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Behind The Spotlight

Chapter 61 New
Behind The Spotlight Chapter 61

Lawrence gazed out the airplane window and saw nothing but clouds and the endless stretch of blue ocean beneath the sky. He had purchased a business class ticket to Bora Bora, not for a vacation, but for work. Still, considering the paradise-worthy location, he hoped to find a little time to enjoy the island between filming days.

Most of the production crew for Passionate Island had already arrived in Bora Bora days earlier to scout locations and set up filming equipment.

Originally, Director Thomas Summerbelt intended to shoot the movie in Hawaii, specifically in Maui, which perfectly matched the scenery he envisioned. However, due to tax complications and local regulations regarding content approval, the production was forced to relocate. They needed a location that could capture the same cinematic essence, and among the few international islands that met the criteria, Bora Bora stood out with its crystal-clear waters and picturesque beaches.

Municipal officials in Maui were uncomfortable with the plot of Passionate Island, concerned about its themes and tone. They feared the movie might bring controversy or bad press to their island. Even though the production promised to highlight Maui's beauty, the authorities ultimately refused permission to film there.

Lawrence had already wrapped up most of his business in the U.S. and flew to Bora Bora with all his luggage, script, and dedication.

Wyatt had initially wanted Lawrence to join Week On A Cruise Ship, believing he possessed a natural charm and impeccable comedic timing perfect for the film.

Unfortunately, the schedules for Passionate Island and Week On A Cruise Ship overlapped. Even if Lawrence wanted to work on both, he wouldn't have the time for at least six months.

Lawrence knew that if he hadn't passed the audition for Passionate Island, he'd likely be working with Wyatt and the others again, they always welcomed him back. That thought brought him relief. It made him realize he had a professional "home" to return to if other opportunities didn't work out.

With that comforting thought, Lawrence closed his eyes, letting the hum of the plane lull him to sleep.

A few hours later, he stepped off the plane into the warm breeze of Bora Bora and was greeted at a private arrival area where a few familiar faces were already waiting.

Having worked on Passionate Island for a month now, Lawrence had built a connection with the cast, who now felt more like colleagues and friends.

Standing under the shade in casual beachwear was the film's female lead, Ellie Bridget. With shoulder-length blonde hair and brown eyes that sparkled under the tropical sun, she was breathtaking.

The two greeted each other with a warm hug. Their roles in the movie had blurred the line between acting and reality, and they couldn't quite explain the strange connection forming between them. Perhaps they were falling for each other because of their roles or maybe something deeper was beginning to take root.

"Ellie, where's my hug at?" Balthazar's loud voice interrupted the moment. He flashed his usual obnoxious grin and opened his arms expectantly.

Balthazar Harper, the film's producer, had been on the same flight as Lawrence, though they barely interacted onboard. They were seated in the same business class cabin but on opposite aisles.

Ellie smiled professionally but didn't hug Balthazar. Instead, she greeted him with a polite nod, keeping her boundaries firm.

"Well, I'm happy we're in Bora Bora. I heard there are a lot of gorgeous ladies in bikinis here, no shame, just vibes."

Balthazar, unfazed by Ellie's cold treatment, grinned and moved on, licking his lips as he imagined his vacation filled with sun, sea, and women.

"Oh, Kayla! You got here before me, huh? Where's my hug at?"

His face lit up at the sight of Kayla Martin, who was wearing a bikini that left little to the imagination. His thoughts immediately turned vulgar.

The model smiled and hugged him without hesitation. Balthazar laughed and slid his hands down her back until they rested on her ass, squeezing shamelessly. Kayla giggled, treating it like an inside joke between them.

The production crew acted as if nothing happened, it was business as usual. They'd long suspected something going on between Balthazar and Kayla, and this only confirmed it.

.........
......
...

Meanwhile, halfway across the world in the cold office of Uni-versus Pictures, Lawrence's friend was hard at work with a very different kind of script.

Wyatt, as both director and screenwriter of Week On A Cruise Ship, was working with a team of writers to polish the script.

Even though the project had already been approved, the script still had to undergo several rounds of revisions, budgeting, and timeline assessments. Executives needed clarity on investment size, production duration, and post-production details before giving the green light.

Wyatt and Henry were frequently called into meetings to address executive concerns and were slowly building relationships with Uni-versus Pictures staff, especially those in the production department who oversaw every development step.

"Okay, so… the names…"

One of the five writers on the team flipped through the draft with a raised brow.

It was true that Wyatt had undeniable comedic talent and a knack for chaotic brilliance, but he was still new to the game. His dialogue, while funny, sometimes lacked polish by industry standards.

Still, the team agreed that the script was hilarious and needed minimal revisions. Of course, they had to justify their presence, after all, they were paid professionals expected to report progress.

