Japanese Glossary:
Ohayo: "good morning"
Arigato: "thank you"
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Ella was right, Gareth Maddox can act as a charming, childish and happy-go-lucky character, even if in interviews and outside the set he is a complete arse. It’s hard to believe that it’s the same person when I’m watching his latest film: Dimensionless. When he’s acting, he transforms. There’s no other way to explain it. It seems like even his eyes change and I bought every second he was on the screen. If I didn’t know exactly how he is outside the set I would believe he is exactly like his characters because no one can be that good.
He is that good.
I did some research last night and I found out that he is called the Ice Prince for his cold personality. TV hosts and paparazzi have made it their goal to get a reaction from him. Literally, it’s become a competition and so far no one has made any progress. It’s like he’s dead when he is not in character. He doesn’t smile, he doesn’t laugh. He’s cold as ice. That’s how he behaves, but he plays all sorts of characters. He’s been a guest in many shows, surprising everyone for the variety of personalities he can interpret and how much he changes. He’s become a star, a sensation everywhere and he’s only twenty-one. He already has two films and several appearances on different shows. His fan base grows every day more and more.
From a very objective point of view, he could be a great asset for our production. We can make use of his fame to bring attention to the film, using this competition in the media to promote this later on. I really believe he could be valuable for this production. Besides, he fits the basic characteristics of Sasha. Dark and shaggy hair, olive coloured skin, chocolate eyes, warm smile and steady glance. He could play a good Sasha.
“Ohayo, Ann,” Teru greets, walking inside the office where I have been thinking about this for the past twenty minutes.
“Ohayo, Teru-kun,” I reply smiling at him. “What do we have for today?” I ask next and he watches his tablet to recite the full calendar for today.
“First, we have a meeting for the screenplay writing team. I have been notified the script is ready and they want you to approve of it before sending it to some selected actors,” Teru informs me and I stop him.
“Add to that list Gareth Maddox. I think he should audition for Sasha,” I instruct and Teru watches me puzzled. “He’s a relatively new actor. He’s very popular now so I think it would help us with the promo later. Contact him and tell him about Typhoon and tell me if he’s interested.”
“Will do, Ann.” He then looks again at his tablet. “Then we have a meeting to secure the location for the film. In the afternoon we have a meeting with the costume department. They are ready to present all their options for the film for every character.”
“Perfect. What about the set? How is that going?” I ask next, mentally going over all the things we need to have settled before the shooting.
“It’s almost done. The planning should be ready tomorrow and once you approve of it, they will start working. That is why it is so important to settle on the location immediately,” Teru informs me and I nod, knowing that we can’t exactly wait more for this.
“Understood. Shall we go now to that meeting?”
Teru only nods so I follow him to the meeting room where a group of eight people are already there. The head writer is Paul. He’s written many scripts for other projects TP has produced and I know by the way he looks at me that he doesn’t like me. He wants Father to be here, not a seventeen-year-old girl. He looks at me with the same suspicious and disdain as any other person I have to work with. In all honesty, I’m used to that look by now. It still hurts, though.
“Good morning, everyone,” I greet, taking seat at the head of the oval table. “I have been informed you already have the script. I would like to see it,” I say fighting the urge to sit with my legs crossed on this big chair. I need to look professional, not like a teenager.
“Yes, we have finished. We can still make modifications if needed, but it is done,” Paul explains with his patronising tone, handing me the script that I start reading immediately.
I have read many scripts before, to know exactly what to expect and how these should really be structured. I try to imagine everything in my head, as if I were watching the film and I compare the script to the book I read, assessing if this is a good adaptation. There are many parts I don’t like, certain dialogues that betray the nature of the characters and modifications in the storyline that are too big to look over.
I understand that when you take some characters out or scenes you have a plan on how to replace the effect they have in the story, but this script has removed Rana, Rony’s friend and I don’t see how they expect to fill the role she has in Wildfire, book I haven’t finished but she is essential to comfort Rony when his boyfriend, Track, gets in an accident or any other moment. Rana is essential in Rony’s life, even if she doesn’t have a big part in Typhoon.
“You were hired to write the scripts for the three books,” I start, when I finish reading the script. “How do you expect to fill the void that the absence of Rana leaves?” I ask next, glaring at him, feeling personally offended because he has removed a character.
“She is not that important in the story. Anyone else can fill that role. Lana or Sasha can comfort him during the second film and be the support he needs. It will strengthen the bond between the three main characters,” he answered as if I was talking nonsense and everyone knows this.
