AN: Here you go, 2 chs together. This is it for this week. And as usual, lacking powerstones despite releasing 7 chs.đ¶đ¶
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"It's a starting point," Sarah said. "The final conversation will move around depending on your answers. They're interested in your career, but the purpose of the feature is also to show readers who you are when you're not playing somebody else."
Jack rested one forearm against the table. "I'm fine talking about the movies."
"I know you are," Sarah replied. "Your recent work will probably be the easiest part. They'll ask about The Fault in Our Stars, Planet of the Apes, what you're doing with Zombieland, and how you've been choosing projects. Also, when they ask about the transition toward adult roles, talk about the kind of characters you're interested in now. Don't make it sound like you're embarrassed by the work you did when you were younger."
"I'm definitely not embarrassed by it."
"Then say that clearly," Sarah replied. "Growing beyond something doesn't require disrespecting it."
Jack nodded again.
Sarah moved her finger down the list.
"The acting-process questions might get more detailed because you've developed a reputation for being unusually involved in your projects. They'll probably ask how you prepare, how much you improvise, what you look for in scripts, and whether writing affects the way you approach acting."
Jack thought about that for a moment. "Writing definitely changed how I read scripts."
"That's worth discussing," Sarah said. "Talk about understanding why a scene exists, what information it needs to carry, and how a character fits into the larger structure. That's much more interesting than telling them you memorize lines and show up."
Jack smiled. "I was planning something slightly more sophisticated."
"I would hope so."
Sarah glanced at the next section.
"Life outside Hollywood could go almost anywhere. Family, friends, Haley, what you do when you're home, what you actually enjoy when you're not working, and probably questions about whether you feel like you've had a normal adolescence."
Jack leaned back slightly. "That's complicated."
"Then you can say it's complicated," Sarah replied. "You don't need perfectly polished answers to everything."
She paused briefly before continuing.
"I already discussed boundaries regarding Haley. GQ understands that your relationship is public enough to be mentioned, but this is your career profile. They won't turn the feature into an interrogation about your private relationship."
Jack looked relieved. "Good. I'm fine talking about her, but I don't want every interview becoming 'Jack Preston talks about girlfriend again.' She's building her own career."
Sarah's expression softened. "That's exactly what I told them."
Jack looked back down at the page.
"They may still ask how you manage three years together while traveling, whether she keeps you grounded, and how the two of you handle the attention around your relationship," Sarah continued. "Those are reasonable questions as long as the conversation stays respectful."
"I can answer those."
"I know," Sarah said. "Just remember that you're talking to a journalist, even when the conversation feels casual. The writer may spend hours around you, which means you'll probably stop feeling like you're doing an interview after a while."
Jack understood immediately. "That's when people say something they didn't mean to make public."
"Exactly," Sarah replied. "You don't need to become guarded or suspicious. Stay comfortable and honest, while keeping in mind that anything you say during the interview can potentially appear in the finished article."
Jack gave her a small nod. "Fair enough."
Sarah moved to fans and social media.
"This part might be interesting after everything that's happened this year. Your fan base has grown very quickly, and you're more visible online than you were even twelve months ago."
Jack's expression became thoughtful. "I want to be honest about that. Most of the support is amazing, especially the book fans, but sometimes the scale still feels strange."
"Then tell them exactly that," Sarah replied. "You've been handling fame well because you haven't convinced yourself that attention is normal. There's nothing wrong with admitting that thousands of strangers discussing your life can feel overwhelming."
Jack rested his hands together. "I also don't want to sound ungrateful."
"You won't if you explain the distinction," Sarah said. "Loving the support doesn't mean you have to enjoy every consequence of being famous."
Jack smiled faintly. "That's probably the cleanest way I've heard anyone describe it."
"You hired the right manager."
This time Jack smiled without arguing.
Sarah turned toward the wardrobe references again.
"Now we need to talk about the actual shoot because this is where I can prepare you better than most managers could."
Jack shifted his chair slightly toward her. "I'm listening."
Sarah had spent years around models, photographers, designers, stylists, editors, and luxury campaigns. She understood how different a person could appear depending on posture, expression, tailoring, camera angle, and the smallest movement of the shoulders.