Wyatt wanted to preserve his original voice, so the writers' room had a surprisingly relaxed atmosphere. Most of the time, they simply exchanged opinions on small tweaks and cosmetic improvements.

Like now…

"Wyatt, are we sure we can actually use these names? Teto Pear, Miku Beam, and… Skibidi Toilet? These sound like brainrot meme from the 2020s."

One of the writers shook his head while another chuckled.

"Seriously, aren't we asking for a copyright infringement? If this were a novel, the author who used those names would be crucified for having no taste."

"Shh, don't break the fourth wall. Readers hate that."

"I mean, who thought this script was a good idea anyway? It's a walking parody of The Hangover."

"I say we swap 'Skibidi' for Akita Neru. For the Vocaloid fans, you know? Gotta complete that Triple Baka lineup."

"Who the hell is Akita Neru? You mean the yellow-haired Miku with a phone addiction?"

"God, we're so deep in Vocaloid lore, it's dangerous. No one will get the reference unless they've actually listened to the songs."

Wyatt listened to the exchange with a blank, patient expression. He glanced at the names in question. Honestly, they were so ridiculous that if this were a novel, readers expecting serious storytelling would've rage-quit.

"Let's call the legal team before this turns into a disaster."

The in-house lawyer arrived, listened to the conversation, and raised an eyebrow in mild disbelief.

"These names are based on internet memes," the lawyer said. "You're protected under fair use if you're using them for parody or satire. So yes, legally, you can keep them."

"Well, that's… dumb but helpful."

"Stupidest thing I've heard all week, but fine. So whatever."

And with that, the three male leads of Week On A Cruise Ship were officially named Teto Pear, Miku Beam, and Skibidi Toilet.

The team spent the next three weeks "polishing" the script, making minor line edits here and there. In truth, Wyatt's draft was already amazing, and the biggest improvements came in the form of actor-specific dialogue tweaks.

Still, the writers needed to show they were doing something. Studio payroll had to be justified.

Eventually, they resorted to begging Wyatt to pretend he needed them.

"Please," one of them said, "just act like we're helping. We need to make it look like we're worth our checks."

Wyatt didn't mind. He knew the real work had already been done.
 
Chapter 62 New
Behind The Spotlight Chapter 62

"It's nice to meet you, Collin. You didn't make a mistake in choosing me as your financial advisor."

Stan Gavin shook Collin's hand, and the agent gave a slight nod, his eyes instinctively glancing above Stan's head as he always did.

Collin had been referred to this investment firm by his friend Arnold, who spoke highly of the company based on his own experience. Naturally, Collin did his due diligence and thoroughly researched the firm. It had an excellent reputation in Los Angeles, especially among wealthy professionals.

As he reviewed the firm's roster of brokers and financial advisors, one person stood out, Stan Gavin, with a yellow talent glow hovering above him. That was all the confirmation Collin needed.

—Stan Gavin

—Analytical Thinking

Stan matched everything Collin was looking for. Fortunately, he also offered financial advising services, not just stockbroking, making him the ideal choice.

When Stan learned that his new client had millions in liquid assets, he could hardly contain his excitement. The more money a client had, the higher the potential commissions and the greater the prestige for his own track record.

Collin currently had around $7 million in his bank account and was planning to invest $4 million in stocks to diversify his wealth rather than let it sit idly.

"Let's see... The most promising stocks in 1996 are Macrosoft, Cisko, Intelligence, and Database Giant. All of them are showing strong growth trends."

Stan confidently listed companies he had been studying closely through financial forecasts, trend analyses, and quarterly reports. These four, he believed, were poised for significant growth, and he recommended them without hesitation.

"Is it possible to invest $1 million in each company?" Collin asked. He had done his own surface-level research beforehand and, coincidentally, these four were among his top ten picks.

"$1 million in each company?!"

Stan nearly leapt out of his seat in disbelief, barely managing to suppress his excitement. Collin wasn't just wealthy, he was seriously loaded. Stan quickly composed himself, pulling out a notepad and adopting a laser-focused expression. Clients like Collin were rare, and Stan wasn't going to mess this up.

"Absolutely. Within a year, you'll see returns from this strategy. You won't regret trusting me."

"I believe in you, Stan. So don't disappoint me."

Collin smiled, reassured by Stan's confidence and professionalism. Stan possessed the highest stock-related talent in the firm, so Collin trusted his instincts. He didn't want to micromanage and preferred to let his money work for him. With his current schedule as a talent agent, he had no time to run a business himself.

Thanks to his ability, Collin didn't have to waste time hunting for the right advisor. He knew Stan wasn't just skilled, he was also a decent person, based on his trusted instinct. That made all the difference.

