"Simon, how about you write a song for me, and I can perform for free at the Victoria's Secret show at the end of the year. How does that sound?"
"Sorry, Maggie, but the Victoria's Secret show doesn't feature guest performers."
"That's why it's a good idea! Inviting guest performers would definitely increase the show's popularity. You should thank me for coming up with such a great idea."
"Thank you, Maggie, but maybe you can talk to someone else about this."
In the villa's private bar, Madonna finally gave up after Simon remained unmoved despite her efforts. She then grabbed his arm and said, "Alright, let's dance, Simon. You're already so wealthy, there's no need to talk business during party time."
Despite her small stature, Madonna had considerable strength. Simon knew he couldn't continue his conversation with Deutschman and let her pull him up.
There were over a dozen people swaying to the gentle music in the bar's dance floor. Madonna led Simon to the floor and signaled to the DJ: "Hey, play something upbeat."
Though it was a private bar, it was well-equipped. Moments later, lively music started, and the lights began to flash.
This body was young after all, and Simon wasn't averse to having fun. Seeing Madonna dance like a wildcat in front of him, he swayed to the music too. Noticing Natasha Henstridge hesitantly standing at the edge of the dance floor, he gestured for her to come over, and she quickly joined him.
Seeing Simon holding Natasha by the waist while ignoring her, Madonna was visibly displeased but didn't try to push Natasha away. Instead, she began trying to pull the girl away from Simon.
The queen wasn't picky about gender.
However, with a height difference of almost twenty centimeters and Natasha not cooperating, Madonna found it hard to succeed.
Seeing Madonna's intentions, Simon smiled and grabbed another girl trying to get close to him, gently pushing her toward Madonna. The queen accepted without hesitation and didn't let go.
After over ten minutes of dancing, Simon left the dance floor with Natasha. Redford and Deutschman were no longer there, and the bar was even more crowded than before. The sofas by the pool table were occupied, but a side was clearly left empty for Simon.
Simon recognized everyone in the booth.
At the far end, enough for four people, sat Hugh Grant and his girlfriend Elizabeth Hurley, David Russell and Jeremy Davies, the director and lead actor of Danneel Entertainment's entry "Spanking the Monkey" this year. Next to them were Robert Rodriguez, the Mexican director discovered by Danneel Entertainment last year through "El Mariachi," and his muse Salma Hayek. Quentin Tarantino, who had gotten close to Rodriguez, didn't come to Park City due to the disappointment of "Reservoir Dogs" at Sundance.
Simon greeted everyone without any sign of unfamiliarity and sat down with Natasha.
It was mostly their first meeting, and though they had been introduced at the start of the party, everyone was surprised Simon could easily call out their names. After all, they were still relatively unknown in Hollywood. Simon didn't have an extraordinary memory, but his mind was filled with Hollywood-related memories, and recognizing these not-so-obscure figures was natural.
While everyone chatted casually, Madonna came over again with another girl in tow.
The brighter lights in this area allowed Simon to see clearly the girl he had just pushed to Madonna. She had a very pure face, black hair, fair skin, light-colored eyes, and just the right amount of lips, somewhat resembling Winona Ryder but with a bit more allure.
One look and Simon could tell the girl had Russian blood.
Indeed, she did.
Because Simon quickly recalled her name: Mia Kirshner.
Kirshner, a typical Russian surname.
Simon openly scrutinized the girl and then patted the slightly vacant spot beside him: "Come, sit here. What's your name?"
With many guests tonight, he had only greeted those who needed his attention. Even though he remembered her name, he had to pretend not to know.
Mia Kirshner, who had been molested by Madonna on the dance floor, still had some resentment. Hearing Simon call her over, she instinctively moved forward, cautiously sitting beside him. Remembering his question, she quickly said, "Mia, Mr. Westeros, my name is Mia Kirshner."
A waiter came over with a tray.
Simon took two cocktails, handing one to Natasha, who looked a bit resentful, and was about to give the other to Mia when he paused, scrutinizing her slightly chubby face, and asked, "Are you of legal age?"
Mia raised her hand to take the glass and explained, "I'm 19, Mr. Westeros, I'm 19."
Simon smiled and took back the glass: "Then you still can't drink," he said, gesturing to the waiter, "Bring this lady a juice."
On the other side, Natasha was more frustrated. She was also 19, still half a year from 20.
She couldn't help but look over at Mia Kirshner, who was about Madonna's height of 1.6 meters. With her pure, youthful face, she could easily be mistaken for a little girl, something the nearly 1.8-meter-tall Natasha couldn't compete with.
Many people in the bar were watching Simon.
