Chapter 830: Legal Arson!

In the bustling lobby lounge of the Burbank Hotel, Ivan leisurely flipped through the pages of his newspaper, occasionally taking a sip of his steaming coffee. His demeanor was relaxed, yet his sharp eyes tracked every person emerging from the elevator with keen interest.

Suddenly, a familiar face caught his attention. Ivan's heart skipped a beat as he recognized the man stepping out of the elevator. He had seen this man's photograph countless times in his briefings. This was no ordinary guest; this was Kevin Tsujihara, the CEO and chairman of Warner Bros. Bruce had emphasized keeping an eye on him, mentioning his name more frequently of late.

Ivan discreetly reached for his cell phone, turning on the camera. He positioned it subtly and snapped a few covert photos of Tsujihara, who, curiously, was without his usual entourage. As Tsujihara walked alone through the lobby and exited the hotel, Ivan quickly folded his newspaper, pocketed his phone, and merged with the departing crowd to follow him outside.

On the street, Ivan watched as Tsujihara got into an unremarkable car and drove off. Not missing a beat, Ivan captured a few more photos before his phone buzzed in his pocket.

"It's me," he answered.

"Charlotte just drove the BMW out of the parking lot," Luke's voice crackled over the line.

Ivan's instincts, honed by years as a part-time paparazzo, tingled. The connection between Tsujihara and Charlotte Kirk, whom Bruce had mentioned, seemed to be falling into place. Had their rendezvous ended with each leaving separately to avoid suspicion?

A few minutes later, Ivan slipped into the car Luke drove up to the exit of the underground parking lot. They exchanged hurried updates and reviewed the photos they had taken.

"It seems highly likely it was Kevin Tsujihara," Luke mused, scanning the images. "Your intel about Charlotte Kirk being introduced to Nolan's crew by Charles Roven fits. If it wasn't Roven's personal doing, it must involve higher-ups at Warner."

Ivan interrupted, his mind racing. "Your theory makes sense. Hold on, I need to check something."

The car idled in a nearby parking lot as Ivan made a call. After a few tense moments, his phone vibrated again.

"The suite is one of Warner Bros.' long-term hospitality rooms in Burbank. That's all I could find out," the voice on the other end informed him.

"Thanks. I'll get your information fee to you next time," Ivan replied, jotting down the details.

With the call ended, Ivan meticulously organized his notes, photos, and videos, uploading them to his email. He typed out the message, included the latest information, and hit send.

Luke, stretching his arms, sighed with relief. "Is this job done?"

Ivan nodded. "Yes, let's get some rest."

Luke started the car, navigating through the quiet streets. "I wish all our jobs were like this, less work, more pay, quick turnaround."

Ivan, feeling the exhaustion from the previous night, grumbled, "Enough chatter, let's get some sleep."

...

At the Gray Center for Film and Television in Atlanta, the atmosphere was electric despite no scheduled scenes for the male lead. Martin had still come to the studio, eager to soak up every bit of knowledge from the legendary director Christopher Nolan.

Martin observed quietly, striving not to disrupt Nolan's workflow. The production was a hive of activity, with models being constantly constructed to meet Nolan's insistence on practical effects, even for deep space scenes. The prop team buzzed around, either building or sourcing materials for the elaborate sets.

Nolan's discussions with the crew's scientific consultant, Kip Thorne, often grew animated as they debated the portrayal of space and black holes, striving for both scientific accuracy and cinematic awe. Martin watched intently, recognizing the rare opportunity to witness such a collaboration firsthand, determined to learn from every moment.

Christopher Nolan never envisioned crafting a pure hard science fiction film. To him, every element had to serve the overarching theme of the story.

During a break, he absently fiddled with a black hole model and remarked to Martin, "On one side, we have wormholes and relativity, and on the other, the needs of the film. Sometimes a director has to make tough choices."

Martin nodded thoughtfully. "It can't contradict established laws of physics. All our creativity must be grounded in science, not just the screenwriter's imagination. That's quite a challenge."

He looked at Nolan with genuine curiosity. "How do you plan to balance it?"

"By ensuring we respect the laws of physics while simplifying complex concepts so the audience can grasp them," Nolan explained. "As a commercial director, my goal is to serve the film's theme, after all."

Martin grasped the essence of Nolan's approach. "Even if the movie seems like hard science fiction with wormholes, black holes, space adventures, and multi-dimensional space, at its core, it's about family and love."

Nolan nodded. "Exactly. Science and theory are merely vessels to convey emotions. We're using a hard exterior to protect the softest emotions. Because of this, our film won't be as austere as '2001: A Space Odyssey'; it will have richer emotional depth."

He continued, "As a director, you need to understand your strengths and what you wish to express with your film. Identify if there's a market and audience for it, and let everything else serve that purpose. This clarity will guide your work."

Martin felt a surge of inspiration. "That's incredibly insightful, Chris. Thank you."

Nolan waved off the gratitude. "It's nothing. With experience, you'll figure it out yourself."

Martin knew that while the principle was simple, achieving that clarity could be elusive.

As the prop masters reset the model on the set, filming resumed.

