating these challenges wasn't easy.

Thomas pointed out, "Projects with higher investments naturally look for celebrities with strong appeal."

"In 'The Sisterhood of the Traveling Pants ,' pay zmattention to the pay," Martin warned. He then invited Thomas, "If you have time tonight, come with me to a party."

Thomas, hesitating for a moment, explained, "I have a prior engagement with a lady."

Martin sighed, revealing, "Wes Craven has invited me, along with French director Alexandre Aja, to discuss a script. It's a horror movie where I'd be the absolute protagonist."

Thomas hadn't heard about this before and was somewhat taken aback. Martin clarified, "The story is a product of two directors' creative collision, and until they finalize the framework, everything is uncertain. They also brought their agents, so it would seem unreasonable if I didn't bring mine. It's a matter of respect."

Thomas was slightly embarrassed but agreed, "I'll go then." He realized he'd been a bit too carried away and had to accept the reality of the situation.

Seeing Thomas had calmed down, Martin said, "Let's continue reviewing."