"No need to be polite, everyone, take a seat."
Dunn waved his hand casually before pulling out a chair for Charlize Theron in a gentlemanly manner.
Once Dunn and Charlize were seated, Kent Richards and David Anthony sat down respectfully.
They were part of the Rush Hour series crew but not key creative members, so they didn't have much stake in the franchise's profits.
By comparison, Dunn's invitation aligned far better with their career goals!
Even if it meant working as a production assistant or casting director, being under Dunn's wing was undeniably a step up from sticking with New Line Cinema.
"You guys get what I mean, right?"
After sitting down, Dunn first ordered a juice for Charlize Theron, then took charge of the conversation with a straightforward tone.
Kent Richards ventured cautiously, "Is this about… Director Ratner?"
Dunn smiled lightly and said calmly, "I think his presence seriously tarnishes Hollywood's image. Don't you agree?"
"Tarnishes Hollywood's image?"
Kent and David exchanged a quick glance, instantly picking up on Dunn's implication.
In this industry—especially in roles like production assistant or casting director—you couldn't survive without sharp instincts.
David Anthony jumped in, "Absolutely, Mr. Walker, I agree with you 100%! Back when we were shooting Rush Hour 1, Ratner was still okay. He was a newbie then—serious and careful. But by Rush Hour 2, his ego had ballooned, and the jerk side of him came out full force."
Just then, a waiter brought over a coffee and a juice. Dunn took a slow sip before saying, "Tell me the details."
David hesitated, "Things in the crew back then… they were messy. I don't remember everything clearly, but I do recall at least three female extras complaining to me. They said Ratner used his position to pressure them into 'dates.'"
Charlize Theron's expression darkened. It seemed this Brett Ratner had quite the track record!
Bullying struggling actresses at the bottom chasing their dreams was far worse than messing with established stars!
With A-listers, the unspoken deals were often mutual—both sides got something out of it, backed by contracts. But with female extras? That was pure exploitation, completely unequal!
Charlize hadn't worked as an extra in Hollywood herself, but she'd been in the modeling world, where plenty of her peers had faced similar horrors.
So many girls with dreams stepped into film crews, sleeping with casting directors, assistant directors, production assistants, associate producers—you name it—only to find out after the movie wrapped that they'd been conned. Their scenes? Cut entirely!
That's the reality for extras.
Usually, it's the mid-to-low-level crew members preying on these dreamers with no connections. But Brett Ratner, the director of Rush Hour, using his authority to target the bottom rung? That level of shamelessness was beyond comprehension!
Dunn, though, stayed calm.
Entertainment industries worldwide were the same. Unequal supply and demand inevitably led to unequal trades.
Female stars who clawed their way up from being extras? It wasn't just most of them—it was all of them. Every single one had a gritty, ugly backstory. Inspirational, sure, but also brutal.
"Can you track them down?"
Dunn was intrigued by this info.
In Hollywood, big-name directors playing the casting couch game with actresses was an open secret. Both sides kept it hush-hush to protect their reps.
But abusing power to pressure extras? That was a different beast.
Extras were mostly outsiders—they didn't care about Hollywood's polished facade. If this blew up, it could deal a serious blow to the industry's image. That's why most big directors and producers preferred the hassle of dealing with established actors over targeting the powerless.
Brett Ratner's reckless behavior had clearly broken Hollywood's unwritten rules.
David thought for a moment. "I should be able to! I'll check the lists when I get back and reach out to them."
"Good. I want detailed records—written statements confirmed by them!" Dunn paused, then added, "Be upfront with them. Tell them not to be afraid. Say I, Dunn, am stepping in to fight for them, to take Ratner down, and I need their help!"
"Got it," David nodded firmly.
Dunn gave a soft "mm," then turned to Kent Richards. "What about you? As a production assistant, you handle the actors' daily needs and communication. You must've heard some things too, right?"
Kent lowered his head, his voice heavy. "If I'm remembering right, at least five female extras complained to me about Ratner's inappropriate behavior."
