Spielberg quickly submitted Gilbert's project proposal. Since Universal Pictures President Akio Tanii had decided to invest, the project's approval was practically a given.
This well-put-together project proposal served as some reassurance for Universal Pictures, making them feel that Gilbert was somewhat reliable.
If the project proposal hadn't been good, Universal Pictures Vice President Lou Wasserman would likely have considered persuading Akio Tanii to replace the director.
The project proposal quickly gained Universal Pictures' approval, and Gilbert received notification to begin negotiations for the directing contract.
Contract negotiations are typically handled by agents, but the fledgling Gilbert naturally didn't have one.
However, that didn't matter. Now, all of Hollywood knew he was about to direct a film. Although most people thought it unlikely to succeed due to his youth, the potential was there.
This still piqued the interest of talent agencies. While major agents weren't lining up, the junior agents from various agencies were very keen on Gilbert.
Sure enough, before he even started negotiating with Universal Pictures, a junior agent from CAA, Sheena Boone, somehow found Gilbert's address and showed up at his door.
Looking at the woman outside—dressed in a business suit, a form-fitting skirt, sheer pantyhose, and black women's leather shoes, with long dark brown hair and a typical Italian-American appearance—Gilbert was startled.
"You are?" Gilbert remembered not having any appointments today.
The woman at the door introduced herself: "Hello, Mr. Landrini, I'm Sheena Boone, an agent with CAA."
"Uh, hello..." Hearing her introduction, Gilbert vaguely understood her purpose.
As expected, Sheena Boone got straight to the point: "I learned that you're about to negotiate a directing contract with Universal Pictures and that you're also preparing a new film project.
In the realm of professional contracts, I believe it's best handled by professionals, so I volunteered to come see you."
Gilbert glanced inside his apartment. It was a mess, clearly not a suitable place for a business discussion.
So he said, "Let's talk outside, find a coffee shop."
"Okay..."
The two sat down at a street-side coffee shop. After casually ordering two coffees, Sheena Boone began her pitch.
"CAA's business has grown rapidly in recent years. I'm sure you've heard of our president, Michael Ovitz."
"Indeed, he's known as the emperor of Hollywood's entertainment agency business," Gilbert nodded.
In the Hollywood agency world, not knowing Michael Ovitz would be as absurd as a filmmaker not knowing Steven Spielberg.
However, an agent of that caliber wouldn't pay attention to an unknown like Gilbert, unless Gilbert became famous someday.
Sheena Boone was merely using Michael Ovitz's name to impress Gilbert and boost her chances of securing his agency contract.
In reality, she was just a junior agent who had recently emerged from CAA's mailroom, as unremarkable as many other CAA junior agents.
Unlike other junior agents who vigorously strove to become co-agents for big stars and directors, Sheena Boone had her own theory.
She believed that rather than fawning over already established directors or stars, it was better to discover potential new talent, as this offered more room for growth.
After some searching, she noticed Gilbert, who had become somewhat of a laughingstock.
Other CAA agents regarded Gilbert as a joke, a pawn and sacrifice in Spielberg's negotiations with Universal Pictures.
But Sheena Boone thought differently. She saw it as a great opportunity, because now all of Hollywood was watching to see what kind of joke this twenty-one-year-old rising director would become.
But what if? What if Gilbert didn't turn out to be a joke, but a success story?
The rougher the seas, the more valuable the fish.
Although Sheena Boone hadn't seen The Knockout thirty years later, she understood the same principle.
So, Sheena Boone decided to secure Gilbert's agency contract, determined to take a gamble.
Sheena Boone introduced CAA's advantages: "We at CAA represent many clients, including top Hollywood stars like Tom Cruise, Dustin Hoffman, and Robert De Niro.
Spielberg is also with CAA; I'm sure you're well aware."
Gilbert waved his hand, "No need to say more. I know what CAA is like. Just tell me what terms CAA can offer."
Sheena Boone was prepared. She pulled a contract from her bag and handed it to Gilbert. While he was looking at it, she continued, "Our CAA packaging service is widely praised. It was popular with many directors and actors as soon as it was introduced.
If you join CAA, our latest packaging service policy can alleviate all your worries outside of film production. You'll just need to focus on making good films."
Hearing this, Gilbert closed the contract and handed it back to Sheena Boone: "I'm sorry, I'm not interested in the packaging service policy. I don't think I'm a good fit with CAA."
Sheena Boone was visibly stunned. Normally, others would be thrilled just hearing "CAA," but Gilbert's reaction was cold.
And after she explained the packaging service policy, he actually refused.
Didn't he know what he was turning down? A CAA agency contract!
Sheena Boone quickly asked, "May I ask why you're refusing the packaging service? This policy is very popular!"
Gilbert looked at Sheena Boone with amusement: "You're new to the industry, aren't you? The packaging service certainly brings a lot of convenience to film production, but it's detrimental to film companies, producers, and directors maintaining control over the crew.
I'm someone who likes to be in control. Having the film company and producers is enough; I don't want agents breathing down my neck."
While the relatively mild-mannered Spielberg could accept CAA's packaging service policy, the "set tyrant" James Cameron didn't give CAA the time of day.
Like James Cameron, Gilbert also disliked having extra people meddle in the film production process.
The so-called packaging service policy essentially revolved around the film production process.
Agencies would pitch the packaging service policy to film companies, providing all personnel from directors to cinematographers, lighting technicians, art directors, costume and makeup artists, and actors.
Through this policy, agencies could demand higher commissions and percentages from film companies, and similarly, could secure higher salaries for their clients through the packaging service.
When this policy was introduced, it was popular with many Hollywood directors and stars because their salaries genuinely increased due to it.
However, film companies detested this policy because it inflated film production costs, making it somewhat unbearable for them.
The attempt to sell the packaging service policy failed, and Sheena Boone's biggest weapon was gone.
Gilbert then said, "Actually, I can sign, as long as you agree to a few conditions."
"Tell me," Sheena Boone quickly said, "whatever I can decide, I'll agree to."
"First, I will absolutely never accept the packaging service, at any time. Second, the agency must not interfere with my private life; I have no interest in being a puppet on strings.
Third, the contract term must be short; I don't want to be tied down to one agency for a long time..."
As Gilbert listed each condition, Sheena Boone's expression grew increasingly somber.
According to Gilbert's terms, the agent would only be in the most basic service provider position, which was inconsistent with CAA's usual philosophy.
Gilbert didn't care either way; many of these conditions were just opening bids, a way to negotiate from a high starting point.
However, the most fundamental points, Gilbert was clear about.
He wasn't a director or actor painstakingly nurtured by CAA. Paying commission to an agency simply meant he needed them to provide necessary services.
Currently, Gilbert truly lacked capital. If the other party wasn't satisfied, they could simply walk away.
Anyway, Gilbert didn't need to compete with other directors or stars for resources; he just needed an intermediary.
If he didn't get one, it wasn't a big deal; he could always negotiate himself.