After the day's shoot, Martin retreated to his trailer and took out his notebook to jot down his thoughts from the morning.

Meanwhile, Bruce checked his phone and found a new email. Opening it quickly, he said, "There's news from Charlotte Kirk."

Martin, twirling his pen, looked up. "Tell me about it."

Bruce detailed the update. "Ivan followed Charlotte Kirk for two days. This afternoon, he spotted her at the Burbank Hotel, seemingly in a tryst. After a while, he saw Kevin Tsujihara, Warner Bros. CEO and chairman, exiting through another door of the hotel."

Martin paused his writing, eyebrows raised. "Kevin Tsujihara? Are you sure?"

"Ivan isn't completely certain," Bruce admitted, scanning the email. "But Ivan and his assistant captured footage of both Tsujihara and Charlotte Kirk leaving the hotel within minutes of each other. Moreover, the suite Charlotte entered is a long-term Warner Bros. suite."

Martin leaned back, pondering. "One coincidence might be just that, but two linked events are more telling. The person behind Charlotte is likely Tsujihara."

He recalled Charles Roven's odd behavior and tone the other day. "Given Tsujihara's position, it would be difficult for Roven to assign Charlotte an insignificant role in the crew."

Bruce nodded in agreement. "It's a minor issue, and Charles can likely guess the reason upon seeing Charlotte."

He handed Martin the phone with the photos Ivan had sent.

Martin glanced through them quickly. "So, the secret filming directly implicates Tsujihara?"

Bruce pondered for a moment and, channeling Judy's pragmatic approach, said, "Do you really think Charlotte and Kevin Tsujihara have no connection in Hollywood? That's hard to believe."

Martin chuckled, shaking his head. "Are you suggesting we're living in a fantasy film plot?"

Bruce shrugged, his expression serious. "Jon Berg, the former president of Warner Bros. who you had a hand in ousting, is Kevin Tsujihara's brother-in-law. Tsujihara and his siblings are reportedly very close. This compact guy from the island nation might be quietly gathering dirt on you."

Bruce leaned forward, lowering his voice. "If you hadn't found that hidden camera that day and couldn't resist being with Charlotte, and she later accused you, it would have caused a lot of trouble for you, especially in today's unpredictable social climate."

Martin sighed deeply. "Why can't Warner's management just focus on running the business?"

Bruce laughed. "What fun would that be if we didn't stir the pot every now and then?"

Martin handed the phone back to Bruce and reclined on the sofa, his mind drifting to his experiences with Warner Bros. What struck him most was how Warner's leadership had botched their prime opportunities by interfering directly with film productions, bypassing producers, and micromanaging crews. It wasn't just one executive team but several, each meddling at different times, leaving directors perpetually frustrated.

Despite these issues, Warner Bros.' vast resources allowed it to survive the chaos. A smaller company would have crumbled under such mismanagement. Other Hollywood studios had their own tales of woe, like Disney, which struggled after Robert Iger's departure.

But Warner Bros.' failures were spectacular, investing billions over more than a decade and still missing their goals. The losers in this saga were destined for the hall of shame, continuously criticized and condemned.

Kevin Tsujihara was undoubtedly the face of Warner's troubled leadership. Martin recalled that Tsujihara was still CEO around 2020, but then his reign ended abruptly. The official reason given by the media was a scandal involving an affair with an actress, leading to his resignation.

However, Martin knew that attributing the downfall of a Hollywood leader to a mere affair was overly simplistic. Tsujihara's cheating scandal might have been the public excuse, but it was likely his performance that led to his downfall. Warner Bros. was faltering under his leadership, mired in problems brought on by its own management.

Martin speculated whether Charlotte Kirk had played a part in forcing Tsujihara to resign. If so, it added an intriguing twist to the story.

He recalled reading something in a past life, perhaps an interview with a woman involved. One statement had stuck with him, especially because it mentioned the film "Wonder Woman." The woman claimed that Tsujihara had promised her the role of Wonder Woman, but she realized she'd been deceived when Zack Snyder announced Gal Gadot as Diana.

That detail, Martin mused, might be the key to understanding the entire saga.

Seeing Martin lost in thought, Bruce waited patiently, respecting his friend's need for contemplation.

After a few moments, Martin's eyes focused, and he turned to Bruce. "Bruce, we need to keep a closer eye on Charlotte, especially her interactions with Kevin Tsujihara. We must be prepared to counter any moves Tsujihara makes against us. He's the CEO of one of Hollywood's big six studios, after all."

Bruce nodded, fully understanding the gravity of the situation.

Martin paused, gathering his thoughts before continuing. "Also, get someone to investigate if Charlotte Kirk ever auditioned for Wonder Woman or had any involvement with the character."

"I think I've heard something about that," Bruce replied, pulling out his phone. "I'll make a call and see what I can find out."

Bruce made the call, speaking in hushed tones. It wasn't long before his phone rang again. After a brief conversation, he relayed the information to Martin. "Apparently, there was talk among the crew about the Wonder Woman casting. I asked around, and it seems the rumor started with Charlotte Kirk."

