America Tycoon: The Wolf of Showbiz-Chapter 963 - 884 Chaos Is Also a Kind of Order_2
Chapter 963: Chapter 884: Chaos Is Also a Kind of Order_2
Chapter 963 -884: Chaos Is Also a Kind of Order_2
Nicholson understood Martin’s intention, “So you’re planning to combine this with reality?”
The car stopped near an open space, and Martin temporarily turned off the DV, saying, “A person doesn’t fall from grace without reason. There’s always a cause, and it’s easy to find. Ever since the 2008 financial crisis, with the American economy on the decline and social order getting worse, the immense pressure faced by the lower-class can drive people insane.”
Leonardo, besides being an actor, was also a producer and an investor. He immediately grasped Martin’s meaning, “So you want to make this film a vent for public emotions?”
Martin began to fantasize, “I plan to have the exploited and oppressed American underclass inspired by a series of the Joker’s encouragements to ignite a large-scale urban riot.”
Lorraine said in surprise, “Are you planning to incite Americans to riot?”
Martin laughed heartily, “It’s a commercial film, after all. Of course, it has to be shot in a way that will attract the majority of the audience. Most of the people who pay for Hollywood movies are ordinary folks who are oppressed by corporations and quite unsatisfied with society, thinking that those in power are all pigs.”
Nicholson also laughed, “So all the faults lie with the authorities, with society?”
That was also part of the plan, Martin said, “Chaos is a kind of order.”
“Have you forgotten the real aim of that scoundrel Martin?” Leonardo revealed what Martin had exposed when he was drunk, “He wants to march on Washington and conquer the White House…”
He teased Martin on purpose, “Is this film part of your plan?”
Martin began to spout nonsense, “I am pointing out an effective path of development for the suffering American people.”
During the day, this group of people were busy filming and enjoying the spectacle, gathering a lot of material.
At night, these places became doubly dangerous. It was impossible for Martin to risk the safety of a few close buddies, so they simply stayed inside the hotel, watching the footage together.
Although neither Leonardo nor Nicholson had ever directed, their decades of experience in the film industry was more than rich, and they could offer Martin some useful advice.
In the following days, Martin and his people roamed around San Diego and its neighboring cities.
During this time, they encountered an American-style confrontation.
Two African American men near Chula Vista Park were stopped and questioned by the police, and one of them actually pulled out a knife.
As expected, two Glocks emptied their magazines, and the man with the knife was hit by over twenty bullets.
Then, large protests erupted across Southern California.
Inside the Bay Hotel, standing in front of the full-length window of the suite’s living room, Martin looked over at the nearby square where many people sat in silent protest.
Leonardo watched for a while and said, “Among those protesting, there seem to be more white people than African Americans.”
Nicholson moved a chair to sit down, “All the social conflicts are now focused on these rotten issues.”
Martin said, “At this time, if a Joker were to raise his arm and cry out, becoming a model for all of America, would we see riots like those in the early ’90s?”
“I’ve realized,” Leonardo said, raising his glass towards Martin, “you’ve always had the heart to annihilate America.”
Martin laughed, “Too bad I don’t have that power.”
At the square, the protesting crowd was restrained, and the police did nothing beyond guarding.
After all, these people were not protesting against ‘America’s squid dads’.
After spending four days in San Diego, the group returned to Los Angeles.
Martin immediately got involved in the preparations for “Joker.”
Louise had already represented the film studio, signing a third-party guarantee with the Firefighter’s Fund Insurance Company, and the casting director began selecting actors for each major role.
Some of the crew members who had worked with Martin on “Shark Beach” gradually joined the cast.
However, Cinematography Director Dan Rothenstein, who led the film crew during “Shark Beach” and was part of Chad Stahelski’s team, was currently preparing for “The Continental New York,” which conflicted with Martin’s schedule.
Martin had chosen Jeff Cronenweth, who was recommended by David Fincher.
The latter had begun working with him when David Fincher directed “Fight Club.”
Martin had collaborated with Jeff Cronenweth on “The Curious Case of Benjamin Button” and “Gone Girl,” so there was a mutual understanding between them.
Jeff Cronenweth believed that shooting television series didn’t fit his career plan and didn’t follow David Fincher to collaborate with Netflix, choosing to stay in the movie industry instead.
His cinematographic style was a great match for the dark and neurotic style of “Joker.”
For location scouting, Louise suggested choosing New York, which had well-established studios and beneficial tax rebate policies.
Martin had been involved in multiple shootings at Brooklyn Studio, the only difficulty being a bit troublesome when filming outdoor scenes.
The film had a crucial male supporting role, and Martin tried inviting Nicholson, given the great publicity it would bring.
But Nicholson was set on retiring and declined straightforwardly.
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Martin then suggested considering one of Nicolas Cage, Al Pacino, or Robert De Niro, depending on their makeup tests and availability.
“I don’t think Cage is suitable,” Louise seldom vetoed Martin’s casting suggestions, but this time she insisted, “In recent years, Cage has taken any bad movie to pay off debts and taxes. Just throw him a script and, if the price is right, he’ll sign the contract.”
Martin suddenly remembered “White Ghost”; when you’re poor, you truly have no choices.
“Film after film has failed, and Cage has tarnished his own reputation,” Louise continued, “Now, every time he appears in a film, it’s advertised as his comeback, only to leave fans utterly disappointed. After a few times of this, fans lose interest in buying tickets if they see Cage’s name in the credits.”
Martin wasn’t obstinate: “Remove Cage from the candidate list.”
After a pause, he added, “In that case, Al Pacino isn’t very suitable either; he’s also taken any project in the past few years.”
Louise nodded, “That’s right, he’s crazily accepting roles to support his bunch of sons and daughters.”
Martin remarked, “Robert De Niro is a bit better than them.”
“Choose Robert De Niro,” Louise suggested, “You’ve worked with him on ‘Endless.'”
“Sure,” Martin agreed.
Louise handed back the storyboards she had finished reviewing to Martin, saying, “You’ve placed Joker in a real-life context.”
“Although the movie is a comic adaptation, its main content is closely related to real society,” Martin certainly wasn’t going to forgo the influence of comic books: “The movie will also feature Bruce Wayne. With so many fans of the master, we need to find a way to attract them to buy tickets.”
Louise asked, “For the young Bruce Wayne, who do you plan on casting?”
“Minor roles like this, choose through auditions,” Martin replied directly, “but we need to build up the hype. It’s Batman casting, after all!”
Louise pushed her glasses up, “DC will have something to say about it.”
“Don’t worry about them,” Martin said, “Warner Bros. has full rights to this sequel, and Daniel will support us.”
Louise nodded in agreement, then added, “I’ve discussed with Daniel, this movie will be released during next year’s holiday season, and the specific release window could be in October or November.”
Martin thought for a moment, “This year I have ‘Split,’ and next year is perfect for its release. It seems Leo is planning to invest in ‘The Revenant,’ also aiming for next year… Haha, maybe we can get Leo on board.”
Having already won Best Actor once, could Leonardo win again with “The Revenant?”
During the following time, Martin focused on preparing for “Joker,” concentrating mainly on the directorial work, and leaving all the logistical matters of the crew to Louise’s charge.
The two of them had quite a Christopher Nolan and Emma Thomas dynamic.
By April, “Shark Beach” had completed its international screenings, accruing a global box office total of 317 million US Dollars.
Martin led the crew out of Los Angeles, heading to New York for the final preparations and shooting.
