บท 174: Chapter 174: The Legolas Aura
"Director Scott, thank you for the opportunity you've given me."
This was at a media event for "Black Hawk Down", and Matthew took the initiative to approach Ridley Scott to express his gratitude. "Without your help in 'Gladiator', there wouldn't be a me today."
"You're welcome," Ridley Scott remembered Matthew. Apart from Helen Herman's connection, on the set in Morocco, he was the most impressive actor due to his professionalism, outstanding physical fitness, and his ability to stand out among the actors. Through the camera lens, he seemed like a real Delta Force member. He nodded at Matthew, "You've earned this through your hard work."
Seeing Ridley Scott's favorable attitude, Matthew chatted with him a bit longer, partly because he anticipated Jerry Bruckheimer might come to talk with Ridley Scott.
Compared to Ridley Scott, whom he had interacted with numerous times on set, he barely spoke with Jerry Bruckheimer. Bruckheimer didn't visit the Moroccan set often and never interfered with the actors' or Ridley Scott's work.
Matthew couldn't just approach Bruckheimer, who was watching from a distance on set, to network. As Helen Herman had mentioned, their positions in the industry were worlds apart.
After a few words with Ridley Scott, Jerry Bruckheimer, indeed, broke free from reporters and came over.
When Jerry Bruckheimer approached, Matthew greeted him, "Hello, Mr. Bruckheimer."
"Hello, Matthew," Jerry Bruckheimer nodded at him.
After exchanging pleasantries, Matthew could tell Bruckheimer had matters to discuss with Ridley Scott and promptly excused himself.
Some things can't be rushed, or they'll backfire. At least he had made himself known to Jerry Bruckheimer.
"A very sensible young man," Jerry Bruckheimer remarked as he watched Matthew leave, then casually added, "I remember you had high praise for him."
Ridley Scott nodded slightly, "In Morocco, he was the most outstanding actor in the crew."
Jerry Bruckheimer then shifted the conversation to the film's Oscar prospects with Ridley Scott.
Matthew, in a corner, watched Ridley Scott and Jerry Bruckheimer subtly. He knew that for a top producer like Jerry Bruckheimer, his casting standards weren't hard to discern.
He and Helen Herman had studied Bruckheimer's recent productions. From the time of "The Rock" when Don Simpson passed away, Jerry Bruckheimer became independent. Excluding co-produced films, his solo productions like "Con Air," "The Rock," and "Pearl Harbor" were all big commercial hits.
In these movies, a ruggedly handsome male lead was almost standard: Nicolas Cage, Sean Connery, Bruce Willis, Ben Affleck, Josh Hartnett, etc. These included established stars and newcomers.
However, none, including Oscar-winner Nicolas Cage, were known for their acting prowess. Instead, they were all muscular and had distinct facial features, far from being pretty boys.
This revealed Jerry Bruckheimer's standard for selecting male actors or his preferred type.
Why then did he change this for "The Blacksmith"? Was it because Orlando Bloom, being British, fit the role?
Matthew couldn't guess, but from his analysis and what he had seen, his type seemed more in line with Bruckheimer's aesthetic than Orlando Bloom.
Whatever the case, it was a good sign. According to Hollywood's traditional view, a skilled blacksmith, working daily with a hammer, couldn't possibly be a pretty boy. The issue was Orlando Bloom's Legolas aura...
That aura was indeed problematic.
Matthew scratched his head, pondering as he left the hotel where the media event was held. He hoped "The Scorpion King" would be more successful than Universal Studios anticipated, giving him leverage against the Legolas aura.
At this stage, "The Scorpion King's" promotion was lukewarm, with its release scheduled for April 2002 and it still being December 2001.
Fortunately, Helen Herman informed him that Walt Disney and Jerry Bruckheimer were still in the early planning stages, with roles and the script yet undecided.
Moreover, as an agent, Helen Herman, while excited about the "Pirates of the Caribbean" project and Stephen Sommers' monster movie, wasn't putting all her eggs in one basket. She continuously scouted new projects suitable for Matthew.
With Helen Herman handling these matters, Matthew focused on preparing.
"Watch your steps, move quickly!"
In a gym in Westwood, a man in his thirties reminded Matthew of the details. "Right foot forward, toe out; left foot back, toe in; feet at right angles, shoulder-width apart!"
Matthew, holding an antique European rapier, immediately adopted the posture. He had done extensive basic training, and this was his first time practicing with a sword.
Opposite him was a dummy for practicing European fencing. Matthew pointed the rapier at the dummy.
The coach shouted corrections again, and Matthew promptly adjusted.
Unlike professional fencers, this coach had trained actors in Hollywood, including on "The Mask of Zorro," though as an assistant. He knew what Hollywood movies required in swordplay.
The primary requirement was flashy and cool moves.
The coach and Matthew had ample discussions, and Matthew agreed with this approach. Hollywood's historical action scenes typically fall into two categories: realistic, like in "The Scorpion King" and "The Lord of the Rings," or flashy and stylish, like in "Pirates of the Caribbean."
This wasn't about standing on a single path in a professional duel. Matthew's training was more flexible and varied, and the coach wasn't rigid. He picked up another rapier and began teaching Matthew sword techniques.
These moves were partly practical but mostly for show.
Matthew didn't need a strong foundation for flashy moves. He saw similarities with boxing and mixed martial arts.
It was all about defeating the opponent, observing and analyzing strengths and weaknesses, exploiting weaknesses, and guiding them into the most suitable position and stance for a decisive strike.
Tactics couldn't always be the same, unless the opponent was naive. This need for constant strategic planning was what Matthew found most engaging in the training.
The training continued until nearly five o'clock before ending. After the coach left, Matthew packed up and left the room prepared for him by Nebora.
The gym was open for business, and providing a space was no issue for those willing to pay.
Matthew went to the second floor to greet Nebora before heading home. In the boxing gym, he found Nebora talking to a sturdy young man.
"Hey, Matthew," Nebora called out. "Leaving already?"
Matthew approached, "Heading home. I have an accent class tonight."
"Let me introduce you to a friend," Nebora said, turning to the young man. "This is Fox Sherman, a friend of mine."
Then he introduced Matthew, "This is Matthew Horna, Hollywood's rising star."
Matthew shook hands with Sherman. It was their first meeting, so they exchanged pleasantries before Sherman excused himself.
"Who is he?" Matthew asked curiously.
Nebora lowered his voice, "An old client, a real rich guy. His family is in the oil business, and he's interested in investing in movies. Maybe you can get him to invest in your future projects."
Matthew shrugged, "We'll see about that."
Sherman seemed savvy, and Matthew's current fame wouldn't help in securing investments. However, future interactions might prove useful.
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