Chapter 750: The Leading Role!

Nolan's frustration boiled over as he vented, "Jon Berg and his Warner Pictures team are driving me insane! They keep pushing their 'creative ideas,' especially Jon with his obsession to inject his 'Jack the Giant Catcher' success into our project."

Martin's jaw dropped in disbelief at the shocking revelation. "They won't even give you a break?" he exclaimed incredulously.

Furious, Nolan's restraint slipped, his words sharp and cutting, "I'll tear his whole damn family apart if he dares to pull this stunt. I won't back down as the director!"

Trying to reason with Nolan, Martin interjected, "But 'Jack the Giant Slayer isn't even out yet. Why rush to flaunt its success?"

Nolan's demeanor softened slightly as he replied, "Because Berg believes it's a surefire hit."

Martin nodded in understanding. "Berg's amassed various edits, aiming to craft a masterpiece from the essence of it all," he remarked, recognizing the ambitious drive behind Berg's actions.

Turning to the impending producer coordination meeting led by Spielberg, Nolan informed, "Spielberg's taking the helm, and decisions are expected soon."

With a sense of urgency, Martin concluded the call, "You handle that, Chris."

Meanwhile, at Warner Studios, the inception of the "Interstellar" project had marked the beginning of the year. However, progress had been sluggish. Initially preoccupied with wrapping up "The Dark Knight Rises," Nolan found himself inundated with Warner Pictures' relentless barrage of ideas upon joining the project, complicating matters further.

It was evident that Warner Pictures' president, Jon Berg, harbored ambitions of seizing control. Though esteemed as a genius, Berg's track record post-appointment had been marred by failed endeavors like "Pharaohs and Gods" and "Dark Land," overshadowing the few profitable ventures.

Spearheaded by Spielberg, the producer coordination meeting convened, drawing top executives from Paramount, DreamWorks, and Warner Pictures. Spielberg's confidence stemmed from the project's substantial investment and lofty expectations.

Emma Thomas, speaking assertively on behalf of Nolan, emphasized, "We demand final cut rights, as stipulated in the director agreement." Nolan's unwavering confidence resonated through her words.

In the late afternoon, the bustling atmosphere of Davis Studio quieted down as Denis Villeneuve, the esteemed Canadian director, arrived. His collaboration with Graham King on "Prince of Thieves" had been in the works since sealing the deal two months back.

"The preparations are progressing smoothly," Villeneuve remarked, his demeanor calm yet focused. "Graham has already taken some folks to Boston." However, today's visit wasn't solely to monitor the crew's progress. "Martin, have you aligned the schedule? I need absolute clarity before we draft the shooting plan based on your timeline."

Cutting to the chase, Martin queried, "When do you anticipate kicking off filming, considering our preparations?"

"Under normal circumstances, June is the target, with shooting potentially spanning from 45 to 60 days," Villeneuve replied, his tone carrying a hint of uncertainty due to the numerous street scenes in the script.

Originally, Martin intended to entrust the three-month schedule spanning June, July, and August to Nolan. However, "Interstellar" encountered hiccups, with conflicts arising among the major investors, notably incensing Warner Pictures due to legal entanglements with Jon Berg.

Martin weighed his options, ultimately affirming, "My schedule is flexible. Base your shooting plan on this timeframe, preferably slotting my scenes upfront."

Villeneuve nodded, affirming, "I'll draft the plan promptly and swing by the studio to discuss."

Before departing, Villeneuve left Martin with a gentle reminder, "Martin, regarding firearms, especially AK series..."

Martin interjected confidently, "I religiously practice with firearms every week."

Watching Villeneuve exit, Martin couldn't help but feel relieved. Working with an actor as committed as Martin made the director's job worry-free.

With schedules aligned, Villeneuve promptly departed to oversee actor auditions in the coming days. While the heroine, Alexandra Daddario, had already been chosen, Villeneuve focused on casting supporting roles and additional actors.

Back in his office, Martin dialed Nolan, seeking updates on "Interstellar".

Nolan vented his frustration over the project's convoluted copyright disputes, lamenting, "Every twist and turn halts progress, thanks to the meddling of multiple producers."

