Darren was a professional, not some casual bystander who panics at the slightest sign of trouble.
He knew very well that choosing Anson was a risky move, both for Anson and for "The Elephant."
For Anson, the image he had painstakingly built—youthful, handsome, and steadily moving towards becoming America's new heartthrob—was at stake. At such a crucial juncture, starring in a controversial film could easily drag him into a whirlwind of public opinion.
For "The Elephant," the project was already under heavy pressure. Casting Anson would undoubtedly attract the full attention of North America, potentially overshadowing the film's thematic focus due to Anson's presence, thereby blurring its intended message.
In every aspect, this was a collaboration fraught with uncertainty.
Moreover…
"There's one more thing: the budget for this movie is limited."
"Although HBO didn't give me specific numbers, the word I got is that the budget is around $3 million. Considering that this movie requires a professional team for gun effects, the costs won't come down. This means every penny has to be spent wisely."
"I'm afraid the pay might not be that high."
As Darren and Anson continued their discussion, "Spider-Man" was still in theaters, with box office numbers climbing steadily, though the final tally was yet to be determined. Even so, Anson's base salary for "Spider-Man" was $2 million—a price the "Elephant" crew could never afford.
In fact, Anson's contract for "Spider-Man" included $2 million plus a 3% share of the box office revenue—only if the North American box office exceeded $100 million.
At the time of signing, Sony Columbia saw this as a good deal—saving on costs, investing in production, and transferring risk. While the box office share was a bold move, given that no superhero film had crossed the $100 million mark in North America for a decade, they viewed Anson's decision as standing in solidarity with the film crew. Everyone from top to bottom admired and agreed with this approach.
However, no one expected…
Six hundred million in North America. Six hundred million? Six hundred million!
Sony Columbia was utterly shocked. Amidst their surprise and excitement, they realized what that contract meant.
In the end, Anson earned a whopping $15 million in box office bonuses from "Spider-Man," bringing his total earnings to an astonishing $17 million.
Incredible! Astonishing!
Anson had skyrocketed to the top, landing a spot near the pinnacle of the industry.
Although he hadn't quite reached the $20 million club, he was close, instantly establishing himself at the top of the pyramid.
Of course, as of now, Anson didn't know that "Spider-Man" would ultimately cross the $600 million mark in North America—a truly remarkable feat. But even without knowing, it didn't stop Anson from making a rational and objective decision.
First, the fact that his total earnings for "Spider-Man" reached such heights was an unexpected bonus. While this allowed Anson to increase his asking price, for someone who had only starred in two films, demanding $15 million upfront would make it difficult to find projects.
On this, Edgar remained clear-headed, believing they should set the asking price at around $10 million, which was the most appropriate:
If it's lower, they could consider a box office share; if it's higher, producers might be hesitant to commit.
Second, commercial films and independent art films are two different worlds, and the pay should be considered separately.
For Anson, these concerns weren't particularly important—at least not that important.
Controversy, after all, represents a form of discussion and reflection.
Some films are purely for entertainment, and it's okay if they lack depth. But some films, from the moment they're conceived, are meant to provoke thought and reflection. The ability to stir up controversy, draw attention, and spark discussion is the true purpose of such films.
It's certainly better than those long-winded films that fail to address any meaningful issues and offer no solutions, merely serving as superficial comfort.
Violence won't disappear just because we refuse to discuss it. On the contrary, after violence occurs, only by confronting the problem and digging deeper—addressing the root causes in the family and society—can we prevent future tragedies.
"The Elephant" is that kind of film.
The potential controversies aren't something to fear; they should be welcomed with open arms.
As for the pay? That's even less important.
Being part of such a project—experiencing, portraying, and discussing these issues as an actor—is also part of the art.
"Haha, I know, but the pay isn't the focus here, nor should it be, right?" Anson said.
"Uncle Darren, how about this: tell Director Gus that I'm willing to join the project, and he can decide my pay. I don't think the numbers are that important."
Revenue sharing?
That's not necessary either.
A film like "The Elephant" won't garner much attention during awards season, nor will it draw crowds to theaters. Its box office numbers are likely negligible. Although Anson couldn't remember the film's box office figures, he was sure it didn't surpass $10 million—not even with the Golden Palm award attached.
In regular theatrical releases, only a handful of art-house audiences would be willing to buy tickets.
So, how does such a film turn a profit?
After all, aside from its artistic value and social significance, HBO didn't invest in this project out of charity.
Projects like these typically require special screenings at various film festivals, where seasoned film enthusiasts would buy tickets. The rest of the profits would come from VHS, DVDs, and other rentals and sales.
So, as Anson said, the pay really doesn't matter.
"But the person who really needs to be considered here is Director Gus, don't you think?"
"Usually, independent films seek famous actors mainly to attract producers' attention and secure funding; but Director Gus doesn't have to worry about that since HBO has already stepped up."
"So, he might prefer to cast non-professional actors to maintain the film's raw and unpolished feel. The success of 'Spider-Man' could be a burden for him."
"Are you sure Director Gus will be interested in this offer?"
"Otherwise, given his reputation in the independent film world, a single call from him would bring in a flood of actors eager to take part—there's no shortage of talented young actors in Hollywood."
"After all, this is Hollywood."
Anson remained rational and clear-headed, despite the groundbreaking success of "Spider-Man," which impressed Darren even more.
Darren couldn't help but smile.
"Haha, I will definitely need to consult with the director about this. Before I speak with him, I wanted to confirm your willingness and thoughts."
"But, Anson, are you sure?"
"If the director agrees, would you really be willing to star in this film?"