The richest actor in Hollywood.

In the conference room of Skydance Productions, a director in his thirties turned and left, closing the door behind him. The room fell silent as Matthew, David Ellison, Big Beard Jack, and Helen Herman considered the director's words and plans.

Big Beard Jack spoke first, "He's not suitable. Lacks experience. He's just transitioned from advertising to filmmaking, and his concepts are still rooted in advertising."

"Jack is right," Helen Herman added. "We all hoped he could be the next Michael Bay, but not every ad director transitions to film with Michael Bay's clarity."

David Ellison looked at Matthew, "Should we move on?"

"Yes," Matthew nodded slightly. "Let's see the next one."

Big Beard Jack signaled a staff member to bring in the next candidate. He then turned to the other three. "The next director has been working in the independent film circuit. He's directed five films and is looking to transition to commercial films."

Matthew nodded. Some commercial blockbuster directors did come from the indie film scene. Compared to commercial films, indie films with smaller budgets and productions were more open to new directors.

Skydance Productions had been searching for a director for "Fast and Furious" for some time but had yet to find a suitable candidate. It was like a matchmaking process where neither side was satisfied with the other. The "Fast and Furious" series seemed stuck in a situation of being neither high enough nor low enough.

Matthew and David Ellison preferred to hire a well-known director with proven success. However, getting a famous director wasn't easy. It wasn't about the money but about maintaining control over the film's direction and post-production. On the other hand, hiring a new director without enough experience and success was too risky for such a major project.

Some directors even demanded a tiered box office share in their pay, which was unreasonable. Matthew now understood the complexity and difficulty of managing a big-budget film project from the planning stage, something he hadn't realized as just an actor.

The door opened again, and a staff member brought in a young director in his early thirties.

"I'm Michelle Gibson," the young director introduced himself confidently. "I'm from Illinois..."

Matthew glanced at Michelle Gibson, who exuded confidence and enthusiasm. A director in his early thirties with five films under his belt, albeit small indie productions, had reason to be confident.

Matthew kept silent at first, as did David Ellison and Helen Herman. Big Beard Jack led the conversation with Gibson.

Michelle Gibson's professional demeanor and discussion impressed Matthew and the others. He seemed like a strong candidate.

"The crew provided me with the script, and I've read it thoroughly," Michelle Gibson said. "Is this the final script?"

Big Beard Jack thought for a moment and replied, "No, it's just a draft."

Michelle Gibson nodded slightly, "Good, it has room for improvement."

Sensing another layer of meaning, Matthew interjected, "Director Gibson, what improvements do you suggest?"

"Many!" Michelle Gibson smiled confidently. "It's best to scrap it and rewrite everything!"

David Ellison was taken aback, and Helen Herman frowned. Big Beard Jack remained composed, "Could you elaborate on your ideas?"

Michelle Gibson earnestly explained, "The story structure is too simple, the plot lacks coherence, and there are too many scenes devoted to car chases, fights, gunfights, and explosions, which will severely limit narrative time."

He continued, "The setups are too simplistic. Frankly, have you thought about why 'Tokyo Drift' failed? Why did the previous trilogy decline in quality? It's because they lacked deep themes, ignored societal issues, and didn't explore the human heart and human nature."

David Ellison looked sharply at Matthew.

Matthew sighed inwardly, realizing he had overlooked the impact of directing multiple indie films.

Michelle Gibson wasn't done. "America is a car-centric nation. Illegal street racing and car modifications are serious issues. This subject could be made into a film with profound themes and social significance. We..."

Hearing this, Matthew exchanged glances with David Ellison and Big Beard Jack. Big Beard Jack interrupted Michelle Gibson.

"Director Gibson," he said loudly, "We understand your perspective. We'll seriously consider your suggestions and inform your agent within a week."

"Very well," Michelle Gibson stood up, still confident and proud. "Goodbye, everyone."

As he left the room, David Ellison was the first to speak, "We can't use him."

Big Beard Jack firmly nodded, "Agreed."

Matthew said nothing but nodded in agreement. Michelle Gibson's ideas weren't necessarily wrong, but their visions were worlds apart. His suggestions were more suited to indie films, not big-budget commercial movies.

This young director had a good background and professional skills but wasn't on the same page as them.

Matthew, David Ellison, and Big Beard Jack had already agreed that the "Fast and Furious" series was meant to be a simple, pure popcorn entertainment film. Anything deviating from this core concept needed to be ruled out.

"If the next candidate isn't suitable..." Big Beard Jack said, "we'll need to expand our search."

Matthew sighed, "Let's see how it goes."

Despite Big Beard Jack handling most of the work, Matthew and David Ellison felt the challenges firsthand. The successful movies required unseen efforts and tough decisions.

Big Beard Jack asked the staff to bring in the next candidate.

A young Asian director walked in and sat across from Matthew and the others.

This director, also in his thirties, had black hair and eyes. As before, Big Beard Jack led the conversation.

Matthew didn't base his decisions on appearances. Investing in films required more than such superficial criteria.

Big Beard Jack was talking to the director, and Matthew listened quietly.

This young Asian director had approached them as soon as they acquired the "Fast and Furious" rights. He met with Matthew and David Ellison but was put on hold due to the poor reception of "Tokyo Drift." They planned to consider him during the formal director selection process.

This director was Justin Lin, who directed "Fast and Furious 3: Tokyo Drift."

Matthew knew why Justin Lin was eager for this project. The poor reception of "Tokyo Drift" put tremendous pressure on him, making it hard to find new directing jobs. Such a failure could be devastating for an Asian director in Hollywood.

This objective fact couldn't be denied.

Matthew hadn't had a proper conversation with Justin Lin, and his impression of him was based solely on "Tokyo Drift."

So, Matthew listened intently to Big Beard Jack and Justin Lin's conversation. The talented but unsuitable director made Matthew realize that an excellent director wasn't necessarily the right one.

Justin Lin occasionally glanced at Matthew and David Ellison, especially Matthew.

To salvage his directing career, Justin Lin needed an opportunity to prove himself to all Hollywood studios. Such opportunities were rare, so he chose to try and succeed where he had previously failed.

He knew he had to impress Big Beard Jack but, more importantly, win over Matthew Horner.

_________________________

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