After hanging up the phone, Edgar sat still, carefully analyzing the situation.
Conversations like these rarely go straight to the point. Instead, they subtly capture fragments from seemingly mundane moments, piecing together clues to predict the storm brewing beneath the surface.
James Mangold and Jim Ketch had just shown up at Sony Columbia. While their purpose wasn't explicitly clear, they entered the conference room and emerged less than five minutes later.
The atmosphere felt a little odd.
Then, Mangold abruptly ended the call with Edgar.
If—this is merely a hypothesis—Sony Columbia's CEO Michael Lynton views Anson as a pivotal pawn, keeping Anson tied down might mean restraining Amy Pascal as well.
Could Walk the Line be used as a tool in this game?
After all, Walk the Line isn't exactly a top-priority project. Perhaps, Michael Lynton doesn't see any real potential in it. He might consider the project unworthy of investment, aiming to kill it off as a way to weaken Amy Pascal's position. Anson might simply be an excuse to ignite the situation.
Reflecting on it, Walk the Line has been stuck in limbo for over a decade without entering actual production. If Michael wants to act, this project seems like a logical place to start—discrediting Amy as someone who "keeps making poor decisions" while subtly taking a jab at Anson as well.
This situation is... intriguing.
Initially, Edgar assumed he would agree with Michael, encouraging Anson to step back and rid himself of this unpredictable project.
But after considering the potential dynamics, Edgar found himself siding with Anson instead.
The core reason lay in the fact that Michael was, at his heart, a businessman. His approach to movies followed a project manager's model—analyzing objective conditions on paper and using data to predict success or failure. However, Michael lacked an understanding of films themselves.
Michael's strength lay in his logical and rational approach to running a top-tier company. But his weakness was his ignorance of filmmaking. Movies aren't just numbers, and countless films that should succeed based on analysis have failed miserably. While market trends offer some guidance, the heart of the matter always lies in the film itself.
The key is balancing these two perspectives.
Edgar trusted Michael's judgment, as he leaned in that direction himself. But he trusted Anson's intuition more, especially after the events surrounding The Princess Diaries 2. Edgar believed he should stand by Anson this time.
So, what should they do?
Tap. Tap. Tap.
Edgar's fingers lightly drummed on the table as his brain raced, evaluating various possibilities and solutions.
Finally, Edgar picked up the phone and got to work.
After dialing several numbers, Edgar made one final call.
As expected—
No answer.
Edgar wasn't surprised. This silence only confirmed his suspicions.
He dialed again, but this time, the call went to voicemail.
Without leaving a message, Edgar hung up and tried a third time.
Finally, the call connected.
"Hey, Edgar, sorry—I'm driving," Mangold's voice quivered slightly, laced with hesitation and unease. His attempts to sound cheerful were betrayed by a nervous undertone.
Edgar remained composed. "Still stuck in that tunnel?"
No tunnel in Los Angeles could take thirty minutes to navigate. In reality, Mangold and Ketch were still in Sony Columbia's underground parking lot, scratching their heads and unable to figure a way out.
Mangold let out an awkward laugh. "No, no, we're out now."
Edgar chose not to expose the lie and cut straight to the point. "Director, if I'm not mistaken, you've discussed collaboration with the production company but haven't signed an agreement yet. Is that correct?"
The implication was clear.
First, Edgar avoided directly naming Sony Columbia.
Second, he emphasized the phrase "haven't signed an agreement."
Mangold, though flustered, caught the subtext. Nodding quickly, he confirmed, "Yes, we're still in discussions."
Edgar acted oblivious to the tug-of-war between the two Jameses and Sony Columbia. "That's great to hear. You know, Anson truly loves this project and is genuinely looking forward to bringing this role to life."
"If necessary, Anson is willing to help connect the team with additional investors."
Mangold's eyes lit up, and he turned sharply to look at Ketch.
Ketch, unaware of the conversation, stared back, confused.
Mangold switched the call to speakerphone as Edgar's voice continued.
"...Anson has experience as a producer and understands how tricky negotiations between directors, producers, and film companies can be. It's never simple."
"All we want is to create an excellent film. But film companies only care about production costs and box office returns."
"Take Walk the Line, for instance. To the companies, it's just a headache. They don't care about Johnny Cash or June Carter. Those are just relics of history to them. All they see is a movie that looks like it won't sell."
"This is a disaster."
On the other end, Ketch was moved to tears. All his frustrations and struggles over the years seemed to find an echo.
"Of course, we could approach Focus Features or Fox Searchlight. Biopics fit their market, but they come with their own headaches. They demand scripts crafted to the Oscars' mold, which is another disaster."
Ketch nodded furiously, finally feeling understood.
"If it's Anson, he respects the uniqueness of each project—each script, director, and actor. Instead of forcing them into the Hollywood formula, he allows them to grow naturally."
"So, Anson would be happy to recommend you to a new production company. It's Silicon Valley money—lacking experience, or rather, completely inexperienced. But precisely because of that, they trust producers and directors, leaving the professionals to do what they do best."
"If you're interested, I can share their contact information."
From start to finish, Edgar avoided mentioning Sony Columbia's internal struggles or the potential pressure on the two Jameses. Instead, he subtly provided a solution, respecting their pride while offering a way forward—
A masterstroke.
(Chapter End)