Chapter 35 – Cage Fits the Role Better
By late October, Aaron had returned to Los Angeles to find someone to adapt the script for Phone Booth.
Meanwhile, Jennifer Connelly was preparing to return to Stanford University.
"I've already told Italy—early next year, you'll head to the Milan set to shoot your scenes for A Journey of Family," Aaron said in the car, leaning back with Jennifer in his arms.
"For now, though, you should focus on school. Haven't classes resumed?"
Jennifer smiled. "Weren't you going to spend a few more days with me?"
Aaron chuckled. "Young people should prioritize studies first."
"But didn't you say last night that work isn't as important as me?" she teased.
Aaron grinned, patting her gently. "I'll come visit you at Stanford. After the holidays, you'll have half a month in Milan for filming—plenty of time."
He also thought it might be a good idea to get Jennifer a few lingerie ads—her talent and looks shouldn't go to waste.
Jennifer kissed him lightly. "I'll go for now. Later, you'll come with me to Milan, right?"
That evening, Aaron met Quentin Tarantino at a club to discuss the Phone Booth script.
"This concept is fresh," Tarantino said, eyeing Aaron. "Simple characters and a minimal setting—does it really work?"
Aaron leaned back on the sofa, fingers absentmindedly tracing the rim of his glass. "It needs a director skilled at building tension and suspense… and an actor who can deliver the performance."
"Any candidates?"
"The director? Not yet," Aaron shook his head. A capable director would be too expensive. He only wanted to spend one or two million dollars, relying on his own talent pool for cameos and keeping other actors cheap.
"And you think you could pull it off?" Aaron asked Tarantino.
Tarantino gave an awkward smile. "I've never tried that before. I like black comedy and dark humor."
Aaron took a sip. Phone Booth required a plot-driven director; neither Tarantino nor Steven Soderbergh was suitable.
Soderbergh's preachy style lacked tension, and Tarantino would probably turn it into a chatty black comedy.
As for the lead, Aaron had someone in mind: James Spader from Sex, Lies, and Videotape. The problem? Spader had just won Best Actor at Cannes, so his fee would be tens of thousands of dollars at least.
"By the way, has Tony Scott ever considered producing True Romance?" Aaron asked. Tarantino had mentioned this when Aaron helped sell his previous script.
"Not yet. Scott's schedule is packed—he's shooting with Tom Cruise," Tarantino replied. Though filming for Days of Thunder seemed near completion, Aaron knew Scott had acquired five-year rights and would eventually develop the project.
Otherwise, who would sell an original script for just fifty or sixty thousand dollars? And Tarantino's scripts had plenty of merit—especially Natural Born Killers, which Aaron considered better than True Romance.
By November, Nicole Kidman's film Wild at Heart had moved to California for shooting—specifically, Barstow in the Mojave Desert, between Los Angeles and Las Vegas.
"Truly wild," Aaron thought, observing Nicolas Cage's performance on set—it left a strong impression.
That evening, at a hotel in Barstow, Aaron shifted slightly with Nicole Kidman in his arms. "David Lynch usually includes supernatural elements, but Wild at Heart is one of his rare 'normal' films."
Nicole smiled, nestling closer. "I think critics will appreciate this one."
Aaron nodded, holding her close, but his mind wandered. Nicolas Cage… he seemed perfect for the lead in Phone Booth.
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When it came to acting, Nicolas Cage was absolutely on par with James Spader. Moreover, at this point, Cage didn't have major awards or box office clout, which made him much more affordable.
After all, James Spader's lead in Sex, Lies, and Videotape had won the Palme d'Or at Cannes and earned $24 million at the box office—a clear commercial success.
Aaron thought that casting Nicolas Cage as the male lead in Phone Booth would be perfect. After all, this role was mostly a one-man show, and Cage could easily handle it.
The male lead's wife could be played by Nicole Kidman in a cameo.
That left the two other key roles—the cop and the sniper. Adam Sandler might give it a try.
Aaron glanced at the beautiful Nicole Kidman in his arms and kissed her lips.
"Darling, Wild at Heart has a lot of road scenes. Isn't filming exhausting?" he asked.
Even though she was his woman, Aaron still cared about her well-being.
"A little," Nicole replied. "Back in Wilmington, we traveled to several outdoor locations. Barstow is the last shoot—mostly on Route 66 here in the U.S. But this role gives me a lot to do; it's not just a decorative part."
Aaron smiled, leaning close to her ear. "With that wild blonde look and your stunning figure, you're incredibly captivating."
"Then what are we waiting for? I haven't seen you in ages!" Nicole said, pressing herself against him, seeking a kiss.
David Lynch's eye for casting women was impeccable. This year, he also directed a dark, surrealist thriller TV series, Twin Peaks, which featured beautiful women of no lesser caliber.
Both Wild at Heart and Twin Peaks were produced by Propaganda Films, a company famous for TV commercials and music videos. Lynch himself was one of its founders.
Wild at Heart was a co-production with Polydor investing. The North American distributor was Samuel Goldwyn Films, so there was no need to go through other agencies for overseas distribution. Propaganda and Polydor could handle international distribution themselves.
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