The Mirror System had brought Dunn enormous benefits. For instance, Glen Fierro had a project evaluation score of 94 and a casting score of 97—numbers that would easily overshadow any of Hollywood's top producers. However, his production skill was a flat zero.
A person like this, with no production abilities whatsoever, would find it impossible to secure a position as a producer or even an assistant producer in Hollywood. It would be nothing short of a pipe dream!
But Dunn was different. He could appoint Glen Fierro as a production assistant, utilizing only his exceptional abilities in project evaluation and casting.
After spending an entire afternoon, Dunn finally assembled his personal team:
- **Production Assistants:** Morgan Carey, Glen Fierro, Erin Kelly
- **Assistant Directors:** David Knight, Abel Smith, Andy Thompson
- **Market Analyst:** Andrew O'Hare
- **Art Analyst:** Manohla Dargis
- **Screenwriters:** Deacon Whistler, Bryce Roach, Nia Vardalos
- **Cinematography:** Alice Moore, Vincent Barton
- **Lighting...**
Dunn carefully noted down 42 names on a piece of paper. Of course, this wasn't the full roster of a film crew; they were merely the core team. For a large-scale production, he would need to hire additional temporary crew members, expanding the team to 100 or 200 people.
These 42 carefully selected individuals would undoubtedly accompany Dunn as they reached the pinnacles of their careers. Dunn called George Paxton in and handed him the list. "Get in touch with these 42 people right away. If they're out of town, cover their travel expenses. Send the invitation in the name of Dunn Films and myself. Tell them that Dunn Walker invites them to Hollywood to create greatness together!"
All of Dunn 's chosen candidates were people living on the fringes of society. Given the opportunity to work at the now-famous Dunn Films and pursue their Hollywood dreams, who could refuse?
Three days later, all 42 people had arrived—every single one of them. After delivering an inspiring speech, everyone officially became part of Dunn Films. Dunn then summoned market analyst Andrew O'Hare, art analyst Manohla Dargis, and the three screenwriters to his office. These five individuals would form the most crucial core of his future filmmaking endeavors.
Deacon Whistler specialized in action, war, and historical dramas; Bryce Roach excelled in science fiction, fantasy, and detective stories; Nia Vardalos, being a woman, had a knack for family, ethics, comedy, and women-centric works.
The idea was for these three screenwriters to pool their strengths in writing, while the two analysts critiqued and refined their work, all in the pursuit of creating an outstanding script.
Dunn needed to quickly come up with a project, finish the shooting, and release the film next year to compete against "Blade." This project couldn't be too costly, but it needed to have broad appeal and excellent box office potential to crush "Blade." The classic comedy "The Hangover" naturally came to Dunn 's mind.
"I'll keep this brief. The company needs to quickly produce a movie to release next year. So we need to finalize the project and start writing the script immediately..."
Before Dunn could finish, Bryce Roach interrupted, "Boss, if we're in a rush, why create an original story? Writing a successful script could take at least two or three months, right?"
"Huh?" Dunn raised an eyebrow. "What do you mean?"
Bryce Roach replied, "Use an existing script. We've all registered scripts with the Writers Guild."
Dunn blinked, realizing what Bryce meant. "You're saying... you all have scripts registered with the Writers Guild?"
"Exactly."
All three screenwriters nodded.
Dunn sighed inwardly. These three screenwriters had top-tier storytelling abilities but poor market insight. Could they really have written successful stories without the help of a market analyst?
Dunn wasn't convinced but didn't want to dampen their enthusiasm during their first meeting. "Alright, tell me what scripts you've written."
Bryce Roach smiled. "I wrote a detective script called *Black Detective*..."
"No way!" Andrew O'Hare interrupted immediately. "This isn't the '50s or '60s anymore. Traditional detective films like this don't have any box office potential now."
Bryce Roach's face darkened with irritation.
Dunn quickly asserted, "Andrew is the market analyst I appointed. He's currently the company's highest authority on film market analysis. If he says it won't work, then it won't work!"
Andrew O'Hare smiled slightly, grateful for Dunn 's support. Bryce Roach forced a grin and said nothing more.
The screenwriter with a 99 in writing ability, Deacon Whistler, stammered, "I...I won't...say much. H-here's the script."
Dunn took the script, its cover displaying the title "Crimson Shadow," a name that evoked a sense of tragic grandeur.
As Dunn began to read, the others gathered around to peruse the script as well. The script was a concise version, only about twenty pages long. After spending over half an hour reading it, Dunn let out a long sigh.
It was indeed a good story.
The script told the tale of an American war veteran. A hero of the Gulf War, he had lost his right leg to a bullet and was lauded by Congress before returning to his hometown, where the townspeople welcomed him as a hero.
He was their pride, the town's hero! However, he was also crippled, with only one leg. No job would hire a disabled man with blood-stained hands, who had killed countless enemies. His child was subjected to ridicule and bullying at school, mocked for having a crippled father.
When he tried to attend an old classmate's wedding, he was turned away because his classmate's family didn't want his presence to cast a shadow over the joyous occasion.
He had been a hero defending his country, but now he faced discrimination and cold indifference. His spirit was crushed, and he was filled with unspoken sorrow.
But the worst blow came when he discovered that his beloved wife was cheating on him…
Enraged, he took up his shotgun and killed the adulterer, attempting to dispose of the body, but a neighbor saw him. Forced to act, he killed the entire family, only for more people to discover his crime.
Thus began a massacre. He unleashed a killing spree across the entire town.
The story ended with him, seeing the pain in his child's eyes, choosing to end his own life…
"The story is excellent," art analyst Manohla Dargis commented, nodding in appreciation. "If we tweak a few parts to deepen the anti-war theme and sharpen the reflections on human nature, it could win the top prize at European film festivals. With the right actor, there's a good chance it could even be nominated for an Oscar for Best Actor."
Dunn frowned slightly. He wasn't looking for awards; he needed box office success! His gaze naturally shifted to Andrew O'Hare.
Dunn wasn't sure about the market potential of this script, which likely hadn't been turned into a movie in his previous life.
After pondering for a moment, Andrew O'Hare shook his head. "This doesn't align with American values. Audiences won't like this subject matter or the complex human twists. Even if it were made into a thrilling action movie, it would perform poorly at the North American box office, though it might do better overseas."
Deacon Whistler, unwilling to give up, stammered, "I... I can... re... revise..."
Dunn waved him off. "The subject matter of this script is problematic. There's no need to dwell on it. Nia, what about you?"
Nia Vardalos, in her thirties with large, expressive eyes, was a temporary actress who had been playing bit parts in various productions. In her spare time, she had created a script.
Now that she had joined Dunn Films, she had a stable job with a decent salary, and she no longer wanted to endure the hardships of being an extra.
"I brought my script too, Dunn . Why don't you take a look?"
As a bit-part actress, Nia Vardalos knew how to flatter her boss. She gently placed the script beside Dunn , her ample chest "unintentionally" brushing against his arm.
Dunn glanced at her, noticing the strange glimmer in her radiant eyes.
"Ahem…"
Dunn quickly covered his reaction. He couldn't afford to flirt with a female subordinate in front of so many others in the office. He picked up the script and, upon seeing the title, froze.
"My Big Fat Greek Wedding"!
Looking back at Nia Vardalos's face, Dunn found it vaguely familiar. No wonder... she was the writer and star of *My Big Fat Greek Wedding*!
A few years younger, she was certainly more charming than in the movie…
"Hmm? Have I altered her future trajectory by getting involved?"
Dunn couldn't help but chuckle at the thought.
But what future could she have as a D-list actress? She'd be better off as my personal screenwriter...