America Tycoon: The Wolf of Showbiz

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After looking through all the script synopses, Martin passed on all of them. Original movies were already not given much importance in Hollywood, and the chances of finding an original script that had left a mark on success from the piles of scripts submitted by average screenwriters were naturally very low.

After all, those that could leave an impression on him would not be ordinary films.

Martin flipped through the project plans submitted to Pacific Pictures.

Most of these were adaptations, where screenwriters or small-time producers found literary works or real-life stories worth adapting and recommended them to production companies, often securing investment before purchasing the rights.

Martin quickly found a familiar story synopsis.

It was about a Black stockbroker—if he didn't remember incorrectly, it was probably "The Pursuit of Happyness."

The project was certainly not a fit for him; the fact that it was about a Black protagonist was a pass, and besides, that film's key was Will Smith's personal appeal.

In this era, anything Smith starred in could make money. What made the deepest impression on Martin was "Hancock"—that lousy movie might have flopped if the male lead had lesser star power.

Martin still made a call to inquire, after all, this was Louise's project database.

He wasn't the most conscientious man, but he had a little left.

The phone call was disappointing; Relativity Media had acquired the rights in the first half of the year.

Next, Martin spotted "Sin City" by Frank Miller, only to find out after inquiring that the rights to adapt the graphic novel were acquired by Weinstein's Dimon Films the previous year.

Once that fat cat swallowed something, don't expect him to spit it out.

Martin felt today was not going his way; could it be that Robert's ritual only worked during auditions?

He thought about it and dialed Bruce's number: "Old Cloth, get me a bottle of Coca-Cola, it has to be from '03."

Bruce was baffled: "With less than two months left in '04, you want me to find a '03 Coca-Cola?"

Martin nodded: "Remember, it has to be from '03."

Bruce agreed to the task.

Martin stopped looking at the project database for the time being; he would return to it later.

About half an hour later, Bruce came with a box of pull-tab Coca-Colas, opened the box, and threw a can to Martin: "It was hard to find, got it from a discount store."

Martin gestured for Bruce to be quiet, placed the Coca-Cola in front of the keyboard, mouse, and monitor, waited briefly, then opened it and drank the entire can in one go.

Only then did he continue browsing the project database.

When the database reached the last page, Martin spotted a comic book adaptation project.

The submitter was a screenwriter named Michael Bradette, who had been involved in writing the scripts for "Little Giants" and "Fast & Furious 2," and he wanted to adapt a niche, obscure comic from Top Cow Comics into a screenplay.

The comic was called "Wanted Order."

Having just seen Jolie, Martin naturally thought of the namesake adaptation movie.

According to the project plan, the comic was a short series released by Top Cow only the previous year, totaling six issues, created by an author named Mark Millar.

The name sounded somewhat familiar to Martin, but he couldn't recall it. Like most people, he had seen plenty of comic book adaptations but had never read the comics themselves, let alone knew the authors.

The only comic book author he knew of was Stan Lee, because Lee often made cameo appearances in Marvel movies.

Martin did some online research and discovered that Mark Millar was a writer who had been involved in writing for DC Comics multiple times.

"Wanted Order" was among his many works, but it had an average reputation and response.

Perhaps for these reasons, when Martin called Top Cow Comics, they confirmed the adaptation rights were still available.

Martin remembered carefully, this film must have been a success; James McAvoy later played Professor X, and Jolie continued her steep rise after her affair with Pitt, even entering the 20 million club for a while.

After a quick glance through the remaining projects in the database, Martin shut down the computer and called out, "Let's go, Old Cloth."

Bruce followed Martin and tossed the can into the trash, wondering, "The '03 Coca-Cola didn't taste all that special."

Martin greeted the custodian and left Pacific Pictures to find a comic book store.

There was one near Warner Bros. Studios.

Walking in, Martin asked the owner about "Wanted Order," surprisingly the store didn't carry this niche item.

After the owner made a few phone calls to colleagues, he managed to gather all six issues of Top Cow Comics featuring "Wanted Order."

"Wanted Order" had not yet been published as a standalone volume...

Martin went to a nearby café and carefully reviewed "Wanted Order." It wasn't unexpected—the comic and the movie were two different beasts entirely.

The comic was a self-deprecating carnival, devoid of any decency, filled with sleazy gags, where the protagonist Wesley transformed from an ordinary person into a supreme villain, reaching the pinnacle of his life, highlighting a reality where good does not trump evil.

The male protagonist was an evil perpetrator, not a heroic guardian.

Another important character, Fox, was Black in the comic.

If they shot the movie according to the comic, with a villainous male lead killing in a rampage, the film might become a niche revelry for certain groups, but it would surely flop.

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Martin was self-aware that, as a super academic slacker, he didn't have the ability to adapt a screenplay.

He was decent at acting, could come up with some quirky ideas for promotion, and had a support team that wasn't very strong but had a relatively high level of trust in him.

Everything else fell short.