She had also seen successful actors walk into fashion shoots assuming acting ability automatically made them good editorial models.
Sometimes it did.
Sometimes the results looked painfully forced.
Sarah looked at Jack carefully. "Your first advantage is that you're already comfortable around cameras. You know your angles, you understand marks, and you're used to people adjusting lights around you. The difference is that during a movie, your expression comes from a character and a scene. On Sunday, the subject is you."
Jack nodded. "Which sounds strangely harder."
"It can be harder because actors instinctively want to perform," Sarah replied. "For the leading-man photographs, don't create a character. They'll want confidence, control, and maturity, so your job is mostly to avoid getting in the way of what the clothes and lighting are already doing."
She stood from her chair and gestured for him to join her near the open space beside the windows.
Jack got up and faced her. "Alright, what am I doing wrong already?"
"Nothing serious yet," Sarah said as she studied his posture. "Your shoulders are relaxed, which is good. Keep them that way. A tailored jacket already gives structure, so you don't need to force your chest forward."
She stepped around him and lightly adjusted one shoulder.
"Don't stand completely square toward the camera unless the photographer specifically wants that composition. Shift your body slightly and let one shoulder sit closer to the lens."
Jack adjusted his stance.
"That's better," Sarah said. "Keep your weight primarily through one leg when the pose allows it. You want balance without looking rigid."
Jack shifted again until the posture felt natural.
Sarah nodded with approval. "You'll probably be given things to do with your hands because people suddenly forget they have hands when a photographer tells them to stand still."
Jack looked down at his hands. "Now I'm thinking about my hands."
"That's exactly why I'm telling you today instead of Sunday," Sarah replied.
She demonstrated by resting her thumb lightly near the edge of an imaginary pocket.
"With a suit, small movements work well. Adjusting a cuff, touching the jacket button, resting one hand near a pocket, or letting your arms fall naturally can all give the frame something without making the pose look rehearsed."
Jack copied the cuff adjustment.
"That looks natural on you," Sarah said. "Don't hold it too long. Selina will probably keep shooting while you move, which means transitions between poses can become better photographs than the pose itself."
Jack seemed genuinely interested now. "So keep moving instead of waiting for every picture."
"Listen to the photographer first, although Selina's work suggests she'll encourage movement," Sarah replied. "When she gives you freedom, change things gradually. Turn your head, move your shoulder, shift your weight, adjust the jacket, then settle somewhere else."
Jack nodded as he practiced the movement.
Sarah watched him for another moment.
"Your expression matters even more," she continued. "When somebody asks for a serious look, don't interpret that as anger."
Jack relaxed his mouth and focused slightly past her shoulder.
Sarah smiled. "That's already closer."
"What am I supposed to think about?"
"Anything that naturally settles your face," Sarah replied. "A thought, a memory, something you're focused on. The camera can read tension very easily, especially around the mouth and eyes."
Jack looked directly toward her this time.
"Good," Sarah said. "Direct eye contact with the lens can work for the leading-man shots because it feels confident. For other frames, they'll probably have you look away or past the camera."
Jack relaxed again. "What about the Off-Duty Star stuff?"
"That should be easier for you," Sarah replied as she gestured toward the sofa. "Sit down naturally."
Jack sat against the sofa and rested both arms comfortably.
Sarah looked at him for a moment. "You're comfortable, although the pose doesn't have much shape. Bring one forearm across your thigh and turn your torso slightly."
He followed the instruction.
"Now settle your shoulders and look back toward me."
Jack did.
Sarah nodded. "That's much stronger. You still look relaxed, but the camera has lines to work with."
Jack glanced down at his posture. "There's a ridiculous amount of thought behind looking like you're doing nothing."
"That's editorial photography," Sarah replied. "The finished photograph is supposed to feel effortless. The work happens before anyone sees it."
Jack leaned back slightly while keeping the posture.
Sarah continued, "For the relaxed photographs, you'll probably get open collars, rolled sleeves, casual jackets, maybe some knitwear. Keep your face softer. You can smile in some of those, especially if Selina catches something natural between setups."
