[Chapter 203: The Arrogant CAA]
In the Westlake neighborhood of Beverly Hills, Nicholas Cage lived there. At this moment in his villa, his agent was trying hard to persuade him, "Nicholas, The Rock is a high-budget A-list commercial blockbuster with a $55 million investment. Now they're inviting you to play the lead role, a lead role, really."
At that time, Nicholas Cage was still an artsy young man who wasn't very interested in commercial films.
"It's an action movie. That's not really the genre I'm interested in."
"Oh Nicholas, The Rock is a mainstream commercial film! And a big-budget A-list production. It's a chance that many people would kill for. Why did you come to Hollywood if not to become a big star?"
"But my goal is to become an artist, to win an Oscar."
"Nicholas, that's not contradictory at all. You can do commercial films and still pursue art films, and it won't hurt your chances of winning an Oscar. If your commercial film is a big success, your career will take a huge leap forward. You'll become a big star."
"People say that, but it will delay my chance to win an Oscar for art films."
"Nicholas, don't you want to be a big star and enjoy the perks? Your paychecks and endorsements will increase a lot. Isn't your dream to live in a big mansion and have parties with a bunch of blonde supermodels every day?"
"Yeah, that's my dream."
"If you keep doing art films, even if you get an Oscar, that dream won't come true. But if you star in a big commercial production and succeed, when you become a big star, these things will naturally follow."
"Sounds like it makes some sense."
"Of course it does. Look at the pay. Right now, with art films, you get about one million dollars a movie. But if you do The Rock, I guarantee your pay will at least double. And look at those big stars -- Tom Cruise, Sylvester Stallone, Arnold Schwarzenegger. Their paychecks are over $10 million. Don't you want to be that kind of big star?"
"Alright, you've convinced me. Go ahead and try to get me the role."
Attracted by fame and fortune, and especially by the wonderful prospect of parties with blonde supermodels, Nicholas was finally persuaded.
---
Hollywood had no secrets; the casting news for The Rock naturally spread.
At the CAA headquarters, CEO Michael Ovitz and senior VP Martin Bob learned there was a key role of a former British agent in The Rock.
They had long coveted Linton Films' projects but never had the chance before.
Linton Films usually didn't use stars, focusing instead on fresh talent, bundling services mostly with WMA.
CAA's strength was its rich roster of stars, including Sean Connery, whom Martin personally represented.
"Martin, the opportunity is here. Former British agent role -- who better than Sean Connery? You go to the The Rock crew and secure the full package deal."
The full-package deal was CAA's biggest innovation, greatly increasing their influence in the industry and generating hefty income. It had become their basic strategy.
This policy allowed agencies to bypass the rule that agents can't be involved in film production by offering bundled services, pitching not just actors, but directors, photographers, art directors, lighting, costumes, makeup, and all crew members.
With this service, CAA could demand higher commissions from producers and negotiate bigger paychecks for their stars.
Hollywood directors and stars loved this policy as it concretely increased their pay.
Initially, studios welcomed this as it saved time and boosted efficiency.
For new film companies especially, it lowered entry barriers. When Linton prepared to shoot Step Up, Robert had advised him to use such package deals.
But human greed soon showed. Having tasted the benefits, CAA became aggressive, imposing stricter terms, pushing up production costs and charging over 10% of project profits. Many studios grew dissatisfied.
What studios hated most was CAA's desire to control the crew, especially the crucial casting decisions, turning the crew into their puppets.
Early packages still left the studio with choice over crew except the irreplaceable stars. But later, CAA's success made their terms final: all cast and crew were single choices with no studio input.
Studios even lost rights to the 'red sofa' and other insider perks, sparking anger.
Held hostage by CAA's star resources, even the 'Big Seven' studios often had to accept these harsh package terms reluctantly since films needed CAA's stars.
However, Linton Films consistently rejected these deals, making no progress.
Seeing the big-budget The Rock's key role, Ovitz and Martin felt this was their chance.
"No problem. Not only will we get them to accept our package, but we should also get Sean to invest in joining the project."
"Right, they should learn no one can refuse CAA's package. Since they repeatedly rejected our friendship, they must pay a higher price."
Knowing Linton was the decision-maker, Martin arranged a meeting through phone. Since CAA was the top agency and future cooperation was inevitable, Linton agreed.
---
Martin confidently arrived at Linton's office on the appointed day. "Linton, Sean Connery is very interested in the former British agent role in your new project The Rock."
He expected Linton to be delighted, letting him demand high terms.
But surprisingly, Linton replied flatly, "Thanks to Mr. Connery for his support, but the role has already been cast."
The lack of excitement was unexpected. Thinking this was a negotiation tactic, Martin raised his voice.
"Think carefully, former British agent -- is there a better choice than Sean Connery in all of Hollywood?"
"I admit Sean is excellent and popular, but this is Hollywood; no one is irreplaceable. If Sean lowers his salary, I can persuade the crew to prioritize him."
"What? Do you know what you're saying? Sean is the best agent actor, his pay will not go below $15 million, plus two additional conditions."
Linton looked at him like he was crazy, but Martin ignored him and continued.
"First, the project must accept CAA's package, with Michael Bay as director, and CAA arranges all other crew members.
Second, Sean requires a $20 million investment to join the project."
"Martin, no need to say more; that's impossible. You can leave now," Linton said, ready to dismiss him.
Just as Martin prepared to bargain, he was stunned by the firm refusal.
"Linton, think carefully. Do you want to reject the best agent actor and the friendship of CAA?"
"As I said, this is Hollywood, no one is irreplaceable. These conditions? Find another studio."
"Fine. If you dare reject the best actor and CAA's friendship, don't blame us if the news leaks that Sean was interested but you said no. After the film's release, audiences will compare the role with Sean, and a failed lead guarantees the movie's failure."
This was no negotiation, but an outright threat. Linton laughed coldly.
"Who do you think you are, threatening a studio? Want to play with fire? Aren't you afraid we'll blacklist your company's artists?
And Sean in private -- is he the elegant gentleman you package? We know he drinks heavily, is rough, abusive, uses drugs, swears a lot. The audience might not know, but we do. Go ahead and try; we'll expose him and ruin him in media."
"CAA controls most of the stars..." Martin tried to emphasize CAA's power.
"Get lost," Linton snapped, unwilling to hear more, and used a mild mind-shock trick to force Martin out.
*****
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