Maybe people don't like Universal Pictures or even despise its pettiness, standing at the top of Hollywood's pyramid yet never displaying the demeanor of a major company. However, Universal's strategy has been successful, maintaining stability amidst fierce competition among large companies for a decade. That's a kind of skill too.
It must be admitted that Universal's cleverness in scheming, calculating, and being opportunistic is unmatched; they're masters at playing the numbers game.
From a production company standpoint, they consider not the actor's skill or attitude but the actor's value—everything boils down to numbers.
Universal Pictures' calculations show that Anson is the smart choice. Focus Features agrees with this. Maybe "Eternal Sunshine" could indeed become a unique film, targeting the market, avoiding the traps of award season, and winning over the hearts of young art enthusiasts—just like "Before Sunrise."
However, things are not that simple.
Just as the opinions of the producer and the creative soul behind "Ocean's Twelve" were misaligned, "Eternal Sunshine" faces a similar dilemma.
In fact, the initial inspiration for "Eternal Sunshine" didn't come from Charlie Kaufman but from the French director Michel Gondry.
Like David Fincher, Michel Gondry started out directing music videos. He has collaborated with top musicians like Daft Punk and Radiohead. However, he's always harbored the dream of being a film director.
In 2001, when Michel directed his first feature film, "Human Nature," he invited Tim Robbins to join, showcasing his industry connections.
As early as 1994, Michel and his friend came up with the basic story of "Eternal Sunshine," slowly refining it over the next few years. However, he lacked confidence in the script.
In 1997, Michel approached Charlie Kaufman, hoping this genius writer could turn his ideas into a full screenplay. They brainstormed and quickly completed a 30-minute short film script, which they found quite feasible.
At that time, though, Charlie was busy with his own projects, including "Adaptation" and "Being John Malkovich," so "Eternal Sunshine" was temporarily shelved.
In 2000, Christopher Nolan's "Memento" premiered, quickly becoming a hit among fans of mind-bending films, which worried Charlie Kaufman.
Since the film also focuses on memory, showing its impact and the chaos it brings to life, Charlie was concerned about potential controversies. He decided to withdraw from the project.
In the end, Michel convinced Charlie that they could create a completely different film, exploring a similar theme in a unique universe.
After another round of brainstorming and creative sparks flying, Charlie Kaufman found his inspiration again, leading to the subsequent creation process.
On one hand, after finishing "Adaptation," Charlie fully immersed himself in "Eternal Sunshine," completely sidelining Focus Features. This made Focus a bit concerned, but there was nothing else they could do.
On the other hand, Michel began searching for the right actors in Hollywood.
Since Charlie had just worked with Nicolas Cage on "Adaptation," he believed Nicolas had done an excellent job and briefly discussed continuing their collaboration with him.
But Michel was not satisfied and kept looking for actors.
Then, a brand-new name appeared—Jim Carrey.
"After Jim learned about the script Charlie was working on, he showed strong interest without even reading it. Coincidentally, Michel highly admired Jim, believing his comedic performances had inspired countless filmmakers."
"The two hit it off immediately. From what I know, they've already met once and had a great conversation."
This made things a bit tricky.
Focus Features favors Anson.
The director prefers Jim Carrey.
The writer is inclined toward Nicolas Cage.
What kind of mess is this?
On one side, there's Nicolas Cage, Hollywood's networking king and an Oscar winner with a close relationship with the writer.
On the other side is Jim Carrey, one of the greatest comedic actors of the past decade in Hollywood. Oh, and he was the leading actor in the film in its original timeline.
Now, Anson, whose career only has three released films, has to compete with these two actors.
Finally, Anson realized, "Just like 'Ocean's Twelve,' huh?"
In that simple phrase was a light tease and banter, indicating that Anson was in a good mood.
This made Edgar smile too. "So, are you going to go for it?"
With "Ocean's Twelve," Anson preferred to avoid it because the film was a fun, family-friendly project where a group of friends got together to make some easy money while offering the audience some light entertainment. There was no need for him to force his way in and look at others' faces.
So, what about "Eternal Sunshine"?
"I'm going for it; of course, I must." Anson's answer showed no hesitation.
"I'm willing to meet with the director. Isn't he looking for actors in Hollywood right now? Compared to Jim Carrey, my paycheck is nothing."
"I'm also willing to meet with the writer, as long as it doesn't interfere with his work. I believe I can bring more inspiration to him, and avoid overlapping with Christopher Nolan."
"Audition?"
"No problem. Just let me know the time and place, and I'll be there on time."
"Oh, so this script must be for that short film, right?"
After saying that, Anson raised the script in his hand. No wonder it was only 33 pages long.
Edgar looked at Anson. His bright blue eyes were gleaming with excitement—a kind of joy, passion, and enthusiasm was bursting out—
So pure.
Edgar was a little surprised. This seemed to be the first time he saw Anson like this, even more excited than he was for "Spider-Man" or "Catch Me If You Can."
Involuntarily, curiosity arose.
Edgar asked, "Why?"
"I mean, I understand you like this work, but I've never seen you so excited, so proactive."
"Usually, we are the ones choosing scripts, but now it seems like we are the ones being chosen."
Anson shrugged slightly. "Well, because hearing the names Jim Carrey and Nicolas Cage made my head spin a little."
A joke, Edgar laughed, but he knew it was just a jest. He was still waiting for the real reason.
Anson thought for a moment.
"Captain, you know, there's a saying in the NFL draft. Maybe reason tells you a hundred reasons and formulas why you shouldn't pick a player, but if your gut tells you a different answer, then there's only one thing you need to do: pick him."
"The same goes for scripts."
"We can sit here and analyze rationally, saying the next script shouldn't be about high school students, or that this script might establish a certain actor image, or that script could open up the awards season, or this project could continue to embrace the box office, or that one could get us a $20 million paycheck."
"Rationality can analyze a lot."
"But sometimes, for some projects, there's no reason. You just purely like it. So, you shouldn't miss out on it."
"Captain, I don't want to miss out on this project."
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