Echoes of Hollywood

Sitting on the sofa by the window, Father Marquez Costello grew a bit impatient. He turned to look outside, where the Los Angeles sky was overcast. The winter sun hid behind thick clouds, and even the air felt cold and gloomy, which was unpleasant.

Father Costello redirected his gaze to the room.

The most striking feature of the 20th Century Fox reception room was the movie posters on the walls. Although not a movie enthusiast, Father Costello recognized posters of well-known films like "Star Wars," "Alien," "Titanic," and "Avatar."

There were a few others he wasn't familiar with, but they all had Murphy Stanton's name prominently displayed as the director, indicating they were his films.

Thinking about the latest film he had watched the previous afternoon by this young director, Father Costello felt a surge of anger. How dare Murphy depict the Catholic Church so disgracefully!

And those events from the 80s...

Father Costello shook his head vigorously. The film didn't mention the priest's name, only referring to him as a Catholic priest, so no one knew exactly who it was.

Moreover, the events of those years were over thirty years ago. Who would remember them now? Even he could barely recall, though he vaguely remembered shielding that priest. He had lost track of what happened to him afterward.

Glancing at the clock, Father Costello frowned. He had been waiting for half an hour, and they still hadn't shown up. When had he ever been treated so coldly?

In the northeastern United States, a regional archbishop of his stature would have people lining up to meet him at his beck and call. But this was Southern California, where the Catholic Church didn't have much influence...

The door to the reception room suddenly opened, and a man and a woman walked in. Father Costello looked up to see the tall, stern-faced Murphy Stanton and a woman in a professional suit, with a polished appearance, clearly someone high-ranking and capable.

Father Costello remained seated on the sofa, showing no intention of standing up to greet them.

"Hello, Father," Murphy greeted politely, introducing the woman beside him as they walked over, "This is Ms. Kara Faith, Director of Production and Distribution at 20th Century Fox."

"Hello," Father Costello said, standing up only when they approached, and gesturing to the sofas beside him as if he were the host. "Please, have a seat."

Kara Faith glanced at Murphy, and they exchanged a knowing look before sitting on the sofas.

"Oh, Father," Murphy casually started, "I was thinking of visiting you, but you beat me to it with your call."

Father Costello looked at Murphy, whose face was full of enthusiastic smiles. In the past, he might have thought this young man was polite and respectful. Now he knew it was all hypocrisy.

"Ahem," Father Costello coughed, raising his fist to his mouth before speaking, "Director Stanton, Ms. Faith... I contacted you because I watched your new film 'Diego-Ross' yesterday. It contains numerous inaccurate depictions, which I find deeply regrettable."

"Inaccurate depictions?" Murphy appeared puzzled. "Father, while some parts of the film may use artistic embellishments, all events are based on real occurrences. The protagonist's experiences come directly from my friend and other corroborating sources."

Before Father Costello could respond, Murphy added, "I approached this film with the utmost seriousness, ensuring it remained true to the facts to honor my friend's trust."

Kara Faith seamlessly joined in, "We at 20th Century Fox can also vouch for this. We took a very rigorous approach in producing this film."

"If there are any inaccuracies," Murphy continued, "I will take full responsibility."

"And so will 20th Century Fox," Kara Faith echoed.

Father Costello, with his extensive experience, quickly realized they wouldn't admit any fault or show any signs of compromise.

"Director Stanton, Ms. Faith..." he dropped the pretense and spoke sternly, "I formally protest against all defamatory content about the Catholic Church in 'Diego-Ross.'"

"Defamatory?" Murphy spread his hands. "Father, I never intended to defame the Catholic Church."

"You..." Father Costello had seen countless shameless individuals in his time, but none compared to this young Hollywood director. He raised his voice, "Your film suggests that Catholicism leads people to evil."

Murphy adopted a serious tone, "I admit the film portrays a priest involved in misconduct, but it never implies that the Catholic Church as a whole promotes such behavior."

Father Costello seemed about to say something, but Murphy quickly interjected, "Father, we've met several times and had pleasant conversations. You should know that while I don't follow Catholicism, I have always respected your faith."

Listening to Murphy's smooth talking, Kara Faith bit her lip to suppress a laugh. If Father Costello was here just to argue, he would never win against Murphy.

"Director Stanton!" Father Costello couldn't hold back, raising his voice, "I demand that all scenes involving misconduct and the Catholic Church's complicity be removed from 'Diego-Ross,' or else..."

"Wait!" Murphy retorted sternly, "Father, are these scenes really false? Can you swear before God that there are no cases of priest misconduct in the U.S. or California? Is there no protection within the Church?"

"Uh..." Father Costello was speechless.

Murphy stood up, raising his right hand, "I swear before God, Christ, Buddha, and Muhammad that every story in my film is based on true events!"

He looked at Father Costello, "What about you, Father?"

Father Costello, feeling his chest tighten with anger, couldn't find words to respond.

He stood up slowly, gave Murphy a deep look, and said, "Director Stanton, I represent the Catholic Church!"

The statement sounded calm, but Murphy recognized the underlying threat. Twenty years ago, a regional archbishop's words like these would make even top Hollywood directors think twice.

Murphy smiled, speaking calmly, "If you believe my film contains falsehoods that damage your Church's reputation, I'm sorry. Everything is based on facts, and I cannot meet your demands."

Father Costello stared at Murphy, saying nothing.

"Father," Murphy said confidently, "if you have objections, you can take legal action. I believe in the fairness of American law."

Seeing that the matter couldn't be resolved smoothly, Father Costello's eyes grew sharp. "I will report your disruption of Catholic religious freedom to your government and the Vatican!"

"That is your right and freedom," Kara Faith stood up resolutely. "Hollywood has the freedom to make films. 20th Century Fox will not make any changes to 'Diego-Ross!'"

Freedom is an inherent right, like the need to breathe, requiring no justification. This American belief, despite being impractical, has deep roots in Hollywood and is regarded by many filmmakers as sacred.

In many ways, infringing on Hollywood's freedom to make films touches a nerve for many in the industry.

At this point, both sides were bound to part ways without resolution. Father Costello left the reception room, seemingly calm.

"Will he give up?" Kara Faith asked, watching the door close. "Using religious influence to interfere with Hollywood isn't wise."

"Others might," Murphy replied, looking out the window, "but I have gathered a lot of information on Father Marquez Costello. He is a staunch defender of Catholic interests and shielded many despicable individuals in the past."

He smiled at Kara Faith, "Since he's involved, he won't back down easily."

Kara Faith shook her head and suddenly asked, "Is the film's story all true?"

Murphy nodded seriously, "Diego Ross told me personally while in prison."

"How is Bill doing?" Kara Faith inquired.

"Almost ready," Murphy replied candidly. "I've mobilized my two anti-fan organizations. Watch the online discourse."

Kara Faith checked her watch, "Don't worry, we've handled word-of-mouth marketing before."

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