Chapter 6 - "I'm Curious About Your Age"

After reading for more than twenty minutes, Jonathan Friedman forcibly stopped himself from ​​continuing to read. He had other appointments today, so it was not a good idea to read the script right now.

Moreover, although he had only managed to read half of it, Jonathan Friedman had determined that the quality of the script of The Butterfly Effect was just as good as its creativity. If it was filmed, it would definitely become a classic horror film like Simon had said.

Of course, with Jonathan Friedman's professional vision, the script's shortcomings were also very obvious.

First of all, the title "The Butterfly Effect." Most ordinary people would be unaware of this professional theoretical term that had emerged in '70s, which would undoubtedly hinder many people's interest towards the film. However, after Simon explained the meaning of the butterfly effect, Jonathan Friedman also couldn't think of any title more apt to describe the film, so he decided to temporarily leave it.

Second, the overall atmosphere of the script was too gloomy. Especially the ending where the protagonist returned back to his mother's womb and strangled himself with her umbilical cord. Just thinking about it would give people the creeps.

However, such a script would match the style of one of his clients.

While reading the script, Jonathan Friedman had actually been contemplating certain plans.

Due to the internal chaos in WMA, a large number of clients had left one after another, including some of Jonathan Friedman's clients.

Brian de Palma, a well-known Hollywood director was represented by him. He had previously directed films such as Carrie and Scarface. Recently, he had recently received an invitation to move to CAA. According to what Jonathan Friedman knew, CAA had even prepared a big film as a signing bonus.

The reason why Brian de Palma did not leave like stars such as Al Pacino, Barbra Streisand and others was mainly due to the friendship between them through their years of cooperation.

However, over the last few years, two consecutive big productions directed by Brian de Palma had been unsuccessful at the box office. As an agent, if he failed to find a high-quality project with sufficient box office guarantee for his client as soon as possible, Jonathan Friedman was sure that he would lose him to CAA.

'The Butterfly Effect seems perfect for Brian, he thought'

The script had outstanding creativity, a wonderful story, and also belonged to the thriller/horror genre that Brian de Palma was known for. Moreover, judging from the plot, the production budget would not be too high which would undoubtedly make it easier for the studio to start the project since the threshold for making a profit would be much lower.

With the presence of so many favorable elements, Jonathan Friedman believed that The Butterfly Effect had little possibility of failure. In fact, it may turn out to be even better than Brian de Palma's most famous film Carrie.

Moreover, as a film centered around many youngster, it could be used to promote some of his young clients. Since CAA could produce so many successful packaged projects, there was no reason that WMA, whose overall strength is even higher than CAA's, would be unable to do the same.

With a low-budget and low-risk, The Butterfly Effect could certainly be made into a successful packaged project.

After considering all the details, Jonathan Friedman looked up at the young man sitting across him. Perhaps, signing a screenwriter once in a while would not be bad choice.

Making up his mind, Jonathan Friedman said, "So, Simon, do you have any other scripts?"

From Jonathan Friedman's tone, Simon understood that he was willing to represent him.

However, since The Butterfly Effect had already aroused Jonathan Friedman's interest, he did not intend to immediately show him the script for Final Destination since that would only serve to distract him.

Nevertheless, in order to elevate his position in Jonathan Friedman's heart, he replied affirmatively, "Yes, but I'm still refining it, so it will take some time. The story is about death, inspired by the Oriental view on death. The Orientals believe that if the god of death writes down the date of a person’s death then that person will not be able to escape their fate of dying, no matter what they do."

Jonathan Friedman had originally just casually asked but Simon's words aroused his interest, once again.

However, seeing that Simon did not go on, he didn't ask further.

'There will definitely be many opportunities to chat in the future. For now, I should take care of the contract,' he thought.

"In that case, let's talk about the contract. Simon, since you have made so many preparations, you must have some idea about signing with a talent agency. If you have any requirements or conditions, now is the time to tell me."

Simon nodded and said, "First of all, I will only write scripts that I am interested in. I won't accept commissioned scripts from a producer or studio. Therefore, I hope to sign a simple screenwriter brokerage contract."

Just listening to Simon’s first request, Jonathan Friedman already had an urge to shake his head in disappointment.

