Chapter 94: Chapter 94: They Are Just There
Hollywood is bustling with countless parties every day, especially on weekends.
Recently, with "Run Lola Run" achieving box office success, aside from the official celebration hosted by Orion, Janet had also suggested that Simon host one or two parties at the Palisades mansion as a thank-you, to which Simon had agreed.
However, before they could act on those plans, their relationship had temporarily paused.
Tonight's party at Robert Redford's house was to celebrate several independent films officially initiated by the Sundance Institute.
A black Chevrolet SUV stopped outside a mansion halfway up Beverly Hills. Simon instructed his driver, Neil Bennett, to come back for him at ten o'clock, then stepped out of the vehicle.
As twilight descended.
Simon entered Redford's mansion, where the courtyard was already bustling with men and women gathered in small groups, chatting away. Robert De Niro hadn't arrived yet, so Simon, in no hurry, quickly integrated into the crowd with Redford's introduction.
"This film explores the gap between ideals and reality, titled 'Dreamland.' Danny has always been a bookworm, longing to prove himself. As an adult, he decides to wander the world, his most daring decision given his naturally timid disposition. During his travels, Danny meets Bev, a bold and unrestrained girl. He sees his other half in her, so one day, he suddenly proposes to her..."
In the courtyard, Simon listened attentively as director Michael Hoffman described the story he was about to direct, supported by the Sundance Institute.
After Hoffman finished, Simon turned to another woman in the audience, smiling slightly, "Meg, would you like to try out for the role of Bev?"
The woman was indeed Meg Ryan.
Simon had not expected to meet her again so soon after their afternoon encounter.
Meg Ryan was wearing a black dress, and perhaps due to her makeup or the night, she didn't look as haggard as she had that afternoon.
When she saw Simon, Meg's expression was like seeing a ghost, but she quickly composed herself and casually replied, "Yeah, Si... Simon, what do you think?"
Saying this, the woman defiantly tilted her chin up a bit.
The few men and women standing together hadn't expected Simon and Meg Ryan to know each other. Hearing their conversation, they all looked curiously, waiting for Simon's response.
"Bev is supposed to be a flamboyant and uninhibited character. Given your acting style, this role would turn out quite silly," Simon simply shrugged, eyeing her up and down before adding under the surprised gazes of those around, "So, just come to my place tomorrow."
Damn man.
Watching the changing expressions of those around her, Meg Ryan felt indignant and somewhat discouraged. This guy's comments in front of the director pretty much dashed her hopes of landing the role.
Gathering some courage, Meg was about to retort when Robert Redford approached Simon, saying, "Bob's here, Simon, let's go."
Simon nodded to the crowd and followed Redford to a living room inside the mansion.
As one of the four great male actors of the 1970s in Hollywood, Robert De Niro was already middle-aged, his peak years behind him.
However, despite Hollywood's difficulty in sustaining a career on one or two films, Robert De Niro's two Oscar wins and four nominations remained a significant accolade, keeping him a hot commodity in Hollywood.
Like many of his screen characters, Robert De Niro was a very quiet and even shy person off-screen, not given to small talk.
After a brief introduction, the three men sat down on the living room sofa, and De Niro directly asked about "Pulp Fiction," "Simon, I've read the script several times, but I'm still very confused. I don't know what you're trying to convey?"
Since Redford had facilitated the meeting, he too was curious, evidently sharing De Niro's confusion.
"Pulp Fiction," even after its completion, left many wondering what made it special. Simon wasn't surprised by their reactions.
After a moment's thought, Simon responded, "Bob, I'm not trying to convey anything with this film. It's just a story, as the title suggests, 'Pulp Fiction'—an absurd, bizarre, postmodern black comedy filled with uncertainties."
Robert De Niro, puzzled, asked, "Postmodern?"
Simon explained, "You can think of it as an artistic expression that is anti-traditional, anti-authoritarian, anti-continuity, and anti-values."
De Niro nodded, somewhat understanding, then said, "Simon, perhaps you understand your film perfectly, but honestly, I find it difficult. I even think the script is clumsy, with its completely disordered plot, sudden character appearances, and excessive dialogue. It all seems nonsensical. You want me to play Butch Coolidge, right? Having read your script, I don't even know how to build this
character, because I don't feel his existence has any meaning. It's as if he's just there, but at the same time, he seems unnecessary."
"Bob, you've already understood the story, and quite profoundly," Simon smiled, repeating De Niro's words, "He's just there, but seems unnecessary."
