Simon heard the Variety reporter's question but only nodded slightly, saying, "Yes, the reason is actually very simple. If I didn't personally do these tasks but put my name on them, a lot of people would definitely come looking for trouble with me in the future".
Hearing Simon say this, many audience members who had similar doubts suddenly understood.
Ghostwriters exist in any industry, and Hollywood is no exception.
However, judging by the quality of 'Run Lola Run', the probability of more than a dozen excellent Hollywood filmmakers simultaneously ghost-writing for such a young person is very slim.
Moreover, although most people were still unclear about Simon's background, no matter what his identity, there was absolutely no need for him to do so, as it involved professional film production skills, and it would be too easy to be exposed.
It's just...
If such a large amount of the behind-the-scenes work for 'Run Lola Run' really was personally completed by the young man on stage, no matter what, it would be too incredible.
The female reporter from Variety was clearly feeling this way. Hearing Simon's answer, she immediately pressed, "So, how did you do it?"
Simon smiled and said, "Miss Trevor, your question is difficult to answer. However, if you count from when I started writing the script, I worked on this film for a full six months. During this time, I experienced many twists and turns and met many people who were willing to help me, such as Bob, Jenny, Kathryn, Director Brian De Palma, Mr. David Giler, my agent Jonathan, and so on.
Looking back, I was actually very lucky because many aspiring filmmakers rarely get such an opportunity. Here, I hope to thank all of them again, and at the same time, I hope to have the opportunity to help some people in the future".
Although she didn't get a satisfactory answer, Jane Trevor still nodded seriously and sat back down.
Immediately, at Robert Redford's signal, many people raised their hands again.
There weren't many media reporters who could make it to Park City, and Robert basically knew them all. He wasn't in a hurry, but this time he casually pointed to a young boy sitting in the back row.
Before the microphone was handed to him, the boy eagerly said, "Simon, your movie is so cool! I really hope to be able to make a movie like that someday. So, I want to know, how did you learn all this, or which film school did you attend?"
Simon shook his head and smiled, "I haven't attended film school. As for film skills, I guess you could say I'm self-taught. However, my personal circumstances are a bit different from others. So, if you want to be a director, I still recommend you enrol in a professional film academy."
There are many famous self-taught directors in Hollywood, and even Robert Redford, who was sitting on the stage at the time, could be considered one.
However, hearing Simon's answer, many people in the screening room still looked surprised.
Although his exact age was unclear, Simon looked very young. If he had systematically studied film and television at a top film academy and mastered a series of skills, then making 'Run Lola Run' would have been logical.
But relying solely on self-study, anyone who has attempted this understands how many difficulties and detours they would encounter. Therefore, to achieve the current level is simply incredible.
While everyone was surprised, Janette, who had been sitting quietly beside Simon, blinked and suddenly remembered the pile of professional film books Simon had haphazardly bought a few months ago.
That rascal must be talking nonsense.
But...
It's really strange.
The boy sat down, and Robert Redford once again handed the questioning rights to a media reporter.
The subsequent Q&A session lasted until noon, and the Sundance premiere of 'Run Lola Run' was then declared over.
The film would have several other screenings scheduled for the remainder of the festival, but Simon would not need to attend them. In fact, many filmmakers typically leave Park City after the weekend premieres. They only send representatives back for the closing ceremony if they receive news of an award.
On Sunday afternoon, Simon communicated once more with Peter Butler about his exclusive interview. In the evening, he sent Jennifer Raybould and Lisa Collins onto a plane bound for New Haven, Connecticut, where Yale University is located.
However, Simon couldn't relax at all.
Immediately after the premiere of 'Run Lola Run', he was surrounded by several independent film distributors who had come to Sundance hoping to snap up a bargain. They probed for prices, networked, and exchanged contact information.
One fat man even boldly offered a buyout price of $2 million, more generous than Fox, but he only wanted to pay a $200,000 deposit, with the remainder to be settled after the film's release.
