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Through the phone, he revealed the existence of the project to Vincent and Sophia.

Then he called Kelly Gray.

"As long as \'The Hills Have Eyes\' is successful at the box office, I\'m definitely in for your new project," said Kelly, but she had two new conditions, "However, I have two demands."

Martin first wanted to know the specifics, "Go ahead and tell me."

Kelly\'s first request was quite normal, "Since it\'s a project led by you and that slaggy lush, coming to Atlanta for the shoot shouldn\'t be a problem, right? And it\'s also normal to sign a location rental contract with Atlanta\'s top-ranked film and television production base, right?"

Thinking of Georgia\'s tax incentives, Martin agreed without hesitation, "That\'s exactly what I was considering, which is why I called you."

Kelly suddenly lowered her voice on the other end, "My other condition is that you bring Louise to Atlanta. I want to get back at her; that slag dared to make me listen to her all night! I want you to tie her up, not just make her listen but also make her watch without being able to touch!"

Martin thought to himself, sure enough, she still wanted to play by the unwritten rules.

If he ever wrote an autobiography, the title would certainly be: The Kept Man Who Rose to Power Through Women.

For the sake of his future and career, Martin accepted these unwritten rules! He steeled himself and said, "No problem."

Kelly seemed to hate vehemently, "We have a deal then. If you can\'t do it, don\'t blame me for turning against you and throwing you into the Atlantic Ocean to feed the fish."

After hanging up, Martin reminisced about the bloody history of climbing to the top by using Kelly and Louise.

It could be called a history of blood and tears.

As for setting up Louise in Atlanta, there was no rush; the project was still in its early stages.

......

House of Beast Club.

Upon receiving Vincent\'s call, Sophia rushed over quickly.

By the time she reached the staircase, Scott was trailing behind with his bag, sauntering into the club with a leisurely gait.

Hart was drinking at the bar and upon seeing Scott, he pulled out a barstool, "Buddy, take a seat."

Scott waved his hands dismissively, "No need, I can\'t sit down just yet."

"We\'ve always wanted to go to Thailand," Hart finished the beer in his glass, "You don\'t even need to go to Thailand anymore."

Scott had an air of grandeur about him, "You don\'t understand the happiness involved; this is a sacrifice for true love."

Hart, unable to bear it, feared he might vomit on the spot and quickly headed backstage.

In the upstairs office, Vincent detailed the situation as Martin had described.

Sophia, rubbing the flesh on her face, said, "I\'ve seen the shooting of \'The Hills Have Eyes,\' and everything is as Martin told us; the crew is very dedicated to making the movie."

Vincent tipped his cowboy hat slightly and said, "Horror Wax Museum has grossed over 80 million US dollars worldwide; Martin is getting a lot of attention." He picked up some newspapers and handed them to Sophia, "Entertainment publications from California are praising him a lot, Hollywood\'s rising star, Hollywood\'s new force, Hollywood\'s top hunk—reports like these are plentiful."

"It seems Martin is very popular," Sophia said, sharing her first impression. She asked, "Has \'The Hills Have Eyes\' set a release date?"

Vincent handed her a routine bulletin, "The weekend after the Super Bowl; the distributor Warner Bros. is very committed to it and will advertise during the Super Bowl."

Sophia quickly looked it over, "Martin is still reliable."

Vincent asked, "Shall we continue to invest?"

"Why not? Our funds have to go somewhere," Sophia maintained her earlier stance, "You reply to Martin that as long as \'The Hills Have Eyes\' doesn\'t have any problems, we will continue to invest in him."

Vincent thought this was the safest approach, "Then let\'s wait for \'The Hills Have Eyes\' to be released."

"I\'m going on a vacation soon; don\'t bother me unless it\'s urgent," Sophia prepared to leave.

Vincent reminded her, "Pick a different one next time; don\'t wear people out."

Sophia could not care less, "You don\'t understand the good in Scott."

Without further ado, she headed downstairs.

That very day, Vincent sent Martin a reply.

After several collaborations, there was a certain basis of trust.

Martin found Louise to help push the preliminary planning forward.

Such as the script.

In Hollywood, screenwriters have a low status, but the script is one of the fundamentals of a film project.

After Martin acquired the rights to "Wanted Order," he immediately contacted the original project planner and someone involved in the production of two movies, Michael Bradette.

That day, they agreed to meet at Pacific Pictures.

"Hello, Michael, I\'ve seen \'Fast & Furious 2\' and \'Little Thieves,\' great works," said Martin, who had watched the movies specifically to learn about the screenwriter.

Bradt was in his early thirties and did not look like a screenwriter, more like an actor. He exuded confidence, marketing himself, "The projects I\'ve been involved with have all been commercially successful."

Martin specifically looked up relevant data, "Fast & Furious 2" needs no introduction, while "Little Ghost Thief\'s" box office wasn\'t very high, it received a positive response in the home entertainment market.

From a business standpoint, both films were successful.

That was one of the reasons why Martin took the initiative to approach Bradt.

It\'s easier for the successful to succeed.

Martin then introduced the person next to him, "This is Miss Louise Mel, the president of Pacific Pictures."