After some consideration, Martin found the number he had written down and dialed Michael Bradette's phone, claiming he saw his project plan and was interested in making the movie happen, asking how he planned to adapt it.

Bradette did not go into detail but broadly stated, "If I were writing the script, I would definitely make major changes. The protagonist represents good, while Sloan's subordinates naturally belong to the evil side."

Because he didn't have the rights and feared being kicked out, after briefly mentioning it, Bradette stopped talking about script adaptation.

Martin chatted with him for a bit longer, learning that the sender of the project aimed to be a screenwriter but also hoped to develop into a producer.

Without a producer's title, screenwriters have no rights.

Martin wasn't very familiar with the pricing of Hollywood comic rights, but according to Bradette's estimate, this obscure comic could be obtained for less than half a million US dollars.

Then there were the various pre-production costs like hiring the screenwriter, director, producer, and finding investors.

Having experienced the wax museum, The Hills Have Eyes, and jeans, Martin also wanted to put together his own project, but knew he would face immense pressure in terms of ability, experience, and funding.

Since arriving in Hollywood, Martin had earned a total of 1 million US dollars for three films, plus savings from Atlanta; subtracting various expenses, he had at least a million dollars available to use.

Martin then remembered that he needed to set aside money for taxes.

However, investing in the film industry could offset some of those taxes.

He couldn't spend all his money on a single film project, especially since that amount was far from sufficient.

Martin realized, relying on a rich woman for financial support was the most reliable approach.

Louise's experience and capability were not an issue.

The project came from Pacific Pictures' inventory; it wouldn't be ethical to proceed without Louise on board.

Such a project was beyond what Martin could manage alone, so it was most appropriate to invite Louise for a partnership.

Martin immediately called Thomas. In a Hollywood where every star was into film production, setting up a studio was incredibly simple, with professional companies offering turnkey services.

After downing a cup of coffee and making several phone calls, Martin found that he still had to continue down the path of being financially supported by a rich woman.

Taking advantage of the fact that he hadn't been completely drained by Louise yet, he hastened to make his move.

Martin left the coffee shop and headed to Pacific Pictures to find Louise in the president's office.

Louise, dressed in business attire and wearing black-framed glasses, was dealing with official business—her lascivious demeanor when not at work was nowhere insight.

She glanced at Martin, "Any progress?"

Martin pulled out a chair and sat across from her, "Project recommendation for comic adaptation number 040717, 'Wanted Order' from Ding Niu Comics."

Louise accessed the database and quickly found the project, which she had seen and vaguely remembered: "The comic is quite niche and has a dark, cult style."

She recalled more details, "Michael Bradette has called me about it. We spoke briefly, and based on his vision, the production cost would start at a minimum of 35 million US dollars, which would greatly increase if A-list actors were involved."

Martin said, "I just called Bradette and talked about the script adaptation. I think this project has potential."

Louise shook her head, reminding him, "Martin, you've been in Los Angeles for less than a year."

Martin knew he had no convincing power and didn't dwell on the so-called prospects of the film, all of which was nonsense. He simply said, "I'm planning to set up a studio, buy the rights to this work, and then discuss with Bradette in detail. If suitable, he can write the script."

Louise understood his intention, "You're making the initial investment, and the rest of the funds will be gathered through a syndicate?"

Martin replied, "This project will definitely start after The Hills Have Eyes is released. As long as The Hills Have Eyes is successful, I'm 90% sure I can persuade Vincent and Sophia to continue investing, which could cover half or even more of the investment. We'll have to figure out other syndicated funds, but can you and Pacific Pictures join in?"

However, Louise was cautious and asked, "Martin, what are you plotting?"

"Me?" Martin couldn't help but smile, "I'm just plotting to become a superstar sooner so I can make more money to support you."

Louise snorted derisively, "Do I need to remind you? Your heart is black."

Martin knew that words lacked persuasive power, "Help me this time, and I'll give you five new cocktail recipes, not just improved formulas."

"Sure enough, your heart is black," confirmed Louise. "You've been hoarding so much of your own stash."

In Los Angeles and Hollywood, she wasn't afraid of Martin causing an uproar. After pondering for a moment, she got down to business, "Pacific Pictures can help you organize the syndicate, but I can't take less than my due. If the film fails, Pacific Pictures' funds will be withdrawn first, and the same goes for profits."

She positioned herself to be invulnerable.

Martin, lacking a solid foundation and experience in his first syndicate, needed a veteran like Louise and agreed immediately, "No problem."

For the syndicate, obviously, the production funds had to come from others.

Louise suddenly laughed, "This project needs an investment of several tens of millions of dollars. If you mess it up, your star career is basically over. You idiot, didn't you want me to support you? If that happens, I'll lock you in my wine cellar to keep as a slave, and you'll have to concoct new cocktail recipes for me every day."

No matter how thick-skinned Martin was, he intentionally responded, "I know, you want to protect me, so I don't get my head blown off by my support team."

The two settled on a preliminary agreement, but there was still a mountain of work ahead,

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