Martin, as one of the senior members of the crew, often missed the lower-level gossip. "What was the rumor?"

"Charlotte claimed she auditioned for Wonder Woman and made it to the third round. She said Gal Gadot swooped in and took the role through underhanded means," Bruce explained.

He added, "Of course, most of these claims are exaggerated. Landing a major role like that usually involves more than just a personal connection."

Martin nodded in agreement. "It's tough to secure a pivotal role in a high-stakes project just through a fling. The financial risk is too great for a project worth tens or hundreds of millions."

He considered this for a moment. "Send a few people to shadow Charlotte. Monitor her daily activities, especially her interactions with Tsujihara."

Bruce acknowledged the directive, knowing it was his responsibility to manage the details.

As the filming of "Interstellar" in Atlanta neared its conclusion, the crew moved back to the farm to shoot the final exterior scenes in the cornfield. Jessica Chastain rejoined them for this segment.

In one intense scene, her character leads a group to set fire to a blighted cornfield, forcing her sick brother and his family off the farm. Nolan insisted on using real fire for authenticity.

The excitement among the crew was palpable. Even Martin, who usually remained behind the scenes, was eager to participate in this dramatic sequence.

To safely manage the blaze, the crew had cleared a firebreak around the field. Dressed in protective gear, Martin, Bruce, and others carried gasoline barrels to the edge of the cornfield.

Jessica Chastain, holding a freshly picked ear of corn, examined the tender kernels. "In a month, this corn would be ready for harvest. Selling 300 acres of corn could bring in a substantial income."

Martin grinned. "We're a film crew, not farmers."

The crew measured the wind direction meticulously. Nolan, standing on a makeshift platform, raised a megaphone. "Clear the area! We start filming in three minutes."

Martin donned his helmet, securing it tightly.

Nearby, several extras followed suit, putting on dust helmets. The anticipation grew as they prepared for the controlled inferno that was about to unfold.

As the script supervisor hit the clapboard, the filming began with a burst of energy. Extras dashed to the cornfield, each carrying oil drums. Positioned about 20 meters apart, they poured fuel onto the corn plants, creating a network of potential flames.

Martin, after emptying his oil drum, tossed it aside and pulled out a firework stick from his waist. He twisted it until sparks flew and hurled it into the cornfield. In an instant, the flames roared to life, spreading rapidly and engulfing large swathes of corn.

Martin, along with the other actors, including Jessica Chastain, quickly retreated to the safety of the firebreak. The fire blazed fiercely, consuming the field in a spectacle of destruction.

Nolan and a portion of the crew observed from a high vantage point, capturing the entire scene. Jessica Chastain, staring at the inferno, seemed both awed and contemplative. "It's incredible," she said to Martin, her voice tinged with amazement. "I can see why some people are drawn to setting fires. There's something oddly satisfying about it."

Martin grinned, deciding to play along. "Maybe you can try it out in your bathroom later."

Jessica's eyes sparkled with mischief. "How about tonight? I could come to your hotel suite and set it ablaze."

Martin adopted a serious tone, though his eyes twinkled. "Then I'll be responsible for putting out the fire."

Jessica laughed. "And how would you do that?"

"With water, of course." Martin patted her hands playfully. "And if we run out of water, I'll make more for you."

Jessica's cheeks flushed a deeper shade of red, and she smiled coyly. "Alright, I'll be waiting for you to quench the flames."

As the fire raged, the heat began to rise. Martin gently guided Jessica back to the trailer, and the convoy slowly drove away from the blaze. Meanwhile, Nolan and his team continued filming the dramatic scenes of the burning field.

This marked the final scene for the crew in Atlanta. Following the shoot, the team took a well-deserved five-day break. Martin chose to stay in Atlanta with Elena instead of returning to Los Angeles.

During this period, Martin participated in a Coca-Cola event. As the lifelong spokesperson for Coca-Cola, he led members of the Coca-Cola fan club from around the world on a tour of the Coca-Cola Memorial Hall and the old park, sharing the brand's rich history.

In August, Martin left Atlanta for London, reuniting with the crew before heading to Iceland to film the final location scenes. Nolan, who had filmed in Iceland multiple times, had a particular fondness for its landscapes.

The film featured two alien planets, both depicted through Iceland's unique scenery. One was an ice planet, described by the crew's scientific consultant and Nobel Prize-winning physicist Kip Thorne as the place where he allowed the greatest artistic freedom.

Filming in Iceland was done entirely on location. Despite wearing a thick space suit, Martin found the cool climate refreshing and not overly burdensome.

During his free time, Martin explored the stunning Icelandic landscape, marveling at the pristine and untouched beauty of the area. The crew's meticulous preparation ensured that filming proceeded smoothly, allowing Martin to complete his scenes in just a week.

After wrapping up in Iceland, Martin returned to London and waited for the official cultural exchange group organized by Washington. This event, aimed at strengthening cultural ties between the United States and Eastern Europe, was particularly important as Martin was preparing for a trip to Kiev.

The selection activity for the Girl Group organized by Alexandrovich was about to reach its final stage, and Martin was eager to participate in this significant cultural event.