Hollywood has countless parties every day, especially on weekends.
Some time ago, as 'Run Lola Run' became more and more successful at the box office, in addition to Orion's official celebration, Janette also suggested that Simon host one or two parties at his Palisades mansion to thank everyone, and Simon agreed.
However, before it could be implemented, there was temporarily no follow-up.
The purpose of Robert Redford's party tonight was to celebrate the official approval of several independent films funded by the Sundance Institute.
The black Chevrolet SUV stopped outside a mansion halfway up Beverly Hills. Simon instructed Neil Bennett, who was acting as his driver, to pick him up at ten o'clock, then pushed the door open and got out of the car.
It was dusk.
Simon entered Redford's mansion. The courtyard was already bustling with people, men and women gathered in small groups, chatting amongst themselves. Robert De Niro hadn't arrived yet, so Simon was in no hurry. He quickly blended into the crowd after being introduced by Robert Redford.
"This is a film that explores the gap between ideals and reality, called 'Dreamland'. Danny was a bookworm since childhood, always eager to prove himself. When he grew up, he decided to wander the world, which was the boldest decision he, a timid person by nature, had ever made. During his travels, Danny met Bev, a free-spirited and daring girl. He seemed to see his other half, so one day he suddenly proposed to her..."
In the courtyard, Simon listened intently as a director named Michael Hoffman recounted the story he was about to direct. This was the first feature film he had received funding for from the Sundance Institute.
After Michael Hoffman finished speaking, Simon turned to another woman who was listening nearby, a slight smile on his lips, and said, "Meg, do you want to try out for the role of Bev?"
The woman was Meg Ryan.
Simon hadn't expected to meet her again that evening, having just seen her in the afternoon.
Meg Ryan was wearing a black spaghetti-strap dress at this time. Perhaps it was the heavy makeup, or the evening light, but she didn't look as haggard as she had in the afternoon.
When she first saw Simon, Meg Ryan had looked as if she'd seen a ghost. Now, she tried to compose herself and replied nonchalantly, "Yes, Vi... Simon, what do you think?"
As she spoke, the woman even tilted her chin slightly in a defiant manner.
The men and women standing together were surprised that Simon knew Meg Ryan. Listening to their conversation, they all showed curious expressions, waiting for Simon's answer.
"Bev should be the kind of flamboyant, uninhibited character. With your acting style, this role would become very silly," Simon merely shrugged, looked her up and down, then, under the astonished gaze of the others, added, "So, be a good girl and come to my place tomorrow".
That hateful man.
Watching the changing expressions of the people around them, Meg Ryan thought bitterly, feeling a little frustrated. For him to say that in front of the director meant that it was basically impossible for her to get the role now.
Mustering her courage, Meg Ryan was about to retort when Robert Redford walked over and said to Simon, "Bob's here, Simon. Let's go".
Simon nodded to the group and followed Robert into a living room in the mansion.
As one of Hollywood's four talented male actors of the 1970s, Robert De Niro was already middle-aged, and his youthful prime had long passed.
However, although it was difficult to live a lifetime in Hollywood on the strength of just one or two works, Robert De Niro's four Oscar nominations and two wins were truly significant. He remained a hot commodity and a top star in Hollywood these past few years.
Like many of his on-screen characters, Robert De Niro was also a very quiet, even shy, person in private, slow to speak and not good at small talk.
After a brief introduction, the three sat down on the sofa in the living room, and Robert De Niro directly asked about 'Pulp Fiction'. "Simon, I've read the script several times, but I'm still very confused. I don't know what you're trying to express?"
Since he helped with the introduction, Robert Redford had naturally read the script. Hearing De Niro's question, he also looked over curiously, clearly sharing the same confusion.
Even after 'Pulp Fiction' was completed, many people still didn't understand what made it good. Simon was not at all surprised by their expressions.
After a moment's thought, Simon replied, "Bob, I'm not trying to express anything through this film. It's just a story, just like its title, 'Pulp Fiction,' an absurd, bizarre, and uncertain postmodern black comedy".
Robert De Niro looked puzzled when Simon said this, asking, "Postmodernism?"
Simon explained, "You can understand it as an artistic expression that is anti-tradition, anti-authority, anti-continuity, and anti-values".
Robert De Niro nodded, half-understanding, and then said, "Simon, perhaps you have a clear understanding of your film, but honestly, I find it very difficult to comprehend. I even think the script is clumsy, with a completely chaotic plot, characters appearing suddenly, and a lot of meaningless dialogue. All of this seems inexplicable. You want me to play Butch Coolidge, right? After reading your script, I don't even know how to construct this character, because I don't feel any meaning to his existence. It's like he's just there, but at the same time, he seems dispensable".
"Bob, you already understand this story, and very profoundly," Simon said with a smile, repeating De Niro's earlier remark: "He's just there, but he seems dispensable".
Robert De Niro, however, shook his head: "Simon, I don't quite understand".