"Oh? Do you remember who?"
"There was one Japanese actress, Eri Sasaki. She was shooting a scene in a really revealing outfit—her upper stomach was exposed. While waiting to start, Ratner walked up to her, pointed at her stomach, and asked if she'd join him in the bathroom. She said no. For days after that, he kept pushing, saying he could make her a star, even promising her a line. She vented to me about it for days, so it stuck with me."
Kent paused, then continued, "There was another extra, Georgina King. I remember her because she's since started her own extras agency and become a boss. Back then, Ratner singled her out from a group of female extras, saying he wanted to discuss her lines. But once she got to his trailer, he told her to take her top off so he could see her chest. She refused, and the next day, she was fired."
"That bastard!"
Charlize Theron couldn't hold back anymore, muttering a curse under her breath.
Kent shrugged. "He thinks he's entitled to it. To him, it's just how things work—like it's part of the job."
Dunn waved a hand. "Alright, that's enough. These stories are solid… I mean, they carry weight. Remember, I want written statements—testimonies from the victims themselves."
Kent jumped in, "Mr. Walker, don't worry. Give me three days, and I'll dig into this and get you a detailed report."
"Great." Dunn patted Charlize's thigh under the table, smiling at the two across from him. "Handle this well, and I can offer you both jobs at Dunn Films. You'd get a shot at working on big projects like Spider-Man."
Kent and David lit up with excitement.
Wasn't this exactly why they'd taken Dunn's meeting?
In Hollywood, everyone knew Dunn Films was a haven for underdogs. Tons of the company's founding team came from the bottom—guys like Andrew O'Hare and Glenn Fiero, now execs at Dunn Films.
Dunn was at the peak of his game right now.
Actresses, actors, grassroots workers, pros—anyone who latched onto Dunn's coattails had a foothold in Hollywood.
…
"Just thinking about Ratner's disgusting face makes me want to puke!"
As a woman, Charlize was clearly furious about Brett Ratner's actions.
Dunn rubbed his nose, a bit awkward. "Uh… that's not a dig at me, right?"
"Huh?" Charlize blinked, then burst out laughing, giving him a playful glare. "You're you, he's him—how's that the same? You've launched so many actresses' careers; that's your cred. Ratner? He's a straight-up jerk, liar, and creep!"
Dunn grinned. "Alright, thanks for the compliment."
Charlize shook her head. "It's not a compliment—it's the truth. Harvey Weinstein's a hundred times worse than Ratner, but actresses still work with him. Why? They want to be stars. It takes two to tango. I'd bet every actress in Hollywood dreams of climbing into your bed."
Dunn laughed, half-amused, half-exasperated. "Okay, let's not compare me to them. I'm a feminist! I'm actively pushing for women's rights and progress. This year alone, I've put out Juno, Resident Evil, The Hours, and Chicago—four female-driven films. And Gone Girl is in the works too—another feminist project."
"Gone Girl?" Charlize's eyes sparkled. "It's being made into a movie? Dunn, you know I'm out of gigs right now. My agent just pulled me from Red Dragon."
Dunn looked at her steadily. "You want the lead?"
"Why not?"
"You're too young. Gone Girl needs a more mature actress."
In comparison, Dunn had his eye on Nicole Kidman. Her acting chops and age put her in the prime of her career.
Plus, she'd been through a rocky marriage she'd fought to hold together—a perfect fit for the lead in Gone Girl.
Charlize's face fell, and she muttered, "Looks like old flames still matter more."
Dunn chuckled and shook his head. "Come on, if the right chance comes up, I'll call you. But Gone Girl? It's not your fit."
Casting Nicole Kidman as Gone Girl's lead had another layer too.
Last year, Dunn had planned to direct Chicago himself, with Mel Gibson and Nicole Kidman as the leads.
But things shifted, and he ended up doing A Beautiful Mind instead.
Mel Gibson needed to break out of his tough-guy mold. Maybe Gone Girl could be his shot…