Seeing Potential

Because 20th Century Fox had slotted "Phone Booth" into the spring release window as a filler, Aaron knew they would not place much importance on it.

There was only one month left until release, but Aaron still had to get Nicolas Cage to cooperate with 20th Century Fox's promotional work. He was the film's only selling point!

With the Oscars approaching, the Directors Guild Award, Writers Guild Award, and BAFTA Awards, all seen as bellwethers, would soon be held.

And because Aaron Anderson had produced "Phone Booth," he had also joined the Hollywood Film and Television Producers Alliance.

As it happened, the Producers Guild was also holding the first-ever Producers Guild Awards this year.

Of Hollywood's major guilds, only the Actors Guild Award was still missing. But it probably would not be long before it appeared as well.

Inside the Wilton Theatre on Santa Monica Boulevard in Hollywood, 20th Century Fox had arranged a test screening for "Phone Booth."

Aaron and director David Fincher sat among the audience, speaking quietly.

"Look, for most of the film, the audience is in a state of intense tension."

"That's exactly the effect we needed!"

Naturally, David Fincher attached great importance to his first film. Looking around, he found the feeling truly wonderful.

He smiled. "Not bad. We probably didn't disappoint the audience."

Aaron nodded. "That alone proves that our 'Phone Booth' can stand alongside other first-rate suspense films!"

"First-rate?"

"That's right. Have confidence in yourself. Once the film is released, you'll be a genuine Hollywood director!"

Strictly speaking, the script for "Phone Booth" could only be considered above average. But it won on novelty and uniqueness.

On top of that, director David Fincher and actor Nicolas Cage had absolutely first-rate control over the pacing of the entire film.

Even from the perspective of its theme, "Phone Booth" did not offer much that provoked deep reflection, but it was still undeniably a good film!

Quentin Tarantino played the killer in "Phone Booth." Though the guy only appeared on screen for three minutes, he really did seem born with a deranged streak.

His neurotic voice suited the film's theme perfectly.

"By the way, David, you've read the script for my 'Ghost.' How can we achieve satisfying special effects with the least amount of money?"

David Fincher had previously worked at Lucas's Industrial Light & Magic effects company, so he had some authority on the matter.

"Ghost" was nothing like "Terminator 2: Judgment Day." They had to save money!

"You want to enrich the story by expanding on the idea of humans and ghosts. That actually won't cost much. You can add some visual effects to support it."

A couple of days ago, Aaron Anderson had given him a romance script to read, a story about love between a human and a ghost!

"Aaron, are you starting production on a new film?"

"Yes. I've had the idea for a long time, but it wasn't easy to put into practice. This year, it should be possible."

Aaron had already sent the script to director Edward Zwick and was waiting for his reply.

As for the male lead, Kevin Costner seemed to have just finished filming "Dances with Wolves."

He was currently promoting the action film "Revenge," directed by Tony Scott!

Once he settled things with Edward Zwick, Aaron would contact Kevin Costner immediately.

The test screening response for "Phone Booth" had been fairly good, but 20th Century Fox had not arranged many screenings.

That night, Aaron met Jack Wells at a bar in West Hollywood. "This conventional publicity approach doesn't seem very effective."

"Then should we bring in more film critics to recommend it?"

"Forget it. Critics with status charge a lot, and getting them to praise it in high-circulation newspapers isn't cheap either." Aaron took a sip of his drink. This was the era of newspapers, radio, and television; paid promoters did not cost any less than they would in the internet age.

"By the way, when I went to 20th Century Fox yesterday, I saw producer John Hughes."

"What's the situation with the film he's developing, 'Home Alone'?"

John Hughes was a CAA client with contracts as both a director and producer. He was best at developing children's and teen comedy films.

"Oh, it's a Christmas comedy. It was originally supposed to be made with Warner Bros., but after John Hughes brought in Chris Columbus to direct, the production budget increased."

"Warner Bros. chose to pull out, so John Hughes turned to 20th Century Fox!"

For "Home Alone," Warner Bros. had set a maximum budget of no more than thirteen million dollars, while 20th Century Fox directly raised it to eighteen million.

"That kid, Macaulay Culkin, seems very promising," Aaron reminded him.

Jack Wells naturally understood what his good friend meant. Shaking his head, he said, "That child actor already starred in a comedy directed by Hughes last year."

"Besides, Macaulay Culkin's agents are his parents. For the male lead of an eighteen-million-dollar production, plenty of agents will be fighting over him."

Aaron froze for a moment, then said awkwardly, "True enough!"

Aaron had only stumbled across the "Home Alone" project by chance and asked around about it.

He had hoped to see whether Jack Wells could get a big-name client under his belt, but apparently that would not work.

"Aaron, you know me. I'm not good at judging scripts. At CAA, I'm only suited for work like being an artist's assistant."

"Also, I've already spoken with Kevin Costner's Assistant Agent. Next, I'll be Kevin Costner's assistant and driver for a while!"

Aaron raised an eyebrow. "Want to add bodyguard duties too?"

"A non-professional bodyguard, sure. Just like the work we used to do!"

Earlier, Aaron had worked as Paula Wagner's assistant, with a bit of protection involved as well. But since she was not a star, Aaron's work had mainly been as an assistant and driver.

"Doesn't sound like it has much of a future."

"What else can I do? CAA pays well. It's not like I can go join a gang."

Jack Wells, like Aaron, had only finished high school. Gang culture was rampant in Los Angeles now!

"Gangs have no future?" Aaron leaned back on the sofa and rubbed his chin. Jack Wells's father had been a bounty hunter when he was younger.

Jack Wells himself was quite familiar with firearms now. Otherwise, Aaron would not have been so close to him.

"How about a security company? Recruit retired special forces soldiers and the like to protect rich people." The more Aaron thought about it, the more potential he saw.

"Come on, I'll be rich someday too. I'll need bodyguards to protect me!"

Jack Wells's eyes widened. "You need someone else to protect you?"

How could he not know how formidable Aaron Anderson was? Three or five burly men could not even get close to him. He was strong, and his physical condition was top-notch!

Aaron raised one finger. "No matter how good you are at fighting, one bullet takes you down."

"Uh, that's true. No wonder you're so obsessed with firearms. When we have time, we can go hunting together and let you properly experience the power of weapons!"

Shooting at targets could not convey the appeal of firearms.

"Sounds good. When I have money someday, I'll fund you to start a security company. Make it bigger and stronger, then go international..."