"Actually, life itself has no meaning, Bob. Just like us, we're discussing a movie. If we reach an agreement, we'll sign a contract, then start filming, release it, and anticipate the audience's reaction. This is our life. Similarly, others have their own lives; they're all doing their own things. But actually, to this world, or the entire universe, we are also dispensable. We are just here, living our lives, doing our things".
A hint of realization finally appeared on Robert De Niro's face.
Robert Redford also showed a faint admiration, smiling as he said, "Simon, I didn't realize you were a philosopher".
Simon just smiled and continued, "So, Bob, through 'Pulp Fiction,' what I want to construct is such a world. Butch, Vincent, Jules, Mia, Marsellus, Jimmy, Wolf, and even the taxi driver you might find very abrupt, they are all just earnestly living their lives. These lives have no meaning, but they are just there.
You think the plot is too chaotic, the dialogue too much, the characters too abrupt, but that's not the case. If you see it as a real world, you will feel that all the characters exist very reasonably. In fact, during the filming process, I will add more and richer details to perfect this world, to make it more real and believable".
Robert De Niro subconsciously nodded as Simon explained, but finally asked, "What about the audience, Simon? Do you think the audience will be interested in a story like this?"
"That's another aspect, Bob. Will the audience be interested? I don't know. I just need them to walk into the cinema and see two impromptu robbers discussing a heist in a diner, the female robber acting like a little girl towards her boyfriend, then suddenly turning into a raging she-rabbit; to see Vincent and Jules, like ordinary office workers, discussing hamburgers on their drive, and upon reaching their destination, politely waiting a moment because it's too early, then breaking into someone's home, reciting from the Bible, drawing guns and killing people; to see Butch silently accepting the gangster boss Marsellus's instructions like a pathetic, faded boxer, then suddenly fiercely beating his opponent to death in the ring and fleeing with his girlfriend; to see the spoiled and lonely Mia; to see Lance, dressed like Jesus but dealing drugs; to see Jimmy, more worried about his wife than the police in the face of murder.
After they watch this group of absurd, bizarre people hovering on the edge of madness and collapse, if they start to wonder: Can Butch and his girlfriend escape safely? Will Jules or Mia avenge Vincent? Will a soft-spoken female taxi driver go berserk like a little rabbit? Will Simon Westeros film a sequel? Then, at that time, I will open my arms in my heart and loudly say to them: Friends, welcome to the postmodern world of 'Pulp Fiction'".
After Simon's speech-like, infectious words, Robert De Niro's expression clearly showed signs of being moved. Even Robert Redford couldn't help but say, "Simon, hearing you say that, if I can't make a cameo in a film like this, I'll definitely regret it in the future".
Simon had this idea when he handed the script to Robert Redford earlier.
However, although his achievements in awards couldn't compare to De Niro's, in recent years, Robert Redford's box office performance in films he starred in far exceeded De Niro's.
For example, 'Out of Africa' two years ago ranked fifth in the North American box office for that year. In contrast, since the 1980s until now, although Robert De Niro's films have mostly been big productions, none of them have had a North American box office exceeding $20 million.
In Hollywood, box office performance signifies star power.
Robert Redford's current salary was clearly higher than Robert De Niro's.
Such a star joining 'Pulp Fiction' would definitely be a welcome addition. Simon wasn't arrogant enough to think that relying solely on a group of newcomers would make audiences flock to the film.
But on the other hand, Simon only had a budget of $8 million. If Robert Redford participated, he would have to lower his salary, perhaps even to a pittance. Friendship is one thing, but Simon knew that if he brought it up himself, it would be too abrupt. This matter could only be initiated by Robert Redford himself.
Now, hearing Robert Redford say this, Simon nodded without hesitation and said, "Bob, if you can participate, I would naturally be delighted. But I must be frank, Orion didn't give me a large budget".
Robert Redford didn't know the contract Simon signed with Orion, and simply said casually, "It's just a small part, Simon. Never mind the salary for now, which role do you think suits me best?"
Simon no longer hesitated and smiled, "Of course, Mr. Wolf. The former 'Butch Cassidy' living in seclusion in Los Angeles, becoming the legendary Mr. Wolf revered by all the low-level hoodlums. That's quite interesting, isn't it?"
'Butch Cassidy and the Sundance Kid' was Robert Redford's breakout film back then, and the name of the Sundance Film Festival came from that movie.
"Then Mr. Wolf it is," Robert Redford also nodded readily, then glanced at Robert De Niro, stood up and said, "I still have to go out and socialize with guests, Bob, Simon, you two continue to chat".
Robert Redford saw that Robert De Niro was already interested and would certainly discuss the salary next, which is why he deliberately excused himself.
Among Hollywood's four major talented male actors of the 1970s, Robert De Niro was definitely the most unconventional. For all these years, Robert De Niro never had an agent; for salary contracts and such, e communicated directly with the production company.