Chapter 18: No Escape
Late at night on Hollywood Boulevard, Aaron drove his new Lotus with Nicole Kidman riding beside him, stopping at a street corner.
"The female lead of Pretty Woman is a low-level escort," Aaron explained. "She can't pay her rent, so she works the streets. She meets Edward, a wealthy man unfamiliar with the city. He helps guide her, and they begin a week-long companionship arrangement…"
As he summarized the story, Aaron gestured toward the women standing along the red-light district.
"Observe their expressions, their posture, the way they approach clients… you'll find it useful for getting into character."
Nicole listened attentively, her eyes following the women on the street, immersing herself in the role.
"I've observed a few escorts these past days," Nicole responded thoughtfully. "No problem."
Aaron nodded. "The male lead might be Al Pacino, though it's not confirmed yet. When you go for the audition, just stay calm and focused."
He couldn't help feeling a little anxious—Al Pacino's imposing height made him doubt Nicole's chances. After all, she was playing the female lead. If it were a supporting role, it wouldn't matter so much.
While helping Nicole prepare for her audition, Aaron didn't forget his main work. He was simultaneously promoting Quentin Tarantino's script and studying Golden Harvest's U.S. production of Teenage Mutant Ninja Turtles.
In Burbank, at the Warner Bros. studio offices, Aaron met Thomas Ruger, Golden Harvest's U.S. representative and producer of Teenage Mutant Ninja Turtles.
"The action sequences are choreographed by Golden Harvest's martial artists, and the fights are visually impressive," Ruger explained. "The four turtles are performers in full costumes executing complex moves. The comic series has a large following, and the animated series is popular in the U.S. as well."
"Those are definite strengths of the film," Aaron noted, analyzing both the pros and cons for distribution.
As for the weaknesses, they were obvious: no big-name stars, a modest budget, limited special effects, and few large-scale scenes.
Ruger nodded. "Mr. Anderson, though young, you've accomplished a lot in just a few months this year. We have confidence in you."
Aaron sipped his coffee. "I assume you've approached other distributors?"
"Yes. Twentieth Century Fox showed interest, but their offer was too low," Ruger said, shaking his head. "They only offered $2 million for North American distribution rights."
$2 million was indeed too low. Teenage Mutant Ninja Turtles featured American actors, while Golden Harvest mainly handled investment and stunt choreography.
"For a project over $10 million, it's considered a small-scale project for Hollywood's top seven distributors. And this is a commercial film—marketing costs alone would easily match or exceed the distribution rights price."
Aaron paused to think for a moment. "This type of film is better suited for secondary distributors."
"When does Teenage Mutant Ninja Turtles wrap?" he asked.
"Early July. Mr. Anderson, would you like a rough cut for preview?" Thomas Ruger responded promptly.
Aaron nodded. "Yes, we can invite representatives from several distribution companies for a test screening. This film has real potential."
"Understood. Golden Harvest will fully cooperate."
Although Aaron Anderson was young and relatively inexperienced, his performance at the Cannes Film Festival had been nothing short of brilliant.
Golden Harvest wasn't a Hollywood studio—they needed to recoup production costs quickly, and strong box office results in the U.S. would influence the global market. Their goal was to sell North American rights at a premium as fast as possible. A strong distribution partner in Hollywood would ensure serious marketing efforts for the film.
Three days later, Aaron took Nicole Kidman to the Burbank Disney studios for her audition for Pretty Woman.
"The female lead role had been offered to several actresses, all of whom declined. Choosing a newcomer is a last resort," Aaron quietly reminded Nicole.
At the audition site, Aaron quickly noticed two fellow CAA agents. Richard Lovett was there with his client Julia Roberts—and they spotted Aaron and Nicole immediately.
"You've met with the film's producers, Gary Goldstein and Steven Reuther," Richard whispered. "They were very pleased with your performance."
Though Richard had seniority over Aaron at CAA, Aaron's dazzling Cannes success had already caught Michael Ovitz's attention. Competition within CAA was fierce.
"I heard Mr. Aaron Anderson has been involved in the development of Pretty Woman?"
Julia Roberts, still a newcomer herself, admired the opportunity to play the lead and had invested everything into this audition.
"No worries. He's just lobbying for roles," Richard reassured her. "His main focus isn't talent management. The newcomer, Nicole Kidman, is Australian. If it weren't for Aaron, she wouldn't even have this chance."
Another practical concern: could the petite Al Pacino convincingly act opposite the 180 cm tall Nicole Kidman?
Aaron also noticed Julia Roberts, as well as two other young actresses, Jennifer Connelly and Winona Ryder.
"No escaping it," Aaron thought. Julia Roberts' striking features perfectly matched the American standard of beauty.
As for Winona Ryder and Jennifer Connelly, they were too young and clearly didn't fit the profile of the film's female lead.
Aaron frowned. Nicole had just arrived from Australia and had virtually no Hollywood acting experience. Julia Roberts, on the other hand, had already appeared in two supporting roles. While Connelly and Ryder had higher current recognition, they still weren't strong contenders for the lead.
Winona Ryder had gained some indie film credibility with Warlock and Heathers, and Jennifer Connelly had started as a child star in Once Upon a Time in America, recently transferring from Yale to Stanford to study drama.
But considering that Nicole had deeply discussed the script with J. F. Lawton, those two youthful actresses clearly weren't suited for the lead. Normally, Julia Roberts or Nicole would be out of the running, and Aaron had little authority to influence the casting—his suggestions might not even be considered.