Seeing Westeros effortlessly charm a beautiful girl while already having a stunning companion like Natasha Henstridge drew envy from many. Natasha was untouchable, but Mia Kirshner, an easy 80-plus in attractiveness, had a unique blend of purity and charm that was very appealing.
As an unknown 19-year-old actress, Mia Kirshner wouldn't have attended Westeros' party without reason.
Mia was the lead in "Exotica," a Canadian film at this year's Sundance, about a grieving middle-aged detective and a dancer who resembles his deceased daughter. With Highgate Pictures interested in the film, the director and producer were invited to the party, and Mia was brought along by producer Robert Lantos, who had ulterior motives, hoping to make a move after the party. But seeing her caught Westeros' eye, his plans were dashed.
No point in trying now.
At the bar, Robert Lantos downed his whiskey in frustration, realizing his actions might have been too obvious. He quickly composed himself, putting down the glass carefully and avoiding looking at Westeros' table.
Should've acted sooner.
And shouldn't have let the girl go to dance, the intent was clear.
Girls in this circle without some scheming? That's a joke.
In the booth, Simon only ordered juice for Mia and then started discussing David Russell's new script, "Flirting with Disaster."
David Russell was a controversial Hollywood director.
His Oscar-nominated films "Silver Linings Playbook" and "American Hustle" were often considered overrated, with many crediting their success to the outstanding performances of actors like Christian Bale, Amy Adams, Jennifer Lawrence, and Bradley Cooper.
Simon felt Russell's films allowed actors to shine but lacked the spark to become classics.
This probably stemmed from Russell's late success.
Hollywood is a grindstone for many talented filmmakers, but most aren't sharpened; they're worn down.
David Russell was such a case.
At 35, he was a newcomer director at this Sundance.
With an early interest in filmmaking, ignited by a Super 8 camera, Russell spent over a decade struggling to break into the industry before finally launching his first feature last year.
Initially, "Spanking the Monkey" had a meager budget of $200,000, which increased to $1 million after Highgate Pictures picked it up, but still couldn't afford big names. The slightly more flexible budget only allowed for better production quality.
The completed debut was still a highly compromised film.
Simon had already seen it.
Russell chose a provocative topic, a clear attempt to attract attention.
However, for a film about mother-son taboos, Russell's depiction was quite restrained, and the story's ending was very tame. The protagonist, overwhelmed by guilt, failed at suicide, couldn't bring himself to kill his seducing mother, and simply left, lacking a powerful impact.
In contrast, another new director at this Sundance, Kevin Smith, stood out.
At 23, Smith spent just over $20,000 on his self-written and directed "Clerks," which received high praise. Unlike the restrained "Spanking the Monkey," "Clerks" had a sharp, personal style, with Smith using a convenience store clerk's unlucky day to satirize various societal aspects, unafraid of sex or profanity.
Smith gained fame with "Clerks," but Hollywood never fully embraced his sharp style. He never got the chance to direct a superhero movie, only dabbling in a few Warner TV shows.
Highgate Pictures also bought "Clerks."
As Hollywood's largest production company owner, Simon didn't prioritize working with Smith. Films like "Dogma," which offended mainstream values, were off the table. Unlike taboo subjects in "Spanking the Monkey" or Tarantino and Rodriguez's B-movie style, "Dogma" clashed with most Americans' beliefs.
In the early '90s, atheism was still unusual in the US.
In short, Simon valued David Russell the most at this Sundance.
In terms of quality, "Spanking the Monkey" had an impressive debut level. The story was complete and smooth, editing and music were above standard, cinematography had a personal touch, and the actors' performances were notable, all showing Russell's solid filmmaking skills.
With such skills and the ability to compromise when needed, Russell was highly valued in mainstream Hollywood.
Given the right script and team, he might not create classics but could succeed commercially.
Hollywood classics are often accidental.
Be it "Star Wars," "Terminator," "The Godfather," or "Forrest Gump," none expected to become iconic
.
Russell's best work came under Weinstein's support, but with the right backing now, Simon could avoid a 20-year wait.
Given enough room, Russell might create a classic.
"...The main issue is you want to convey too much in this script—hippie movement, same-sex marriage, federal adoption system, etc. These elements will distract the audience. Focus on modern family dynamics, and you might get an Oscar nomination for screenplay. As it is, viewers will see a not-so-funny chaotic comedy..."
Those around listened to Simon's patient analysis of David Russell's new script, "Flirting with Disaster," with envy.
Though Simon hadn't directed in recent years, no one doubted his film genius. Russell, eager to note down all suggestions, had to admit Simon's points were valid despite his creative pride.
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