From Flower Vase to Film Emperor in Hollywood

Playing a role, why take it seriously?

Although this analogy isn't entirely appropriate, it's like "The Emperor's New Clothes." Everyone understands it's a play; they're just audience members cooperating with the performance. There's no need to expose the lie; let the show go on.

However, there are always exceptions. Even the Hayworth Theatre has a child brave enough to speak the truth.

From a distance, roughly observing, the figure seems young, around his early twenties. He's probably just starting out, unable to flexibly switch his expressions, unable to adapt to social niceties, inadvertently revealing his true feelings.

Anson was curious, would that person speak the truth like the child in "The Emperor's New Clothes"?

He did not.

The figure blankly looked around, then gradually came to his senses, withdrew his gaze, lowered his head, hunched his body, and stealthily prepared to leave.

It seems he doesn't plan to expose the performance, nor does he plan to linger any longer.

Anson found this scene very interesting—

It seems that Hollywood in 2000 still retains some vitality and edges. Not everyone prostrates at the feet of traffic, selling their souls.

Edgar Cook was thinking, maybe, possibly, probably… he should leave.

As a junior agent, having recently transitioned from agent assistant to full-fledged agent, he has no foundation, no connections, and no clients—

Everything must start from scratch.

Therefore, Edgar needs to rely on his own two legs to walk all over Los Angeles, from acting schools to independent theaters, from TV sets to the streets and alleys.

He even needs to remain observant while walking and eating.

Perhaps he can discover uncut gems; perhaps he can discover frustrated small-time actors; perhaps he can discover big-name actors who have broken ties with their agents.

Opportunities are not based on waiting, but on discovering, excavating, and striving for them.

"Maybe" is created by oneself.

Edgar had no reason to miss today's "The Hole"—

Besides James and Seth, the crew also has a group of actors without agents but with potential, and Edgar also holds great expectations.

However, is that it?

No way…

Whether the expectations were too high, causing him to miss the point, or his personal ability was insufficient to appreciate the performance before him, Edgar posed a soul-searching question:

A top agent must believe in their intuition, in their judgment of clients, in their judgment of collaborating directors and works, in their career planning, and so on. All must believe in the determination of intuition.

If an agent doesn't know what they're doing, even the careers of top directors and top actors will be ruined in their hands.

At least, that's what Edgar learned during his five years of working life at the William Morris Agency, cultivating his own vision.

Although he doesn't have a single client yet, Edgar believes that clients are about quality, not quantity; and he believes in himself.

After all, he broke the one-in-twenty probability to become the only lucky one in March to be promoted from agent assistant to agent.

At William Morris, everything depends on ability. Even within the same company, there are competitors. Promotion does not depend on luck.

Founded in 1898, the William Morris Agency is also the only century-old agency among the current five major Hollywood agencies.

The operating time of the other four major agencies combined is not as long as that of William Morris alone.

It is no exaggeration to say that William Morris has witnessed the history of Hollywood and has built the current Hollywood agent industry with talents all over the world.

Although the Creative Artists Agency has caught up and become the industry leader since the 1980s, the old and strong William Morris fought a beautiful turnaround in the 1990s. As the new century approached, the two companies were listed as the top of the five major Hollywood agencies.

The most far-reaching move of the William Morris Agency was the invention of the mailroom:

As a place to train newcomers, the careers of the five founders of the Creative Artists Agency, former Disney CEO Michael Eisner, and DreamWorks founder Jeffery Katzenberg all started here.

Now, all Hollywood agencies have mailrooms.

Edgar is no exception.

From starting in William Morris's mailroom to being promoted to agent, he has taken one step at a time, relying entirely on his own hard work.

Even though it's just starting now, he has confidence with the William Morris brand.

Regarding "The Hole," Edgar admits that he is somewhat disappointed.

The drama, the performance, and everything else are like student works, rough, crude, pretentious, and melodramatic.

James Franco is indeed talented, but at present, it seems that he has not found the right way to use his talents and abilities.

Of course, James is not someone a small agent like him needs to worry about; it's just that Edgar doesn't think he needs to stay any longer. He might as well have afternoon tea with this time.

Edgar chooses to believe in his intuition.

Get up, bend over, try to avoid disturbing others as much as possible, wave his sleeves without taking away a cloud, and quietly leave. Then, he noticed:

A gaze.

Like prey stepping into a trap and being targeted by a hunter, the hairs on his back stood on end instantly.

What's going on?

Edgar straightened his body, using the crowd as cover, quickly scanning around—

At this time, the entire audience was looking at the stage, giving applause to the cast members who were coming on stage to take a bow, accompanied by screams, whistles, and cheers.

A scene of clamor.

If there is an oddity, it will naturally be conspicuous, like a sharp awl in a sack.

Then, Edgar found it.

Aura.

This was Edgar's first impression. He couldn't see the face and features clearly in the crowd, and he couldn't accurately describe the eyes, but it was just an impression.

Not ostentatious, but involuntarily shifting his gaze, wanting to take another look.

Those eyes did not deliberately avoid Edgar's gaze even after noticing it. Instead, they gently raised their chin and nodded slightly, revealing a hint of a smile in their eyes.

Edgar was a little embarrassed.

Only now did he realize his sneaky posture. Being caught in the act of secretly preparing to leave seemed too impolite.

Of course, he can still leave. Even if James Franco catches him on the spot, it's okay. Does the performance not allow others to leave after it's over?

But as his thoughts turned in his mind, Edgar put down his feet and stood upright again, looking at the stage. He thought, maybe there could still be unexpected gains.

Anyway, the performance is over, and the most difficult and painful part is over. Staying will not be any worse.

Just a second ago, he was preparing to leave, but the next second, he overturned the decision. Even a ballet's fouetté turn would sigh in inferiority, but Edgar didn't have any psychological burden—

Playing a role, isn't this the basic survival rule of Hollywood?

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