Unfortunately, Collin's entire $7 million would be taxed in April, as it was considered taxable income from commissions, bonuses, and profit shares.

Still, his financial situation had improved dramatically, and the looming taxes didn't stress him out as much.

'At least ANT has a 401(k) plan... That should help reduce my tax burden a little. I really need to learn the details soon.'

Collin made a mental note to talk to Stan more about taxes and possibly find a dedicated tax accountant as he glanced at the stack of financial documents in front of him. Though he was now 25 years old, he still had a lot to learn about taxes and wealth management.

.........
......
...

Pre-production typically takes 2 to 6 months, depending on several factors like budget, genre, and staff availability.

For indie films with limited budgets, pre-production can stretch to 6 months just to gather resources and permits.

Mid-budget films might take 8 months, especially if set construction or casting is complex.

Blockbusters, with their massive budgets and international shoots, can require a year or more for pre-production.

Animated films usually take the longest, with pre-production lasting up to 3 years due to storyboarding, casting voice actors, and the complexity of the animation process.

For Week On A Cruise Ship, the estimate was around 3 to 4 months of pre-production, assuming everything stayed on track.

Key aspects of pre-production included:

Script Polishing: Wyatt and his team of writers spent three weeks fine-tuning the script, ensuring the jokes and pacing worked perfectly.

Crew Hiring: Wyatt had a small team from his previous film, but they were incomplete. Henry needed to recruit more professionals, a process that could take months depending on the roles and applicant qualifications.

Scheduling: Wyatt's assistant director, Anthony, also handled the shooting schedule. Anthony had worked with them on The Accidental Wedding Crashers and was known for being brutally honest, which had cost him a job before.

Set, Costume, and Prop Design: Essential to the film's visual identity, these elements required close coordination with production designers.

Legal Permits: As with any major U.S. production, legal permits were a necessity and required careful handling.

But perhaps the most vital part of pre-production was Casting, the heart of any great film.

.........
......
...

March 4, 1996

Today was a crucial day for aspiring actors vying for a lead role.

Collin walked into the Uni-versus Pictures building and headed to the third floor, where auditions were being held for the three male leads of Week On A Cruise Ship.

Today was reserved for male roles. Auditions for female leads were scheduled for the following day by the casting department.

As Wyatt's agent, Collin had access to the full script and had given copies to both Axel and Jennifer in advance so they could prepare thoroughly.

Wyatt and the production team had personally invited Axel to audition after recognizing his potential. A direct invitation like that was significant, it meant he had a strong chance of being cast if he didn't mess it up.

Axel bypassed the usual first and second audition rounds and was fast-tracked to the third and final round, typically reserved for top-tier prospects.

This was it, the moment of truth. Out of thousands who auditioned, only 56 actors had made it to this stage. These finalists had to prove themselves today.

The responsibility of narrowing down those thousands fell on a sharp-eyed casting team led by experienced casting directors, who selected actors based on both appearance and performance.

Collin spotted Axel seated in the waiting area, tapping his fingers nervously. He sat among other actors in spaced-out chairs, allowing each to mentally prepare without feeling crowded.

Most of them had scripts, some full, others partial. Clearly, they had their own connections strong enough to obtain copies, giving them a small edge in preparation.

Collin stood off to the side, watching quietly. He knew this could be a major turning point for Axel and he hoped his friend would rise to the occasion.
 
Chapter 63 New
Behind The Spotlight Chapter 63

For this movie, not only was ANT interested in getting their talents cast, other agencies also participated, each trying to secure roles for their own actors.

Even though Wyatt was the director and a client of ANT, it didn't mean the project wouldn't include actors from different agencies, especially those with strong credentials and representation.

The actors who passed the third round of auditions clearly had deep industry connections and were backed by agents who knew how to work the system. They didn't pass based on looks or raw talent alone, their agents likely pulled strings and made deals behind the scenes to help push them forward, just like how they managed to get copies of the script, despite NDAs.

Sharing scripts was technically prohibited by most studios, especially when an NDA was involved that strictly forbade the disclosure of sensitive material. But loopholes existed. Indirect sharing happened all the time. After all, actors needed something to prepare with, even outdated or partial versions, before auditioning.

In fact, Collin did the same thing for his clients.

He scanned the waiting area and noticed nearly everyone had a copy of the script in their hands, bags, or tucked under their arms. He wasn't sure who originally leaked it or how it slipped past production controls, but the spread was obvious.

Many production crew members had access to scripts due to their clearance levels, especially older, unpolished drafts that had circulated early on.

Obviously, none of the actors in the final round were freelancers or self-represented. All had agencies and legal teams backing them. Studios avoided casting unknowns without representation due to legal, insurance, and accountability concerns.