"I'm guessing I shouldn't smile through the entire shoot."
"Absolutely avoid doing that," Sarah said. "You'll end up with thirty photographs that could've been taken at the same premiere."
Jack stood from the sofa again.
Sarah looked him over with the critical eye she usually reserved for models in her campaigns.
"There's something else you need to remember."
Jack waited for her to continue.
"You don't need to prove that you're grown up."
His expression shifted slightly.
Sarah continued calmly. "The theme says Hollywood's Next Leading Man, and I know you're going to understand what they're trying to accomplish. Don't walk into that studio thinking you need to act older, harder, or more serious because of the title."
Jack nodded slowly as she spoke.
"You're nineteen years old," Sarah said. "You're also an accomplished actor, producer, writer, and somebody who's already carried major projects. Both things can be true at the same time."
Jack looked toward the reference photographs on the table.
Sarah stepped closer. "What makes this feature interesting is that you're reaching that stage now. They're photographing the transition while it's happening. Let them see that."
Jack gave her a thoughtful smile. "Basically, don't show up pretending I'm already the guy they're saying I could become."
"Exactly," Sarah replied. "Carry yourself like someone who knows he belongs there, because you do."
Jack's smile became more confident.
Sarah returned to the table and pulled up the media-access notes.
"There's one more thing you should expect. GQ's digital team will capture behind-the-scenes material during portions of the day."
Jack joined her again. "How much access are we talking about?"
"Short clips during hair and makeup, wardrobe preparation, parts of the photography, and possibly a few moments during breaks," Sarah explained. "They'll use it online around the feature."
Jack nodded. "That's fine."
"Entertainment Tonight, Access Hollywood, or E! News may also cover the feature," Sarah continued. "That depends on what GQ's publicity team ultimately distributes."
Jack looked at the notes. "They're not coming in and filming the interview themselves, right?"
"They aren't getting access to the full interview," Sarah replied. "They would be reporting on the GQ feature. They may receive a few seconds of approved behind-the-scenes footage, selected photographs, a couple of quotes from the article, and information about your current projects."
"That's what I expected."
"They might run a short entertainment segment saying you're GQ's September cover star, show footage from the shoot, mention Planet of the Apes and Zombieland, then quote something from the profile," Sarah explained. "GQ keeps control of its actual feature."
Jack nodded, satisfied with the arrangement.
Sarah closed the laptop and gathered the loose pages back into the folder.
"That's everything important for now. Tomorrow, finish your scenes, eat properly before you leave, and get some sleep on the flight if you can. Sunday will feel easier if you don't arrive at Milk Studios running entirely on coffee."
Jack looked at her with mild suspicion. "Did Dad tell you about the conversation we had about me overworking?"
Sarah's expression immediately answered the question.
Jack sighed. "Of course he did."
"He's worried about you," Sarah said. "So am I."
Jack nodded because he already understood where the concern came from. "I'll get some sleep."
Sarah watched him for a moment before accepting the answer.
Jack looked toward the folder again, where the words HOLLYWOOD'S NEXT LEADING MAN remained printed across the top of one page.
A year earlier, he probably would've treated the feature as another publicity obligation.
Now he understood why it mattered.
His acting career had begun changing faster than his public image could follow. The kid audiences remembered from earlier roles was gradually disappearing, while the actor taking his place was being trusted with bigger films, heavier characters, production responsibilities, and projects carrying tens of millions of dollars.
GQ wanted to photograph that transition.
For once, Jack wouldn't be playing anyone.
Sarah clapped her hands once. "Alright, let's keep practicing..."
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[1] Ch: 93 & 94 [GQ Shoot & Haley's plans] Ch: 95 [Kisses & Pies] Ch: 96 [Dinner & Trust] Ch: 97 [At the End of the Day, Youâre Mine] Ch: 98 [Lost in love & pleasure] [r18] Ch: 99 & 100 [Zombieland Wrap-Up: Final Kiss] Ch: 101 [Bad Kitty Roleplay] [r18] Ch: 102 [Jack Preston: Chick Magnet] Ch: 103 [Fantastic Beasts and Where to Find Jack]