Chapter 33: The Preferred Choice
"Oh, you want me to help get this script in front of Mr. Coppola?"
In an office for The Godfather Part III, Aaron met with Al Pacino.
"Yes," Aaron replied. "A few days ago, Italian director Giuseppe Tornatore asked me to pass it along. His film Cinema Paradiso won the Jury Prize at Cannes this year. This script, A Journey of Family, is a heartfelt story about familial bonds. I've recommended it to Disney, but I can't guarantee they'll take it on."
Al Pacino chuckled. "Ah, too arty for them, right? Big companies like Disney tend to pass on this sort of material."
"Exactly," Aaron nodded.
"Cinema Paradiso, huh? I know that one—set in Sicily, and well done. Don't worry, I'll recommend your script to Mr. Coppola." Pacino understood why Aaron had sought out Coppola. Italian films tended to catch Coppola's attention, and Tornatore had become one of Italy's leading young directors in recent years.
"Thanks. I'll be on my way then," Aaron said, standing up. Jennifer Connelly's audition should be wrapping up by now.
Outside the set, Aaron spotted Jennifer looking dejected. He guessed the outcome immediately. Smiling, he patted her shoulder. "It's just one audition. Nothing to worry about. Let's head back."
Jennifer got into the car. "My audition only took about half an hour. Winona Ryder went in afterward, and she's been in there forty-five minutes already."
Aaron thought to himself: given Winona Ryder's acting skills and popularity, she was a perfect fit for The Godfather Part III. Judging by how long she was in the room, she was likely Coppola's preferred choice. Still, Aaron remembered that the role of the daughter in Part III would eventually go to Coppola's own daughter, Sofia. Shaking his head, he reminded himself it wasn't his business—Italians valued family, and that was that.
On set, Francis Ford Coppola was impressed with Winona Ryder's audition. Unless something unexpected happened, she would likely be cast as the daughter.
Back in his office, Coppola received a script recommended by Al Pacino.
"Giuseppe Tornatore? He's a talented young director from Italy," Pacino said. Being old friends, Coppola trusted Pacino's judgment; if Al vouched for it, it wasn't just any script.
"Yes," Pacino continued, "he approached a CAA agent who knows me, and asked me to bring it to you. I think the story is quite good."
Coppola flipped through the script.
"The CAA agent… is that the young man working with Jennifer Connelly?"
"Yes. He even convinced me to do Pretty Woman—otherwise I might have ended up in the Dick Tracy production," Pacino said with a smile. "The kid's got an eye for talent. He discovered Sex, Lies, and Videotape."
"I see…" Coppola murmured.
After skimming the script, Coppola remarked, "What a shame—it's a warm, family-focused story. The budget isn't high, less than 10 billion lire. If I weren't directing The Godfather Part III, I could easily produce it myself."
Paramount had insisted that The Godfather Part III hit the Christmas release slot next year, leaving Coppola little time for other projects.
Had A Journey of Family listed Coppola as the producer, it surely wouldn't have lacked interest from investors. After all, with a modest budget—roughly $7 million USD at current exchange rates (1 USD ≈ 1,400 Italian lire)—it was very feasible.
"The script leans heavily on artistry and lacks commercial elements. You might suggest he seek independent art-house backing," Coppola said.
"Alright," Pacino replied. "I'll introduce him to Heritage Entertainment—they should be interested."
Al Pacino nodded. He would let Aaron Anderson know when he had a moment.
In truth, neither Al Pacino nor Francis Ford Coppola cared much about the logistics—what mattered most was that A Journey of Family was an Italian art-house film. That alone carried more weight than Aaron's personal credentials.
October in New York had grown chilly. Compared to the warmth of Los Angeles, the city's air was crisp and clean.
In his suite at the St. Regis, Aaron sat on the sofa, speaking to Al Pacino over the phone. "Thank you. Please also convey our gratitude to Mr. Coppola on our behalf."
After hanging up, Aaron pondered the Heritage Entertainment company that Pacino had mentioned. An American distributor of art-house films, they also managed a chain of landmark cinemas. Across the U.S., the company operated roughly fifty theaters, with over two hundred screens.
"Everything okay?"
Jennifer Connelly emerged from the bathroom and found Aaron lost in thought on the sofa.
"Oh," Aaron said, noticing Jennifer draped in one of his shirts. Her curvaceous figure was tantalizingly visible—truly a vision of beauty.
"Over at The Godfather Part III, Coppola favors Winona Ryder," Pacino had already informed him of the outcome during their call.
Aaron pulled Jennifer onto his lap, capturing her in a kiss. A slow, lingering French kiss left her breathless, eyes half-lidded, arms draped around his neck in intimacy.
"Wasn't last night enough? And yet… he chose Winona."
Aaron grinned, feeling Jennifer's irresistible charm. "A woman like you—never enough. So, when are you heading back to school?"
"Not so soon," she replied with a soft smile. "At least a week or two. Stanford sustained some damage from the earthquake, and they need time to sort things out."
"Perfect," Aaron said. "Then stay here at the hotel with me for a few days."
"I'll go home for a couple of days first," Jennifer answered. "Then I'll come back to see you."
"Alright," Aaron replied. He was planning to visit Heritage Entertainment anyway—he needed to help Giuseppe Tornatore get the A Journey of Family project moving.
"By the way, don't leave tonight. I'll drive you home tomorrow," Jennifer added. Her apartment was in New York, after all.
Aaron had been more than satisfied with last night, and today he had no intention of letting Jennifer leave so easily.