Outside the car window, the sun was shining brightly.
Inside the car, there was complete silence—only the faint sound of hearts pounding in chests, echoing through the air.
Time, like sand slipping through fingers, passed swiftly. In the blink of an eye, a whole week had gone by since Anson's meeting with the two screenwriters of The Butterfly Effect at the coffee shop.
It was clear: Anson had become a part of the project.
Since then, the group split into two teams.
After returning home, Eric and McGee began discussing and brainstorming how to add more details without altering the overall framework, planting the seeds for an origin story, and leaving some space in the main plot for Anson to showcase his performance—highlighting the character's psychological arc and unique traits.
Meanwhile, Anson took on the responsibility of the producer and began looking for a suitable film company. He didn't rush to seek help from Darren Star.
First, Darren's connections were mainly in the television industry. Even if he ventured into the film industry, it would likely require significant effort.
Second, Anson had some ideas of his own. He thought it was worth trying on his own first, and if things didn't work out, he could explore other options later—
DreamWorks, Disney, Warner Bros.
These three companies represented Anson's three works to date: Catch Me If You Can, The Princess Diaries, and Friends.
His collaboration with each of these works had opened doors at different levels and in different ways, linking him to various executives in the film companies.
Catch Me If You Can, of course, didn't need much explanation—Steven Spielberg was the director. During The Princess Diaries premiere, Anson had briefly met with Bob Iger, the current second-in-command of the company. As for Friends, he had met with several producers at the post-Emmy Awards party.
Both The Princess Diaries and Friends were, in different ways, involved in the company's management activities, with Anson playing an important role—
Naturally, it was a small role. An actor is just one small piece in the grand scheme of a successful production.
But Anson believed he could use these opportunities to open more doors and let the film companies know he was stepping into production—a notion that Edgar also supported and encouraged.
So, why not Sony-Columbia?
The reason was simple: Edgar didn't want to alert them prematurely.
Soon, Edgar would be negotiating with Sony-Columbia regarding the pay and Anson's role in Spider-Man 2.
If Anson had the opportunity to become a producer, there was no reason to pass it up. But Edgar thought the chances were slim, as Sony-Columbia probably wouldn't want to share the profits. Therefore, his main focus was on increasing Anson's actor salary.
Given the circumstances, Edgar didn't think it was a good idea for Anson to approach Sony-Columbia with a new project as a producer. Instead, it might give Sony-Columbia an excuse to lower his pay.
However, Sony-Columbia could still be kept as a backup option. If other negotiations fell through, Anson could then sit down with Sony-Columbia to discuss collaboration.
In short, Anson started taking action.
Slightly to his surprise, it wasn't DreamWorks that responded first, but Warner Bros.
Although the reasons behind this were unclear, Warner Bros. reaching out first was good news. Today, Anson and the two screenwriters arrived at Warner Bros.' Century City office in Los Angeles, ready to attend a production meeting.
This was a positive development, but the atmosphere inside the car was a bit tense.
Eric glanced worriedly at McGee, who was sitting beside him with a furrowed brow and a hesitant expression. He wanted to say something but wasn't sure where to start.
Because, like McGee, he wasn't certain either—
Anson had suggested he attend the meeting alone.
So far, McGee and Eric's production meetings had not gone well. The reasons could be many—perhaps their insistence on sticking to the script affected the negotiation process, maybe their desire to direct the film as screenwriters broke expectations, or perhaps their names weren't big enough to command attention.
Whatever the reason, the result was that The Butterfly Effect still hadn't found a film company willing to invest.
So, Anson thought they should try a different approach.
For example, Anson could attend the meeting alone and reposition The Butterfly Effect, rebranding the project with Anson's image.
Their reactions made it clear—they didn't like this idea.
There was an inexplicable sense of emptiness and awkwardness, as if their work was being taken away from them. And this is Hollywood, where people often stop at nothing for fame and fortune. Watching Anson seemingly swoop in and take over didn't feel good, even if reason told them Anson had no intention of claiming the project as his own. Emotionally, it was hard to accept.
For a moment, the air grew quiet.
It wasn't just McGee; Eric also felt a bit awkward.
Anson sighed inwardly, though his face remained calm. "Then let's go up together. You two are the best people to explain the story and the creative inspiration."
To be honest, Anson was being very straightforward. He had no intention of taking credit for someone else's work. Now, having others look at him with suspicion, like he was some sort of thief or robber, made him feel a bit aggrieved. But after all the ups and downs he experienced in his past life, he had learned to view everything before him with more peace and calm.
"When we go up, I'll handle the pleasantries, and you two can handle the professional part—discussing the project's concept and story framework. As for how to make the project more marketable, I'll take care of that."
Anson didn't press the issue. After all, this project was the culmination of their seven years of hard work, their only hope—a lifeline, really.
After finishing his words, Anson was about to get out of the car when McGee suddenly spoke up.
"Anson, maybe you should go up alone. We won't come along."
Anson was stunned.
Eric was also taken aback, looking at McGee in surprise.
After struggling with himself, McGee met Eric's gaze and bit his lip, "Anson is willing to be our lead actor and take on the role of producer. We should make the most of his influence; otherwise, our efforts and struggles would be directionless and in vain."
"Anson... I hope it all goes well."
Having finally made a decision, McGee seemed to relax, like a burden had been lifted off his shoulders, though he also looked a bit exhausted.
Eric, still half confused, eventually nodded in agreement, "Anson, we're counting on you."
This time, it was Anson's turn to be surprised. He thought they wouldn't be able to let go of their attachment. But unexpectedly, things had taken a new turn.
Anson exhaled lightly, "You guys wait in the parking lot. I'll be quick."
McGee waved his hand repeatedly, "No, no, no, you don't have to rush. Take your time... slowly, take the time you need."
Anson quickly realized: if the meeting ended too soon, it probably wouldn't be a good sign.
Anson smiled, "Then I'm off."
He opened the car door and stepped out. After walking a few steps, he suddenly looked back and saw Eric and McGee both gazing at him like eager sheepdogs, their eyes filled with hope and anticipation, almost like they were about to start wagging their tails.