Simon cursed Harvey, the big fat liar, in his mind and then ignored the man.
On Monday, Simon received a call from Kathryn in Los Angeles just after waking up. Immediately after, Robert Redford also called, asking him to go to the Sundance Institute.
Simon drove to town, picked up a thick stack of newspapers containing reviews of 'Run Lola Run' from the Sundance Institute, and bought breakfast on the way.
By the time he returned to the resort apartment, it was already past nine in the morning.
The weather in Park City was still cold. With no outsiders present, Janette began to show her true colours, lounging in bed like a lazy cat, refusing to get up.
Seeing the newspapers Simon brought back, she perked up a bit, calling out for Simon to bring them over and eagerly flipping through them.
"'Variety,' hmm, a stunning anti-genre masterpiece, 'Run Lola Run,' suddenly appeared at Sundance. This film, written and directed by newcomer Simon Westeros, demonstrates the meaning of the 'butterfly effect' to the audience through a very interesting three-act film model. At the same time, the film's exploration of the countless possibilities in life is also thought-provoking. Blah blah blah, I'll switch to another one".
Janet read a few sentences, then quickly scanned the rest, and eagerly picked up another newspaper: "This one, 'The Hollywood Reporter,' seems pretty impressive too. What surprised the author most was Simon Westeros's skilful use of a series of film techniques. The entire film achieves a top-notch standard in terms of cinematography, colour, music, editing, etc., completely unlike a low-budget film with a production budget of less than $1 million. It is said that many of these tasks were personally completed by Simon Westeros. I feel as if I'm witnessing another rising genius filmmaker in Hollywood. That makes so much sense! Let me see, oh, Peter also wrote a review. Didn't you agree with him to release it after the film festival? Oh, this is just a review."
After reading Peter Butler's review in the Los Angeles Times again and flipping through the remaining newspapers, Janet tossed them aside and excitedly poked a bare, pale body out from under the covers: "Little boy, you're going to be famous! Come on, let big sister give you a kiss first".
Simon pushed Janet back under the covers and said, "I don't kiss lazy women who haven't even brushed their teeth".
"W-woo, already complaining, huh? Be careful, I'll call my four brothers to beat you up together".
Simon smiled and helped the woman pull down the corner of the blanket, saying, "Call a cousin or something too, make it five. Bring baseball bats".
"Mmm-hmm-hmm, it seems I don't have a cousin. You're bullying me."
After some playful banter, the telephone in the living room rang again. Simon saw the woman still burying her face in the pillow, so he leaned over, kissed her rounded shoulder, and said, "Get up quickly, I'll answer the phone first".
The call was from Jonathan Friedman. It was just the start of the workday in Los Angeles, and the agent had already seen the rave reviews for 'Run Lola Run' in several mainstream Hollywood newspapers. He congratulated Simon and also informed him that Mike Medavoy, president of Orion Pictures, had called him early that morning to inquire about Simon's film, indicating interest in distributing 'Run Lola Run'.
After talking for more than ten minutes, just as he was about to hang up, Sandra Bullock happened to arrive at Jonathan's office, so they chatted for a few more minutes.
Los Angeles, WMA headquarters on Camino Street.
Sandra said goodbye to Simon, gently put down the phone, and then sat down across from Jonathan's desk.
"It's like this," Jonathan Friedmann said, handing her a file, "'Back to the Future Part II' is starting preparations, and casting has begun recently. Your experience is a bit limited, but this morning I saw praise for your performance in 'Run Lola Run' in several newspapers. So, prepare yourself first, and I'll find a way for you to pass the first round of auditions. After that, it will depend on the specific situation".
'Back to the Future', ah, the number one box office hit in North America two years ago, with Steven Spielberg as producer and Robert Zemeckis directing. Sandra was naturally well aware of it.
However, after starring in 'Run Lola Run', Sandra had only recently landed a supporting role in a spring television series.
