Chapter 19: Giving More
"Aaron, how's it feel? Being an agent isn't exactly easy, is it?" Outside the audition office, Richard Lovett chatted with Aaron Anderson in the corridor.
Aaron smiled. "Once Pretty Woman goes into production, I won't be left out of the credit. It's just a shame—Nicole was my first client!"
Richard shrugged. "Hollywood is like that. Everything's a transaction. Within the rules, it all comes down to who's willing to give more."
Soon, Aaron saw Nicole Kidman emerge. "Alright, Richard, let's catch up next time."
Richard nodded. "Have a great day!"
Seeing Nicole's dejected expression, both Richard and Aaron could guess that her audition hadn't gone well.
"Aaron… I think I messed up," Nicole said, walking over to hug him. "Al Pacino wasn't very happy with my performance."
"It's okay. You just got to Hollywood, so it's normal not to compete well against local actors," Aaron patted her on the back. "I'm staying for the evening film discussion. Are you staying or heading home?"
"I'd like to rest first."
"Go straight to my place," Aaron said, handing her the car and garage keys. "Wait for me tonight…"
"Ah," Aaron sighed softly as Nicole left the studio.
Leaning against the railing, Aaron thought of another actor, Adam Sandler. That kid would probably call him this month about leaving ITA.
Two actors—Nicole Kidman and Adam Sandler—both had a certain transparency in Hollywood.
Two directors—Steven Soderbergh, fresh off a Palme d'Or win but without a new project yet, and Quentin Tarantino, still hanging around video stores?
Around noon, Aaron stopped at a nearby fast-food restaurant and ran into Jennifer Connelly, who had just finished her audition.
Nineteen-year-old Jennifer Connelly radiated youthful energy, her cheeks still slightly rounded, long glossy black hair, and pale blue eyes. Her tall, curvy figure combined innocence and sensuality.
After her striking debut in Once Upon a Time in America, she had done a few more films, mostly relying on her looks rather than acting chops. But she had been admitted to Yale and recently transferred to Stanford—undeniable brains.
"Good afternoon, Miss Connelly. I'm Aaron Anderson from CAA," he said, offering his business card.
"Ah, good afternoon," Jennifer replied, taking the card. "Such a young agent!"
Aaron shrugged. "Are you thinking of returning to acting?"
"Yes. School life… it's not really what I want," Jennifer admitted. Her fame had been limited; her appearance in Once Upon a Time in America had drawn some attention, but that was about it.
"The role in Pretty Woman needs a more mature actress. You're a bit young for it, aren't you?"
Jennifer nodded. "They did say I was too young and didn't fit the character profile."
"Hollywood is fiercely competitive," Aaron said. "I want to sign you. I don't have many clients at the moment—the most famous is Steven Soderbergh, the youngest Palme d'Or winner at Cannes."
Jennifer twitched at the corner of her mouth. Was he saying he had few clients… or that he was impressive?
"My mother handles most of my management for now, and I'm still studying. I haven't decided whether to leave school."
Aaron smiled casually. "No rush. Some things are best handled by professionals. Just keep my card. When the time comes, if you face a tough decision or figure things out, call me directly. Getting into Yale proves you've got strong judgment."
Jennifer looked at the young man before nodding thoughtfully.
That evening, at Disney Studios, the producers of Pretty Woman held a meeting, with Aaron attending as a participant.
"The female lead will be the newcomer Julia Roberts—sexy, attractive, and approachable. Today's audition went exceptionally well!"
Gary Goldstein, Disney's executive producer, spoke up, and unsurprisingly, he immediately gained the approval of director Garry Marshall and co-producer Steven Ruther.
Sitting in the back, Aaron Anderson could only sigh inwardly. You guys have already made the decisions—what do you need me for? He and the screenwriter J.F. Lawton were probably just there to fill seats.
At that moment, Steven Ruther's expression turned slightly uneasy. "Al Pacino helped us with the scene today, but his interest in this role seems limited. Perhaps we should start considering reaching out to Richard Gere."
Both Ruther and Goldstein knew that Pacino might choose the other project, Dick Tracy.
The rest didn't seem to care much. Disney's two projects—Dick Tracy and Pretty Woman—were completely different. One was a star-studded gangster film adapted from a famous comic, the other just a low-budget romantic comedy. There was no comparison.
Aaron thought differently. Richard Gere? Could this guy really stage a comeback?
After the meeting, Aaron deliberately approached Steven Ruther.
"Something I can help with, Aaron?" Ruther frowned, assuming Aaron had come to ask about the female lead. A newcomer—too presumptuous, perhaps.
Aaron ignored the tone. "Does Al Pacino not want the male lead?"
Oh, not asking about the female lead?
"Yes. You guessed it. Dick Tracy also invited him."
Aaron lit a cigarette. "Whether it's Al Pacino or Richard Gere, these are actors who've been fading from the spotlight in recent years. But Pacino is different—the Godfather legacy will always shine. We should still fight to get him for the role."
Ruther furrowed his brow. "I want him as the male lead too, but… fine. I'll talk to his agent."
Richard Gere, since An Officer and a Gentleman in the early '80s, had mostly floundered at the box office. Meanwhile, Al Pacino, despite being on a four-year hiatus, was indispensable for the upcoming Godfather III. His influence was far greater.
"Can you take me to meet Mr. Al Pacino in person? I want to try persuading him myself."
Aaron's logic was simple: it didn't matter if Nicole Kidman missed out on the female lead, but he couldn't allow Richard Gere to make a comeback at the same time.
"You?" Ruther suddenly remembered that Aaron had previously had a conversation with Jeffrey Katzenberg.
"Alright…"