Chapter 8: There It Is!
Aaron doesn't mind signing a few more clients, but a single screenwriter like Bruce Rubin just can't arouse his interest. So, he directly introduces him to the newcomer, Jack Wells.
Meanwhile, the acclaimed family drama "Rain Man" continues its strong performance at the box office in North America, already exceeding $100 million in sales!
At the Beverly Wilshire Hotel, Aaron joins Paula Wagner at a reception. Although Aaron no longer needs to run errands, he still seems like Wagner's assistant.
"Hey, I heard you're planning to develop a project just because you've written a script?" Paula Wagner asks.
Aaron nods. "Yeah, otherwise, how can I ever get ahead?"
Paula frowns. "You're still young, already thinking of making a name for yourself? Besides, you're an agent, isn't this a bit backwards?"
"Don't worry," Aaron smiles. "Pitching film projects is part of the agent's job, isn't it?"
"But I'll still be signing a few stars. For instance, Steven Soderbergh is busy with the launch of 'Sex, Lies, and Videotape' right now."
Wagner glances at Aaron. "Are you thinking of becoming a producer?"
"Of course. Don't you want to, Ms. Wagner?" Aaron looks toward Tom Cruise, surrounded by admirers. "With Tom around, many projects can get off the ground smoothly!"
Wagner laughs. "I read your script. Tom would never agree to play a ghost."
"Is that so?" Aaron's lips curl upward. "What if I offer him a $10 million paycheck?"
Currently, the highest-paid actor is Sylvester Stallone with $15 million per film; only Harrison Ford and Arnold Schwarzenegger have hit the $10 million mark this year, and Clint Eastwood fetches that much for select films.
Wagner gasps. "You really do think big!"
To be honest, Tom Cruise is still mostly taking supporting roles these years, and $10 million per picture is still a stretch for him.
In the bustling reception, Aaron Anderson remains a nobody. The real stars are "Rain Man" director Barry Levinson and its leads Dustin Hoffman and Tom Cruise.
That night, heading home to West Hollywood, Aaron spots a poster in front of a cinema:
"Released by Warner Bros., an Australian thriller called 'Dead Calm'!"
Of course, Aaron's interested not in the film itself, but in its female lead—Australian actress Nicole Kidman.
"Isn't this a great opportunity? It's tough for foreign newcomers to break into Hollywood..."
Three days later, at a restaurant on Sunset Boulevard, Beverly Hills, Aaron meets Nicole Kidman. Tall and graceful, with a beautiful face and fair skin—Aaron is only a bit put off by her curly red hair.
"Ms. Kidman, over here." Aaron stands and waves.
Nicole walks over and, a bit uncertain, asks, "Are you CAA agent Aaron Anderson?"
"Take a seat." Aaron hands her a business card. "I'm Aaron Anderson."
Nicole checks the card—he's indeed a CAA agent, though she feels he's awfully young. Still, she keeps a polite smile.
"Mr. Anderson, why did you ask to meet?"
"Just call me Aaron." He calls over the waiter. "No rush, let's order and talk over dinner."
After their food arrives, Aaron smiles at Nicole. "Let me be direct: I want to sign you and help you make it in Hollywood."
"Don't rush to refuse. Hollywood isn't very welcoming to outsiders, and as an Australian, you won't get many good opportunities. I'm new here myself, but I'm confident. If you follow the indie scene, you might know it was me who pitched 'Sex, Lies, and Videotape' at last month's Sundance."
Nicole gives a wry smile. "I just arrived last month, so I know the film."
"In fact, when I first came to Hollywood, I didn't have an agent either. How did you find me?" she asks.
Aaron, after taking a bite of steak, grins. "I happened to see the poster for 'Dead Calm'—your looks are outstanding, and I think you have potential. Besides, you really need an agent, don't you?"
Nicole nods. "The first contract for newcomers is usually a year, right?"
"Yes, just one year. If after a year you're not satisfied, you can leave anytime. I don't mind; I'm new and have no powerful backing."
Nicole laughs. "I saw your interview in the papers—claiming this year is the year for indie films, thanks to 'Sex, Lies, and Videotape.'"
Aaron sips his coffee. "That wasn't arrogance. It was confidence in the film!"
"You're really something," Nicole says, eating slowly.
After finishing the meal, Aaron looks at her. "So, what do you say—will you sign with me?"
Nicole blinks. "If I refused, would you keep trying to persuade me?"
Aaron shakes his head. "I don't have time to waste; I'd just pursue other newcomers, maybe from Europe. Signing artists is all about luck, but my main business is with films now."
"Films?"
"Distribution, actually. Helping independent or foreign films find distributors. That's what I do."
"But shouldn't your main business be representing actors?"
Aaron shrugs. "Honestly, how long do you think it'll take before you can command a million-dollar salary?"
Nicole shakes her head. "I don't know!"
"If you earn $1 million, CAA gets $100,000, and I get even less. For you, two movies a year is good. If I can broker several movies a year, each deal could be worth several million dollars—far more than signing just one new artist."
Nicole gets it. "So, if I sign with you, I'd be on my own most of the time?"
Aaron rubs his temples. "If selling movies were so easy, do you think directors and producers wouldn't curry favor with me already?"
Nicole relents. "Alright, I'll do it." After all, she really has zero connections in Hollywood and can only send out resumes for auditions. At least Aaron Anderson is a legitimate CAA agent!