Martin inquired, "Is Warner Pictures still causing trouble?"

She clasped her hands firmly on the polished conference table, her gaze locking onto Jon Berg diagonally across from her. "This isn't some indie experiment; we're talking about a mega-production with a budget soaring to 180 million dollars!"

Jon Berg felt the weight of her words directed squarely at him, stirring an instinctual urge to retort.

Nolan interjected before Berg could respond, his tone measured yet firm. "If my leadership is in question, I'm willing to step down as director."

Bob from Paramount Pictures swiftly interjected with reassurance, "Chris, we've always had faith in your vision. You're the perfect fit for this project."

Resembling the epitome of a gentleman, Spielberg chimed in, "Let's entrust the shooting and production to seasoned professionals."

"Fine," Berg acquiesced, his stance conceding ground while simultaneously hardening. "But I stand firm on the male lead. Martin Davis isn't my choice."

Nolan countered logically, "Martin embodies the trifecta of acting prowess, image, and market allure. He's Hollywood's prime candidate for the role."

Berg reminded sternly, "Let's not forget his exorbitant salary demands. His 20+20 model will bleed our profits dry. Who's the star here?"

Remaining neutral, Bob understood that while Martin Davis was a viable option, he wasn't indispensable. Paramount Pictures had both thrived and suffered, having to share hefty profits with superstar actors, notably recalling the case of Tom Cruise and the "Mission: Impossible" franchise.

Spielberg, known for his affinity towards marquee names in blockbusters, advocated, "Stars like Martin bring immense buzz and marketing clout. Their appeal is invaluable."

While Berg objected for the sake of it, he had a litany of reasons and excuses ready. "Remember the film where Martin won his Oscar? A space drama, just like ours. He even portrayed an astronaut. Consecutive roles like these could blur the lines..."

Cutting him off, Nolan clarified, "Our lead isn't an astronaut; he's a father. Plus, the release isn't until 2014, and Martin will have diverse roles by then. Role overlap isn't an issue."

Interrupted and slightly flustered, Berg continued, "But the risks are colossal. With a budget this steep, we need to iron out every detail to minimize risks."

Offering an alternative, Berg proposed, "If we must have a superstar, Tom Cruise fits the bill better. He's a father himself, understands familial dynamics, and can embody paternal responsibilities."

Even Spielberg found merit in Berg's suggestion, considering the film's thematic departure from space-centric narratives.

The essence of this film doesn't lie in cosmic explorations or delving into the enigmas of time and space. These are just superficial layers, concealing the same old tropes that have dominated mainstream Hollywood for over two decades.

Spielberg's voice cut through the tension, matter-of-factly stating, "Tommy would also fit the bill."

At the mention of Tom Cruise, Bob squirmed in his seat. Despite Paramount's recent collaboration on "Mission: Impossible 4," where attempts were made to sideline Cruise's character, Brandt, in favor of Jeremy Renner, the audience remained loyal to Cruise and Ethan Hunt. Paramount reluctantly continued their partnership with Cruise, although it didn't necessarily signal eagerness for future projects.

Summer Redstone, the paramount figure at Paramount, had publicly lambasted Cruise years ago, causing friction between the star and the studio. Bob emphasized, "Tommy's not the right fit. His Scientology beliefs distort his understanding of family dynamics, hindering his ability to embody the role."

Spielberg, with his seasoned demeanor, acted as a peacemaker, suggesting, "Why not have Martin and Tommy audition for the role?"

Nolan, however, interjected with firm opposition. "I've worked with Tom Cruise; he's notoriously difficult on set. Martin and I have an unspoken understanding; their chemistry is undeniable."

Locking eyes with Spielberg, Nolan reminded, "When I signed on as director, Martin's casting was non-negotiable, and you agreed."

Jon Berg's voice cut in, firm and resolute. "I object to Martin Davis. If he's cast, Warner Pictures will pull out, halting the project."

Warner Brothers held crucial copyright stakes, and their withdrawal spelled disaster for the production.

Spielberg, grappling with the weight of the situation, floated the idea of DreamWorks acquiring Warner's stake, only to be met with Berg's staunch refusal.

As the meeting drew to a close, consensus remained elusive.