Flipping open the audition materials and quickly scanning them, Sandra was still a bit unsure: "Jon, is this... an audition for the female lead?"
"Of course," Jonathan Friedmann smiled and nodded, "But don't get your hopes up too high. In the first round of casting, at least several hundred girls will be vying for this role, and the competition will be even more intense later on. Also, talk to Simon and have him cut a clip of your performance in 'Run Lola Run.' I'll help you submit it to the 'Back to the Future Part II' crew. Get it to me before Friday".
Sandra nodded, but then looked troubled and said, "Joe, Simon won't be back from Park City until next week. And I, I don't even know his phone number at his place".
Jonathan smiled and wrote a string of numbers on a sticky note, handing it to Sandra, saying, "Since it's a film festival, there certainly won't be a lack of equipment in Park City, and the copy is there too. So, you can have him cut it and mail it back or have someone bring it back for him."
After chatting for a few more minutes, Sandra got up to leave. As she exited Jonathan's office, she noticed another of the agent's clients, Courteney Cox, already sitting in the outer office.
Sandra knew that Simon had initially invited Courteney to star in "Run Lola Run," and Courteney naturally knew that the role of Lola ultimately went to Sandra. Now, suddenly encountering each other, both felt a strange awkwardness. They nodded to each other as if nothing had happened, then brushed past each other.
Courteney knew exactly why Jonathan had called her in today. 'Back to the Future Part II' had started casting, and this was a big deal for all of Hollywood.
Noticing the audition materials in Sandra's hand, Courteney remembered the 'Run Lola Run' review she had seen in The Hollywood Reporter at breakfast, and a strong sense of crisis inexplicably grew within her.
The male lead for 'Back to the Future Part II' would definitely still be Michael J. Fox. So, among Jonathan's clients, at least three were suitable for the female lead in "Back to the Future Part II": Elisabeth Shue, herself, and Sandra Bullock, who had just left.
As she thought this, Courteney suddenly realized that Elisabeth Shue had starred in 'The Butterfly Effect', and Sandra Bullock had starred in 'Run Lola Run'. Both of these films were connected to him.
And she herself...
She originally had a chance.
Now...
Hopefully, 'Run Lola Run' won't cause too much of a stir.
Thinking it over carefully, it was just a low-budget independent film, and the subject matter was so far from the mainstream. Even if it received some praise, in Hollywood, it probably wouldn't make much of a splash.
Muttering this to herself, she took a deep breath, no longer letting herself think about these messy things. Courteney Cox, at Owen Wright's signal, pushed open the door and walked into her agent's office.
Around the same time.
Fox Studios, not far from WMA headquarters.
Ronald Goldberg, president of Fox Filmed Entertainment, called Peter Sanders into his office early in the morning.
The two sat down in the reception area. Ronald Goldberg handed Peter Sanders several excerpts of 'Run Lola Run' reviews that his secretary had just compiled, saying, "This should be the work of that 'Butterfly Effect' screenwriter, right? The one you mentioned to me on the phone last week?"
Peter Sanders had actually already seen the reviews for 'Run Lola Run'. He took the excerpts, flipped through them, and nodded, "Yes, that's the one".
Ronald Goldberg, hearing Peter Sanders' confirmation, said, "Didn't you already talk to him? Why haven't I seen the results?"
Peter Sanders placed the reviews on the coffee table in front of him and said, "That young man wants a profit-sharing contract".
Ronald Goldberg slowly took out a cigar and was trimming it. He paused at the remark, then shook his head and chuckled, "He's truly a naive young man who doesn't know his place. In that case, forget it. Let him find someone else."
Peter Sanders hesitated, then said, "Ronald, there's actually more to him".
With that, Peter Sanders briefly explained Simon's age and some of the marketing and distribution plans they had discussed that day.
After listening, Ronald Goldberg realized that the cigar in his hand had fallen to the floor at some point. He casually picked it up and tossed it aside, his gaze still fixed on Peter Sanders: "Eighteen years old? Are you sure that's true?"