Echoes of Hollywood

Leaving Long Beach, Murphy drove along the coastal road straight to Santa Monica. They had arranged to meet Charlize Theron at a French restaurant in Santa Monica. The business jet matters were temporarily handed over to Grace. Once the basic contract was drafted, he and Gal Gadot could address the interior design requirements.

As they had observed, the Gulfstream G650 was more suitable for their office needs. Of course, comfort during flights was also essential.

"Honey..." Murphy lightly steered the SUV around a bend. "Is an $80 million budget sufficient?"

Gal Gadot thought for a moment. "It should be enough. We need comfort, not luxury."

"You handle it then."

Murphy preferred to let Gal Gadot manage these matters. "The funds can be drawn from Stanton Studio's account."

Although $80 million wasn't a small amount, it was manageable for Stanton Studio's current financial state.

Beyond the profits from his film investments and "Game of Thrones," the projected profits from "The End of the World" alone would cover the cost of the plane.

After four weeks in theaters, Seth Rogen's film had nearly reached $200 million in North American box office revenue. Although the international market wasn't as strong, it had already grossed over $150 million overseas. A worldwide box office surpassing $400 million was inevitable, and it might even hit $500 million.

Despite Jonah Hill, Seth Rogen, and James Franco taking a share of the profits and 20th Century Fox deducting marketing expenses, the film's production cost was only $35 million. Stanton Studio was poised to make substantial profits purely from box office sales. Moreover, high-quality comedies not reliant on visual effects were always popular in TV and online rental markets.

Netflix and Fox's cable networks, among other distributors, had already expressed interest in purchasing broadcast rights.

As they drove back, Gal Gadot discussed this with Murphy.

"What do you think, honey?" Murphy asked, though he owned 100% of Stanton Studio's shares, he couldn't focus on its operations, leaving it to Gal Gadot.

"Don't fragment the rights," Gal Gadot had clearly thought it through. "Authorize internet and TV separately. Based on our current relationships, Netflix and Fox Cable are the best partners."

"Alright." Murphy nodded. "Find the right time to negotiate with them."

Negotiating too early was unwise, as "The End of the World's" box office still had room to grow. The box office figures would directly influence subsequent rights revenues.

That's why so many films pour resources into boosting box office numbers.

Hollywood movies now have revenue streams across the industry, but box office performance remains crucial. As purely commercial films aimed at profit, ignoring revenue and box office performance would be absurd.

He wondered if "Diego-Ross" could recoup its costs without awards season recognition.

Entering Santa Monica, they followed Gal Gadot's directions to the restaurant. "Turn left, then right at the next intersection. It's 500 feet ahead on the right."

Parking the car, Murphy and Gal Gadot entered the restaurant. A waiter greeted them, and Gal Gadot spoke briefly with him. They followed the waiter inside, arm in arm.

"She's here," Gal Gadot whispered.

Murphy nodded, already spotting Charlize Theron in a black casual top and form-fitting jeans, sitting at a booth, looking at her phone.

"Hi, Sally," Murphy said as they approached.

Murphy pulled out a chair for Gal Gadot, and Charlize Theron looked up, smiling. "Long time no see, Murphy."

She turned to Gal Gadot, "You're even more beautiful, Gal."

Gal Gadot smiled, "So are you."

The three weren't strangers. They had worked together on "Gone Girl" and had met at several industry events since. While not close friends, they were familiar enough to skip formalities.

Murphy called over a waiter, and they ordered. While waiting for their food, Murphy got straight to the point. "Sally, did you read the script Bill sent you?"

"I did." Charlize Theron nodded seriously. "It's an outstanding role—a femme fatale."

"I want to invite you to play this role," Murphy said.

"Invite me?" Charlize Theron feigned hesitation. "My schedule might be tight. I'm currently filming Universal's 'Snow White and the Huntsman.'"

Murphy immediately thought of that odd movie. In "Snow White and the Huntsman," Charlize Theron delivered a flawless performance as the queen, overshadowing Kristen Stewart's wooden portrayal of Snow White.

"We've just finalized a deal with Netflix," Gal Gadot chimed in. "The series is still in the early stages and won't begin production until February next year. By then, 'Snow White and the Huntsman' should be wrapped up."

"Hmm..." Charlize Theron frowned slightly. "Can you tell me the budget for this series?"

Gal Gadot answered, "At least $80 million."

For a political drama without large set pieces, an $80 million budget was very high.

Charlize Theron stayed silent as the waiter brought their dishes. Once he left, she asked, "Murphy, are you directing this series?"

"No," Murphy shook his head. "Gal and I will produce it. Paul Wilson will direct."

Charlize Theron smiled. "Can I have some time to think it over?"

"Of course." Murphy added, "You would be the highest-paid and most prominent actor in the series."

Knowing the challenge of getting a top-tier actress to join a series, Murphy was prepared to offer a salary matching that of the male lead.

"Who's the male lead?" Charlize Theron asked.

"Kevin Spacey," Gal Gadot replied. "We've been in talks with him, and while no formal contract has been signed, we've reached an agreement in principle."

Getting a current A-list movie star to commit to a TV series was no easy feat. Hollywood drew a sharp distinction between film and TV actors. That's why Murphy offered such a high salary for a supporting role.

Even so, Charlize Theron wasn't ready to commit.

Murphy remained patient, aware that Charlize Theron's career had been on a downward trend since "Gone Girl," with no standout projects since. She maintained her A-list status primarily through her strong presence in the fashion world, compensating for her lack of significant film roles.

Frankly, it was challenging for a female actor over forty to stay at the top. Many actresses at that stage focused on earning as much as possible.

Murphy didn't voice these thoughts and didn't push Charlize Theron further. Instead, they reminisced about their collaboration on "Gone Girl," maintaining a pleasant atmosphere without any awkwardness.

By the end of the dinner, Charlize Theron hadn't given Murphy a definitive answer, and he didn't press her.

"She's unlikely to take the role," Gal Gadot said, buckling her seatbelt as they got into the SUV.

"We should have a backup plan."

Murphy thought for a moment. "What about Nicole Kidman?"

"No," Gal Gadot rarely disagreed with Murphy's choices. "Since winning the Oscar for Best Actress, every film she's been in has flopped. She's a certified box office poison."

As Murphy started the car, she continued, "Our series targets the North American market primarily. Nicole Kidman is widely disliked by American audiences, possibly the most disliked."

"Alright." Murphy nodded lightly. "You and Paul draft a list of potential actresses. If Charlize Theron declines, we can hold auditions."

Charlize Theron would give him a definite answer before the New Year.

Previously, Murphy had some hope, but after this dinner, he sensed that Charlize Theron was unlikely to accept the role.

Especially since she mentioned Warner Bros., George Miller, and "Mad Max." That project probably had a stronger pull for her. Her role in the film was arguably her best, surpassing even her Oscar-winning performance in "Monster."

With little hope on that front, Murphy naturally shifted focus to other options.

Sure enough, by Friday, Charlize Theron called Murphy herself, expressing deep regret that she couldn't take on the role of Claire.

Unexpectedly, she also conveyed greetings from George Miller.

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