**A Movie?**
Anson was slightly surprised. Darren was mainly active in the television world. Although he had many friends in the film industry, Darren himself often said that film and television were two entirely different production systems. Movies were much more complex, and he wasn't planning to venture into the film industry anytime soon.
Of course, given Darren's status and connections, if he wanted to make a movie, he could easily find a large group of people willing to help.
"Darren, are you planning to make a movie? Of course, that's no problem. Just let me know the time and place, and I'll have Edgar arrange my schedule."
If it were anyone else, Anson might have politely said, "I'll think about it" or "I'll read the script." Although he was currently recording an album and had a tight schedule, that was only part of the reason. The real reason was Edgar's instructions:
After the massive success of "Spider-Man" and with "Catch Me If You Can"—a collaboration between Anson, Steven, and Tom Hanks—awaiting release, Anson had firmly established his place in Hollywood.
As expected, projects inviting Anson started popping up overnight—each with their own agenda.
Some just wanted to ride his wave of fame, some hoped to use Anson to stir up media buzz, some wanted to leverage his name to attract investors, and some simply threw roles his way regardless of whether they suited him, just to see what would happen.
Right now, Anson was the hottest commodity.
But that was only part of it. Setting aside the twists and turns of fame and fortune, Edgar's primary concern was Anson's career path.
What should Anson's next project be after "Spider-Man" and "Catch Me If You Can"?
The focus wasn't on the success or failure of the movie—of course, it would be great if it succeeded, but no one could guarantee that. Instead, the focus was on the type of movie, the style of the role, and the shaping of his image.
Should he continue choosing dashing, youthful roles to deepen the image of the public's dream man, or should he explore roles that challenge his acting abilities and emphasize his personal color before his image becomes too fixed?
Should he continue working with big directors and major projects, fully embracing commercial films, or should he balance his image by choosing an independent film to pave the way for potential awards season recognition?
Every actor must think about this. If the actor doesn't, then the agent must do it for them.
Take Sandra Bullock, for example, who chose to star in "Murder by Numbers."
Though "Murder by Numbers" didn't do particularly well, it at least showed Sandra's ambition and intentions. This sent a signal to Hollywood, naturally preventing others from simply shutting her out when considering roles, genres, or productions.
Hollywood has countless overnight sensations, but true success requires patience, building one step at a time, with an eye on the long term.
So, Edgar wasn't in a rush—
He was currently selecting scripts and projects, connecting with directors and producers, carefully choosing roles for Anson to maintain control.
And Anson could enjoy a short break, after two intense months of promotion and a hectic schedule that had taken a toll on his body and energy. Now, he could rest and recover.
When Anson said he was ready to record an album, Edgar wholeheartedly agreed, partly for this reason.
The best part was that "Spider-Man's" success had far exceeded expectations. Now, anticipation and interest in Anson's next project had skyrocketed. And this so-called "next project" was already well-planned:
"Catch Me If You Can."
A flawless choice, giving Edgar more room to maneuver and allowing him to carefully select Anson's following project.
If it were someone else, Anson might have dodged the issue, but on the other end of the line was Darren, and Anson had no reason to refuse.
Not only did he not refuse, but he readily agreed.
Darren chuckled—
Regardless of the truth, hearing Anson's response brought a smile to his face, and Darren felt a wave of satisfaction.
"You said it; I'll hold you to it, and next time, I'll find a chance to make good on it." Darren chuckled, "But this time, it's not my project."
"But indeed, I do need a little help."
This time, Anson wasn't in a hurry; he listened patiently.
"Anson, you're standing at a critical point right now. Every move you make is closely watched, and those eager to see you fall are lurking around, so you need to be careful. That's the right approach."
"I need your help, but there's no rush to agree. Listen to the project first, then decide."
In Darren's eyes, Anson was family, no different from his own children. He would prioritize Anson over any trade-offs in the world of fame.
Anson smiled, "Uncle Darren, in that case, tell me, who asked you for help? I'll consider it based on their importance."
As expected, Anson was sharp.
Darren's eyes gleamed with a hint of amusement, "HBO."
Anson: … "It looks like there's no way I can refuse this one."
HBO, the network behind "Sex and the City," and Darren's boss.
If HBO asked Darren for help, Anson naturally couldn't say no.
Darren laughed heartily again, "You clever rascal, it's not that serious, don't worry. I still have some say at HBO. Besides, this favor isn't a big deal to HBO; I just think it's an opportunity that suits you, so I took the initiative to recommend you to HBO, suggesting you might want to consider it."
So that's how it was.
Anson exaggeratedly sighed, "Then I can breathe a little easier. So, what's the show?"
During the turn of the millennium, HBO was a powerhouse of classics, producing countless iconic works like "The Sopranos," "Six Feet Under," "Sex and the City," "Band of Brothers," "The Wire," "Oz," "Entourage," and so on. These had stood the test of time, making HBO a brand in itself.
Naturally, Anson assumed Darren was discussing a series with him.
But Darren shook his head, "No, actually, it's a movie."
"Not a TV movie, but a theatrical release."
Anson raised an eyebrow—
A TV movie is a film made specifically for television. Because of the small screen, it lacks the cinematic quality of a theater screen, so TV movies aren't as visually demanding and don't emphasize audiovisual language. Instead, they focus on dramatic storytelling to grab the audience's attention.
Though TV movies are relatively niche, networks continue to produce them, and the Emmys even have a category dedicated to them.
In other words, it's common for networks to produce TV movies; however, it's very rare for them to produce a theatrical film.
Anson indeed didn't see that coming.
Darren knew that Anson was at a peak in his career, and if it wasn't for a movie project, he wouldn't have approached Anson. After all, returning to TV shows or TV movies wasn't a wise move for Anson right now.
"You know the director Gus Van Sant?" Darren asked.