“Rana is an important character. Every character is important, don’t you dare saying that. Her role gives Rony more life besides Sasha and Lana who get closer and closer, especially when Track gets taken. She is extremely important for Rony. By taking her out of the story, you’re reducing Rony’s social circle and he is characterised as a social and warm person. Plus, she’s Air Bound, which increases his power when Track is not around. She. Is. Important.”
I end up raising my voice, getting angry at Paul not only for removing a character I personally love and think is essential in the story, but also for the way he looks at me and treats me. This is not a game for me, I’m taking this seriously and I want people to treat me with the due respect.
“There are many dialogues that betray the nature of the characters, so I’m not sure you’re grasping their personalities fully. The scene adaptations are perfectly done, but you fall in some other parts,” I continue, calming myself down.
“And you know because…?” he leaves the question open.
“Because I also read the book and I paid extra attention to their personality traits in order to portray them as accurately as possible. I’ll read the script more carefully and mark all the points I think need more work, but this is not ready.”
“How dare—”
“Have you talked to the author?” I ask next. “Did she supervise this?”
That interrupts him and he blinks confused, then looks at the other writers in the room. They all shake their head.
“I might be wrong, I can accept that. I do believe this is not complete but the final opinion can be only provided by the author.” I look at Teru and he is watching me with careful eyes. “Can we get Terry to join the writing team? I want her to supervise the final version and to stay around during the shooting. I want this production to provide an accurate and fulfilling version of her book. She needs to feel respected and heard. Can we do that?” I ask Teru and I see him looking something in his tablet, reading as amazingly fast as he always does.
“We can. I will contact her immediately and make her join the team.”
“Perfect,” I reply sighing and then looking back at Paul. He stares back at me with an aghast. “Can you get the script ready for tomorrow morning?”
“Of course we can, as soon as you give us the revised version back,” he defies me and I nod.
“You’ll have it by lunchtime. Get in contact with Terry McCracken, send her the script. Discuss all those scenes she didn’t incorporate in the book but that could be a great addition to the film. Improve the script. We want this film to be a success, don’t we all?” I inquire and with gritted teeth he agrees. “You’re a talented and capable writer, Paul. Don’t think because Mr. Tachibana isn’t around for this project that I won’t ask of you your hundred percent.” He nods again, but he keeps glaring daggers at me.
I grab the script and stand up before giving them all a polite bow and leaving the room, dismissing the meeting. I feel tired already and that only makes me respect Father even more, for doing this all the time.
“Teru-kun, was I too harsh on Paul?” I ask him, walking back to my office to drop the script before the next meeting.
“You weren’t, Ann. He was taking you too lightly; you had to show him what you’re made of.” I turn to look at him and he gives me one of those unusual smiles of his, sweet and endearing. “The inclusion of the author is a good idea to make the best adaptation possible. I’ll call her immediately and settle that. I’ll also talk to our lawyers to work on the contract for her.”
“You do that. I’ll start working on the script, too. Will you come for me when the next meeting starts?” He nods. “And please, send this version of the script to the actors nonetheless. Tell them this is a temporary version but enough for them to prepare for the part if they decide to audition. That way we avoid the leak of the definite script.”
“I’ll get on that immediately, Ann. I will come for you later.”
“Arigato, Teru-kun,” I tell him and he smiles again before taking his leave.
I walk inside the office and sit behind the desk, with my legs crossed and the script in front of me. I take a pen, a highlighter and some sticky notes to point every aspect I think it needs to be worked on. I spend at least an hour on that, not finishing, but halfway there before Teru knocks at my door, coming for me for the next meet. I nod and follow him.
In this meeting we decide on the location. After full expositions, presenting the highlights and drawbacks of every location we settle that Glencoe is the best place to shoot this film in every aspect so the team starts working on securing the place, getting the contract and informing the set designers about the decision.
After that I go back to my office to finish the script and then give it to Paul myself. I also meet Terry who is already there with him.
“It’s such an honour to meet you,” I tell her, shaking her hand. She is petite, probably around one point fifty-three metres, with big black curls, a fringe and glasses that cover warm brown eyes. Her smile is contagious and friendly. “I love your book and I’ll make sure to produce the best film. I’m delighted that you’re joining us.”
“Thank you, Miss Tachibana. I’m very excited myself. I can’t believe I’m actually taking part in this.”
“We just want to provide the best for every fan of your book and for future fans of the story. And please, it’s just Ann.”
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There you have it! I decided to add the glossary of the chapter at the beginning so it's easier for the ones who don't know the words in Japanese to have them in mind. On the multimedia how I imagine Teru to look like. Kind of.
Shout out to the best commenter on the previous chapter: @Jazz-Handz
Bel, xx