Robert De Niro shook his head, "Simon, I don't quite understand."
"Actually, life itself has no inherent meaning, Bob. Like us, we're discussing a movie. If we reach an agreement, we'll sign a contract, start filming, release it, and wait for the audience's reaction. That's our life. Similarly, everyone else has their own lives, doing their own things. But in reality, to the world or the universe, we're all unnecessary. We're just here, living our lives, doing our things."
De Niro's expression showed a dawning understanding.
Redford smiled faintly, appreciating Simon's depth, "Simon, I didn't realize you were a philosopher."
Simon just chuckled and continued, "So, Bob, through 'Pulp Fiction,' I want to construct a world where Butch, Vincent, Jules, Mia, Marsellus, Jimmy, The Wolf, and even the jarring taxi driver are all just seriously living their lives. These lives have no meaning, but they are there. You think the plot is chaotic, the dialogue excessive, the characters jarring, but it's not so. If you view it as a real world, you'll see that everyone exists very logically. Even during filming, I'll add more rich details to complete this world, making it more authentic and believable."
De Niro nodded along with Simon's explanation, but eventually asked, "What about the audience, Simon? Do you think they'll be interested in such a story?"
"That's another aspect, Bob. Whether the audience will be interested, I don't know. I just need them to enter the cinema and watch two impromptu robbers in a diner discussing a heist, the female robber coquettishly pleading with her boyfriend before suddenly turning into a raging she-bunny; watch Vincent and Jules discussing burgers like ordinary office workers on their way to work, politely waiting before they storm into someone's home, recite the 'Bible,' and shoot people; watch Butch, a down-and-out boxer, silently endure Marsellus's admonition, then ferociously kill his opponent in the ring, fleeing with his girlfriend; watch the spoiled yet lonely Mia; see Lance, dressed like Jesus but dealing drugs; watch Jimmy, more worried about his wife's reaction to a murder than the police. After they watch these absurd, bizarre people teetering on the edge of madness and collapse, if they start wondering whether Butch and his girlfriend will escape safely, whether Jules or Mia will avenge Vincent, whether a soft-spoken taxi driver will burst out like a bunny, whether Simon Westeros will make a sequel, then at that time, I'll open my arms wide and loudly tell them: 'Friends, welcome to the postmodern world of 'Pulp Fiction.''
After this impassioned speech, De Niro's expression clearly showed he was moved. Even Redford couldn't help but say, "Simon, after hearing you talk like this, if I couldn't make a cameo in such a film, I'd definitely regret it later."
Simon had already intended for Redford to see the script, hoping for this kind of reaction.
While he couldn't match De Niro's accolades, Redford's recent films had significantly outperformed De Niro's at the box office.
For instance, "Out of Africa" two years ago was the fifth highest-grossing film in North America that year. In contrast, none of the films De Niro starred in since the 1980s had reached $20 million at the North American box office.
In Hollywood, box office success translates to star power.
Redford's current fee was obviously higher than De Niro's.
Having such a star join "Pulp Fiction" was an enviable asset. Simon wasn't so arrogant to think he could draw audiences with an entirely new cast.
However, with only an $8 million budget, if Redford participated, he would have to reduce his fee, perhaps significantly. While they were friendly, Simon knew it would be too forward to suggest it himself; it would have to be Redford who brought it up.
Now, hearing Redford say this, Simon didn't hesitate to nod, "Bob, if you could join us, I'd be delighted. But I must be honest, Orion hasn't given me much of a budget."
Redford, unaware of the specifics of Simon's contract with Orion, casually said, "It's just a cameo, Simon. Let's not talk about the fee for now. Which role do you think suits me?"
Simon, no longer hesitating, smiled, "Of course, Mr. Wolf
. The once 'Little King of Tigers and Leopards' retiring in Los Angeles, becoming a legend among the low-level hoods as Mr. Wolf, wouldn't that be interesting?"
"The Little King of Tigers and Leopards" was Redford's breakout role, and even the Sundance Film Festival was named after this movie.
"Then Mr. Wolf it is," Redford quickly nodded, then glanced at De Niro and stood up, "I need to mingle with some other guests. Bob, Simon, you two keep talking."
Seeing that De Niro was already interested, and that the next topic would likely involve discussing fees, Redford tactfully excused himself.
Of the four great male actors of Hollywood in the 1970s, Robert De Niro was certainly the most idiosyncratic. Over the years, De Niro had never had an agent, handling contract negotiations with producers directly.
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