Chapter 30: Unbearable
"Aaron, you have far too few newly signed clients. Look at the other agents—they're practically signing new talent every week," Paula Wagner teased with a smile.
Aaron clinked his glass against hers. "But I just signed Jennifer Connelly, didn't I? She already had some name recognition."
At the very least, Jennifer Connelly was now Aaron's most popular client—more influential than even director Steven Soderbergh. As for Nicole Kidman, who had come from Australia, that went without saying.
Paula cast a casual glance at Nicole nearby. "Fine. As long as you handle these relationships well. You've got Sex, Lies, and Videotape, Cinema Paradiso, and Teenage Mutant Ninja Turtles under you."
"You're doing a good job. Are you still looking for more film projects to represent?"
"A bit of everything," Aaron replied. "The projects that need representation are either independent films or foreign films—not something you stumble upon every day."
"You skipped Venice. How about the upcoming Toronto Film Festival? Not many independent film platforms left these days," Paula suggested.
Aaron nodded. "I'll consider it. By the way, after Tony Scott finishes Days of Thunder, will he develop the script for True Romance?"
The True Romance script belonged to Quentin Tarantino under Aaron's management. Its fame would come only after adaptation into a film.
"Not so soon. Tony Scott directed Revenge with Kevin Costner earlier this year and is currently shooting Days of Thunder. His next project won't be decided until next year," Paula explained. She often visited the Days of Thunder set and knew Scott's schedule well.
Meanwhile, Aaron noticed Kevin Costner, a new CAA client this year, who had founded TIG Films. Orion Pictures had invested $15 million in his first self-directed and starring film, Dances with Wolves. For such an ambitious Western, $15 million was barely enough.
"Alright," Aaron muttered. He didn't plan to wait long for development. Tony Scott's work had been decent only in Days of Thunder. Revenge and the ongoing Days of Thunder sequel were fairly average.
A little while later, Aaron, who was teasing Nicole Kidman into fits of giggles, overheard an inconvenient remark.
"Aaron, don't you feel any sense of urgency yet?"
He turned to see his colleague Richard Lovett.
"Later," Aaron said, planting a kiss on Nicole's cheek before leading Richard to the hotel balcony. He lit a cigarette, exhaling slowly. "Alright, what's the matter?"
Richard sighed. "Because of your arrogance, Warren Beatty and Dustin Hoffman are targeting me now."
"You know, Dustin Hoffman's status is untouchable. Julia Roberts finally landed a leading role in Pretty Woman, which is about to wrap. Some of Julia's new projects are being affected!"
Aaron narrowed his eyes. "Are you serious? The lead of Pretty Woman is being targeted by the lead of Dick Tracy? And you're blaming me—the one who got the project off the ground?"
"Is this your first day in Hollywood? Complaining about an aging has-been—what are you afraid of?" Aaron continued.
"Wait until Pretty Woman releases next year—it'll all sort itself out. Julia Roberts is who? What projects could she even have?"
Richard's face turned crimson with disbelief. He pointed at Aaron. "But your clients—won't they be targeted too?"
"Ridiculous!" Aaron threw down his cigarette. "I've done over $10 million in business in six months. One washed-up actor and a dwarf think they can target me?"
"Target how? When these two films release next year, these clowns will be the first to greet me with 'Mr. Anderson!'"
With that, Aaron left the balcony, leaving Richard Lovett flustered in the wind.
Aaron wasn't someone who could be provoked easily. In his past life, he had dragged a whole cart of people to their deaths without hesitation. Now, a minor agent like Richard Lovett trying to challenge him? Not a chance.
Returning to the ballroom, Aaron ran into Pretty Woman's producer, Steven Ruther, and the film's leading man, Al Pacino.
"So, do you two not have faith in Pretty Woman*?" Aaron teased.
Al Pacino chuckled. "How could an actor not believe in his own work? During filming, I felt the story was quite solid."
Steven Ruther nodded. "There might be some surprises next year."
After all, recent releases like When Harry Met Sally… had pleasantly surprised audiences.
"By the way, Aaron," Pacino continued, "Francis Coppola is helping Paramount prepare The Godfather Part III. There's a role for a young girl, my daughter in the story. Perhaps I could recommend one of your actors for the audition."
This was Pacino repaying a favor to Aaron.
"The daughter in Godfather III?" Aaron asked.
He nodded. "Thanks. I recently signed a young actress, Jennifer Connelly. She could give it a shot. She's also had experience filming in Italy."
Aaron knew that Francis Coppola and the team were Italian-American, and that actors like Al Pacino and Robert De Niro shared Italian heritage. However, he remembered that the daughter role in Godfather III would eventually go to Coppola's own daughter, Sofia Coppola, who even earned a Golden Raspberry award for it.
"I can only recommend her for the audition. The final decision will, of course, rest with Coppola himself," Pacino reminded him.
Godfather III was in pre-production, with Francis Coppola as producer and director. As for the main cast, discussions were still ongoing between Al Pacino and Coppola regarding Pacino's pay.
"Understood. Just getting an audition opportunity is already good. This is Coppola's Godfather series—so many actors would kill for a chance."
Aaron was satisfied simply knowing he was fighting for Jennifer Connelly's opportunity.
After Al Pacino departed, Steven Ruther leaned in and whispered, "Dustin Hoffman has met with Michael Ovitz to discuss the misunderstanding between you and Warren Beatty. Hoffman's reputation is considerable, so be careful within CAA."
Aaron just smiled and patted him on the shoulder. "Don't worry. Once Pretty Woman premieres next year, everything will speak for itself."