Louise shook hands with Bradt briefly, then tactfully stepped aside, "You two talk."

Bradt spoke frankly, "I\'m surprised by how quickly you acquired the rights."

Martin got straight to the point, "The original comic is too cultish, I don\'t believe it\'s suitable for a film adaptation, the protagonist, Wesley, kills all the good people in the world in the comics—that sort of movie would be doomed. Your earlier take on clear-cut good and evil made a lot of sense to me."

Now that the rights were in Bradt\'s hands, he elaborated, "In my envisioned film, it would be a super cool action gunfight kind of movie, similar to some scenes in \'The Matrix\'—of course, I\'m referring to the first one, not the last two pieces of rubbish."

He picked up two cups and placed them on each side of the coffee table, "So, we can only take part of the comic\'s content and setting, and establish a clear divide between good and evil—traditional Hollywood style."

In the past few days, Martin had been recalling movies he\'d seen—aside from the curved bullets, the downtrodden protagonist, and Jolie, there was also a loom, but everything else left a vague impression on him.

It seemed like there were scenes similar to "bullet time" from "The Matrix."

Bradt added, "I discovered this project earlier this year, not just Pacific Pictures, almost every company had submissions, but sadly, no one was interested. The original comic was too obscure and too cultish. I originally thought it might take five or ten years, for the readership to grow before it truly caught people\'s attention."

Martin asked about some story concepts, and Bradt\'s ideas were pretty much what he remembered, so he said directly, "Michael, I\'d like to invite you to be the screenwriter for this project and adapt the comic into a script suitable for a commercial film."

Bradt was confident, "Then you\'ve found the right person. I\'ve thoroughly considered the adaptation earlier this year, and in no more than three months, I could have a first draft of the script ready."

Martin knew this required patience, "I want to see a first draft of the script by March."

Bradt nodded, "No problem."

The two sides reached a cooperation agreement in principle, leaving the specifics of the contract to be handled by professionals.

One of Louise\'s production managers, experienced in business, was in charge of the detailed planning of the project\'s early stages.

"I suggest you continue your partnership with Warner Bros. after the success of \'The Hills Have Eyes,\'" Louise remarked. "With me involved, at least your regular earnings are secured."

She had ample experience working with Warner, and Martin took her advice, "Bringing Warner Bros. into the picture is also a form of security."

Without Louise, he wouldn\'t dare to take such a step—Hollywood\'s major studios were treacherous.

Louise continued, "The premise is that \'The Hills Have Eyes\' must succeed. With two consecutive hits, Warner Bros.\' view of you will naturally rise a notch, and they\'ll be more inclined to continue working with you."

Martin asked, "Should the up-front investment I made in buying the rights be included in the film\'s budget?"

Louise nodded slightly, "Like before, establish a separate film studio."

Martin thought of the person to front the registration of the studio—Mene.

As long as Mene gets a lead or supporting role, he shouldn\'t have any issues.

Martin gathered his materials and inquired, "What\'s Angelina Jolie\'s current fee?"

"Do you want her to play Fox?" Louise had heard Martin and Bradt discussing the storyline before, so it wasn\'t hard to guess, "Jolie just finished \'Mr. & Mrs. Smith\' with Pitt, and she took a $10 million fee."

She thought for a moment, then added, "Considering the failure of \'Tomb Raider 2,\' Jolie\'s box office draw is in question."

Martin then asked, "When is \'Mr. & Mrs. Smith\' releasing?"

Louise said, "I think next summer, either May or June, I don\'t remember clearly."

Martin had a rough idea; it wasn\'t the Oscars that marked a turning point in Jolie\'s Hollywood career, but \'Mr. & Mrs. Smith,\' after which her drawing power surged.

Scandals, at times, are not necessarily bad for Hollywood stars.

Louise reminded him, "You should consider the director more, a script doesn\'t mean anything. In the past decade, I\'ve seen too many good scripts turn into bad films, and bad scripts become box office hits. Why do screenwriters have such a low status? Because no matter how well the script is written, text is still text, not images."

Martin asked, "Do you have any suitable candidates?"

Louise replied as a matter of course, "For a cool action gunfight movie, Michael Bay is a top choice, and so are the Wachowski Brothers, but they\'re not suitable—their fees are too high."

Martin understood the importance of a director to film production, "Send out a notice at the Directors Guild... hmm, I\'ll have Thomas submit the project to WMA, the agency might have a suitable candidate internally. Also, let\'s spread some word overseas."

Who the hell remembers the original director anyway.

For an action gunfight movie, another crucial role was required: "Recruit an action director or fight choreographer."

Louise suggested, "Have your Old Cloth make a trip to the Directors Guild."

Martin called over Bruce, and after a discussion, Bruce left with the materials.

The next day, the recruitment board at the Directors Guild posted notices seeking an action director and fight choreographer with relevant experience.

Of course, they must have relevant experience.

After brief negotiations, Bradt joined the project as the screenwriter, responsible for script adaptation.

Additionally, once the project was officially underway, he would serve as an executive producer and his total compensation would be $120,000.