"They said there will be a break in two hours so the casting panel can rest and regroup. If you want to talk to Wyatt, you can go inside the room or wait here," Axel said quietly, trying not to draw attention.

"I'll just wait until they're free," Collin replied, checking his watch as he leaned back in his chair. He preferred not to interrupt the production team while they were focused. It would be awkward to enter the room while auditions were still ongoing.

Axel nodded and tried to calm his nerves by breathing steadily and reviewing his lines. He had auditioned for big films before but had never passed the final round. Today didn't feel any different, even though he had received an official invitation.

Just like Lawrence, Axel and Jennifer had also started auditioning for various roles after the success of The Accidental Wedding Crashers, hoping to ride the wave of momentum. But they hadn't landed anything substantial. Sometimes they got through the first or second round with promising feedback, only to be rejected in the final round for various reasons.

Collin always ensured his clients had chances to audition for big roles, even if that meant bending a few rules. He secured scripts for them through discreet industry contacts and actively looked for audition opportunities or last-minute casting calls by networking with colleagues.

He treated all his clients with professionalism and fairness. It was true that he had been focusing more on Wyatt and Lawrence lately because of their success. They were his biggest earners, providing consistent commissions.

Still, he had no intention of dropping Axel or Jennifer, no matter how slowly their careers were progressing. As long as they wanted to work with him, Collin would keep fighting for opportunities in Hollywood.

Honestly, he felt a bit guilty. He was blindly trying to find jobs for them without a clear sense of what roles suited them best, mainly because he couldn't rely on his ability when it came to Axel and Jennifer.

Unlike with Wyatt and Lawrence, Collin had never seen any talent words appear above Axel or Jennifer's heads. He couldn't assess their potential clearly.

'Perhaps they were working in the wrong industry?' Collin wasn't sure but he didn't want to give up on them either.

He'd promised to be their agent, and that meant something.

Fortunately, having Wyatt as a successful director gave Collin a valuable lifeline. He could present Axel and Jennifer for auditions in Wyatt's movies. While they'd still need to compete fairly, Collin believed Wyatt would support them if they proved themselves on set.

He trusted his comedy director.

Back in the cold white hallway, actors nervously rehearsed their lines, flipping through scripts and whispering to one another.

Suddenly, the audition room opened. The Chairman and CEO of Uni-versus Pictures, followed by their entourage, stepped out with an air of command. They didn't glance at the actors or agents trying to greet them, they walked forward with unreadable expressions.

One agent even tried to hand over his business card, only to be shoved aside by a bodyguard without hesitation.

Noah and Berry caught sight of Collin sitting quietly beside Axel. Collin nodded politely. The two executives returned the gesture with small nods of acknowledgment. At least this Collin guy didn't look like some desperate fanatic begging for favors like the other agents. His calm professionalism left a good impression.

Unlike others, Collin knew he didn't need to grovel for attention, he had results to show. His clients were sought after because of their talent and performance.

As Noah Nash passed by, Collin recalled his earlier impression of the man during their contract negotiation.

The Chairman had a dangerous aura, the kind that hinted at a past steeped in shady dealings, typical of corporate Hollywood elites. There were likely skeletons in his closet the press had never uncovered. Still, none of it had impacted their business, so Collin didn't concern himself with it. He had no interest in relying on someone like Noah or seeking favors.

The outcome of their negotiation had been solid, a win for both him and Wyatt.

Initially, Collin pushed for a $7 million base salary and 10% worldwide box office share for Wyatt's directing role. It was a bold opening offer meant to set the bar high. As expected, Noah countered with a lower but still reasonable offer.

In the end, they agreed on a $5 million salary and 5% share of the North American box office, a deal both sides were satisfied with. Collin and Wyatt knew that it would be impossible to get $7 million salary plus 10% worldwide box office share from a studio since Wyatt was still a new director.

By the way, The Accidental Wedding Crashers had already completed its North American theatrical run with strong numbers. The film grossed over $171 million after five months in theaters.

Its international run was still ongoing and had already brought in $116 million, with more countries yet to screen it.

That brought the global total to $287 million, exceeding all expectations.

The early forecast had deemed it at around $250 million worldwide, but the film surpassed that, officially becoming a sleeper hit.

It was 1995's dark horse, surprising both critics and audiences. Currently, The Accidental Wedding Crashers ranked #9 among the highest-grossing films of 1995, sandwiched between 101 Dogs and Kasper the Ghost in box office rankings.

That success was a major reason why Wyatt landed a deal with Uni-versus Pictures so easily. His last film had delivered results, and the studio trusted his ability to connect with audiences.

But if Week On A Cruise Ship flopped, Wyatt could lose that trust and possibly his future with the studio. At the very least, getting their support again would become much harder.

That possibility lingered in the back of everyone's minds.
 
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