"At the very least, we should give the script a chance." That was Anson's thought.
However, as a manager, Edgar had a completely different perspective. "That's exactly their goal. They bypassed the agent and sneaked directly to you to persuade you to give the script a shot."
Anson replied, "You have to admire their courage and persistence, don't you? They've stuck to this project for a full ten years. I know it could be terrible, but to refuse to give up for ten years is admirable. After all, we're not immortal beings who don't need to eat or drink. Ten years is no simple feat."
Edgar remained noncommittal; he wasn't easily swayed by things like this.
Anson continued, "Captain, maybe you should look at it from a different angle."
"We've always been looking for a breakthrough—not necessarily a transformation, but a chance to break away from the typecasting as a mere pretty face. This is an opportunity to show my capabilities as an actor..."
Edgar furrowed his brow. "I don't think this is the right opportunity."
Anson laughed out loud. "But it's the first one to come knocking."
"It's a biographical film, and they're considering Joaquin Phoenix and me. Actually, they're not entirely convinced by my acting. They're more interested in my musical talent, but either way, they don't see me as just a pretty face."
"I think it's an opportunity."
Seeing Edgar was about to speak, Anson raised his hand to stop him.
"When I say opportunity, I mean opening the doors to Hollywood. You could let it slip out that I'm reading the script and seriously considering the role. You know what that means."
Edgar, being the professional manager, immediately grasped the implication.
On one hand, it signals that Anson is willing to challenge different types of roles.
On the other hand, it suggests that not only are commercial films considering Anson, but Hollywood also sees greater potential in him, especially after the success of "Elephant" at the Cannes Film Festival.
The most crucial point is that some people might see this ten-year-old biopic project, rejected for so long, as a desperate move to approach Anson. It wouldn't prove anything, so there's no need for a big announcement. But others might see it as a sign of Anson's broad-mindedness—he's open to any project regardless of its state, embracing all possibilities.
Opportunities often hide within such moments.
Edgar squinted slightly, his mind working quickly.
Anson wasn't in a hurry, patiently watching Edgar, giving him time to process everything. His calmness and confidence were convincing.
Edgar remained silent, and then Anson slowly continued.
"As for Sony Columbia, I'm not too worried."
"Business is business. A project is just a project."
"'Spider-Man' made waves because of its sheer scale—investment, size, strategic value—it all made a difference. Other projects wouldn't carry the same weight."
"The higher-ups are battling like whales. The Johnny Cash biopic may not even be on their radar."
"Besides, even if it does get caught up in all that, it's part of Hollywood's power games."
"Look, we've already had one confrontation with Sony Columbia. Half of Hollywood saw it. It means that any future collaboration with any studio might be more complicated."
"I'm not saying we should charge head-on and challenge all of Hollywood, but we don't need to panic or overreact."
"Right?"
His words flowed easily, calm and steady, without any dramatic emphasis, but the quiet confidence in his tone made it all the more persuasive.
Edgar blinked and looked at Anson again. "Are you trying to con me?"
Anson burst out laughing. "A little, a little. I just don't want to dismiss their sincerity. At the very least, we should give the script a chance. As for the rest, that's just a bonus."
Edgar sighed, somewhat resigned, but calmed down to think carefully.
"Alright, let's look at the script first."
Meanwhile, he'd use this time to investigate further, to find out what was really going on with this project. Why hadn't it moved forward in ten years?
Taking a deep breath, Edgar looked at Anson. "I'll read it first, but no matter what, I trust your judgment."
Anson waved his hand lightly. "Relax, relax. What actor hasn't starred in a dud or two?"
...
Is Anson really that kind-hearted?
Of course not.
If he opened the door to any random director and producer, then he wouldn't have time for anything else over the next few months. His villa would be filled with scripts, and even after reading through them all, he still wouldn't be able to meet everyone's expectations.
Eventually, those people would start to complain and criticize Anson for being fake and cold-hearted.
Kindness is a valuable trait, but without boundaries, it can become a weapon others use to harm you.
Anson understood that all too well.
The real reason Anson was willing to give James and James a chance was because of:
James Mangold.
Or, to put it another way, the film James Mangold was directing: Walk the Line.
After some conversation and reflection, Anson finally remembered which project the two Jameses were discussing with him.
Walk the Line.
A biopic about Johnny Cash, focusing on his love story with June Carter.
So, how should one describe this movie?
In a previous life, the movie starred Joaquin Phoenix and Reese Witherspoon.
Although the storytelling was chaotic, with the film entirely centered around Johnny Cash and relegating all other characters to mere props, Mangold's direction still effectively captured the internal struggles and performances of the characters.
Both Joaquin and Reese gained significant recognition during the awards season, with Reese eventually winning her first—and only—Academy Award for Best Actress.
However, for a long time, Reese, like Gwyneth Paltrow with Shakespeare in Love, was criticized for lacking depth as an actress.
Because of this, Walk the Line later became known less for its artistic merits and more as the film that earned Reese Witherspoon a "shallow" Oscar.
Anson didn't agree with this assessment at all.