There were only a few hundred film and television programs based on original scripts in Hollywood every year. If they only rely on original scripts to make a living, the more than 10,000 members of WGA-West and WGA-East would starve to death. Therefore, most of Hollywood screenwriters took on commissioned tasks such as script adaptation and editing, and long-term employment with television production companies for writing the new seasons of the various TV shows.

Simon's first condition was tantamount to restricting his own career to a very narrow range.

Just as he thought about explaining the fallacy behind his condition, Jonathan Friedman saw Simon's young face and chose to quietly agree.

'Since you are young and frivolous, it would serve you well to experience some setbacks and understand the reality,' he thought.

Simon already understood what might have been going through Jonathan Friedman's head after seeing his expression, but he didn’t renege on his condition, and continued, “Secondly, if conditions permit, I hope to be able to direct a film myself. Therefore, I hope to retain a certain degree of autonomy over my own scripts."

Jonathan Friedman was once again surprised, and after looking at Simon for a few seconds, he finally said, "Actually, Simon, I am very curious about your age?"

Simon took out his driver's license from his wallet, handed it over to his agent and said, "Mr. Friedman, although I do not want you to explicitly hide it, but I still feel that when you sell my script, it would be best if you didn't mention my age to the studio."

Jonathan Friedman took Simon's driver's license and looked at the date of birth written on it.

February 22, 1968.

Although he knew what date it was, Jonathan couldn't help but glance at the date on the small calendar on his desk. Today was June 19, 1986.

In other words, the young man in front of him had turned 18 just a few months ago.

Shaking his head and smiling speechlessly, Jonathan Friedman returned the driver's license back to Simon and said, "Alright, I will avoid mentioning your age as much as possible, but, Simon, you have to know that most directors in Hollywood only got their first chance to direct a film after the age of 30. You are simply too..."

Simon couldn't help but shake his head and interrupt, "You're wrong, Joe. Steven Spielberg, Martin Scorsese, George Lucas and Francis Ford Coppola all became directors before the age of 30. They were all different from most directors. In that case, why should I be mediocre like most directors?"

Jonathan Friedman was stunned.

Even many decades later, Jonathan Friedman still clearly remembered the high-spirited young man's words that resounded in his office one afternoon in the summer of 1986.

He didn't even know that the young man at that time had less than $100 in his pockets. If he failed to find a job soon, he would probably have to sleep on the streets.

After being left dazed for a while, Jonathan Friedman came back to his senses and continued to discuss the contract with Simon.

Simon had already left a deep impression on him during their first meeting, so Jonathan Friedman could not help but be unable to set harsh conditions for him despite the fact that he was a newcomer.

In fact, a screenwriter's peak in Hollywood was ultimately limited, and the benefits that such a client could bring to their agent were also irrelevant to someone at the level of Jonathan Friedman.

But, most importantly, Jonathan Friedman instinctively felt that providing this young man with some convenience at this time might allow to him to reap unexpected gains in the future.

Therefore, the two quickly negotiated a basic contract framework: a simple script brokerage contract with a contract period of three years and a commission of 10%.

Simon retained a certain degree of autonomy in his script. Simply put, if he wished to personally direct  one of his own scripts, he did not need to obtain his agent's approval.

The detailed content of the contract would naturally not amount to just this much, so Simon would need to return the following day to sign the contract.

Finally, Simon also took the initiative to explain that he planned to direct a few ultra-low-cost experimental movies as practice. The kind that used a 16MM camera and required just a few thousand dollars and a few people.

After hearing this, Jonathan Friedman was more willing to accept Simon's plan of directing and offered to provide some help within his capacity.

The two then had a pleasant conversation about the film industry. By the time their meeting came to an end, the clock had passed 5:40 pm.

After bidding farewell to Jonathan Friedman who personally escorted him to the door of his office, Simon opened the door and found that there were two young men and a young woman waiting in the lounge outside.

* * *

As the office door opened, the three people who were chatting stood up respectfully, and couldn't help but stare at Simon, the guy who kept them waiting for more than an hour. The two young men felt obvious envy and vigilance towards him, while the young woman with short black hair also looked at him with curiosity.

Simon just nodded slightly to the three of them. Although the girl with short hair looked familiar, he walked out without thinking too deeply about it.

It was not until he left WMA's office that Simon recalled that the short-haired young woman should be Courteney Cox, the actress famous for playing  Monica Geller in the '90s hit sitcom Friends.