Chapter 48: Feeling Promising
Since Phone Booth had been slotted by Twentieth Century Fox as a spring filler release, Aaron knew they wouldn't give it much priority.
With only a month until release, he still needed Nicolas Cage to cooperate fully with Fox's promotional efforts—after all, he was the film's only real selling point.
As the Oscars approached, the awards season kicked into gear: the Hollywood Directors Guild Awards, Writers Guild Awards, and the British Academy Film Awards all set the tone for the industry.
Aaron, having produced Phone Booth, also joined the Producers Guild of America. Conveniently, this year the PGA was holding its inaugural Producers Guild Awards. With the major Hollywood guilds almost all established, it was only a matter of time before the Actors' Guild Awards appeared.
At the Wilton Theatre on Santa Monica Boulevard, Fox held a test screening for Phone Booth.
Aaron and director David Fincher sat in the audience, speaking in low tones.
"Look at them—most of the audience is tense almost the entire time."
"That's exactly the effect we wanted!" Fincher replied.
Being a first-time director, Fincher naturally cared deeply about his film. Scanning the room, he felt a surge of satisfaction.
"Not bad—we didn't disappoint them."
Aaron nodded. "That alone proves Phone Booth can stand alongside other top-tier thrillers."
"Top-tier?" Fincher asked.
"Yes. You have to believe in yourself. Once the film releases, you'll be a bona fide Hollywood director."
Technically, the script for Phone Booth was only above-average, but it stood out for its originality. Combined with Fincher's direction and Cage's performance, the pacing of the film was undeniably first-rate.
Even if the story didn't provoke deep reflection, it was still a solid film. Quentin Tarantino played the killer, appearing for just three minutes—but he brought his signature intensity. His neurotic voice fit the movie perfectly.
"By the way, David, you've seen the script for my Ghost story. How can I get satisfying special effects on a limited budget?"
Fincher, who had previously worked at Industrial Light & Magic under Lucas, had some authority on the subject.
Aaron's film wasn't Terminator 2: Judgment Day—it needed to save money.
"You want to expand the interplay between humans and ghosts to enrich the story? It won't cost much. A few well-placed effects should do the trick," Fincher advised.
Aaron had handed the romantic ghost story script to director Edward Zwick a few days ago and was waiting for his feedback.
As for the male lead, Kevin Costner, he had just finished filming Dances with Wolves and was promoting Tony Scott's action film Revenge. Once Zwick was secured, Aaron planned to contact Costner immediately.
The test screening for Phone Booth was well-received, though Fox had scheduled only a limited number of showings.
That evening, Aaron met Jack Wells at a West Hollywood bar.
"This standard promotional approach feels a bit ineffective," Aaron remarked.
"Should we bring in more critics to recommend it?" Jack suggested.
"Forget it," Aaron said, taking a sip of his drink. "Established critics cost a lot. Even getting them to promote in major newspapers isn't cheap. This is the era of print, radio, and TV—the cost of influence is far from negligible."
"By the way, I saw producer John Hughes at Fox yesterday. What's going on with his movie Home Alone?"
Hughes, an agent client of CAA, specialized in developing children's and teen comedies, under contract as both director and producer.
"Oh, it's a Christmas comedy. Originally he planned to collaborate with Warner Bros., but after bringing in Chris Columbus as director, he increased the production budget."
"Warner Bros. opted out, and Hughes turned to Twentieth Century Fox. Their budget increase went from a maximum of $13 million to $18 million."
"That kid, Macaulay Culkin, seems very talented," Aaron noted.
Jack Wells understood exactly what his friend meant and shook his head.
"That kid starred in a Hughes comedy just last year. Plus, Macaulay Culkin's agents are his parents—an $18 million production budget with that kid as the lead? There'll be plenty of agents fighting over him."
Aaron paused, feeling a bit embarrassed. "True!"
He had stumbled upon the Home Alone project by chance and had hoped to see if Jack might have access to a big-name actor. Clearly, that was off the table.
"Aaron, you know me—I don't have much of an eye for scripts. At CAA, I'm really only cut out for assistant work."
"Also, I've already spoken with Kevin Costner's assistant-agents. From now on, I'll be working as Kevin Costner's assistant and driver for a while."
Aaron raised an eyebrow. "And are you going to double as his bodyguard too?"
"Not officially—a little protective work, like we used to do."
Back when Aaron had assisted Paula Wagner, he had provided a bit of protective support, though she wasn't a major star, so the job was primarily as assistant and driver.
"Sounds like there's no future in that," Aaron said.
"What choice do I have? CAA pays well. Should I go join a gang?"
Jack and Aaron were both high school graduates. With gang culture on the rise in Los Angeles, Aaron couldn't help but wonder.
"Gangs… no future?" Aaron stroked his chin. Jack's father had been a bounty hunter in his youth, and Jack himself was familiar with firearms. No wonder Aaron trusted him so much.
"What about a security company? Hiring retired special forces to protect wealthy clients," Aaron thought aloud, feeling a spark of inspiration. "Someday, I'll be rich too—and I'll need bodyguards!"
Jack's eyes widened. "You'll need protection from others?"
Aaron's skill was impressive—he could handle three or five burly men with ease, thanks to his strength and athleticism.
Aaron raised a finger. "No matter how good you are, one shot takes you down."
"Ah, so that's why you're so obsessed with firearms! Someday we should go hunting so you can truly feel the power of weapons. Shooting at targets just doesn't compare."
"Exactly. And when I'm rich, I'll fund you to start a security company—make it big, take it international…"