"Accusing me of this is very unfair, dear Scarlett. First, I did watch ’The Dead Girl,’ although it was in a studio; second, I have been to Toronto, although I left quickly; and third, I have a lot of work that needs my time." Adrian, wearing sunglasses, leaned back in his chair in the sunlit garden, speaking into the phone with a playful smile. "Great reasons, but the truth is, when ’The Dead Girl’ was released, you left, and you weren’t in the theater." Scarlett’s voice came from the other end, relentless, accompanied by the sound of crunching, as if she was eating something. Adrian couldn’t help but scratch his head. He was quite vexed by her relentless attitude. Every time Scarlett got into this mode, it was hard to soothe her. Luckily, his phone rang again. "Sorry, hold on a sec, another call is coming in." Adrian said, pressing the answer button, "Hi, Sophie, how are you? I saw the reviews in the Toronto International Film Festival special edition. Although there aren’t many, they are generally positive... No, no, no, I swear, I didn’t write them... Yes, I know, the schedule is good, not many major blockbuster films in October, so smaller productions can get more attention... Oh, darling, don’t worry about it now, getting a public release is a great start, you did fantastic, Sophie, I’m sorry I couldn’t attend the screening in Toronto... Thank you, darling, thank you for understanding. By the way, Scarlett is on the line, she was just scolding me for not being there... Yes, I know, I’ll calm her down... No problem, and send my regards to Monica and the kids for me." See, Sophie was much easier to pacify than Scarlett. "Hi, Scarlett, hope I didn’t keep you waiting long." After finishing the call with Sophie, Adrian immediately switched back to the previous conversation. "Not really," came the seemingly light but actually displeased voice from the other side, with the sound of snacks being crunched loudly, "Whose call was that? Let me guess... Spider Man’s girlfriend? Or that idiot who thinks having a big bust is amazing? Or perhaps Spider Man’s girlfriend’s sidekick, or the new Oscar-winning actress you’re promoting?" "Tsk, tsk, I seem to hear something different," Adrian joked, "I remember someone saying once..." "Don’t forget, everything is relative!" came the immediate threat from the other side. "Okay, okay, no joking, it was Sophie about ’The Dead Girl’s release," Adrian’s smile faded, "Sophie is much more open-minded than you." Then, before Scarlett could speak, he changed the subject: "Are you eating chips again? Oh, I can almost picture you dipping chips into ketchup and slowly putting them into your mouth. But... be careful about gaining weight, dear. Last time, I thought your belly seemed a bit bigger than before." "I love eating snacks!" Scarlett’s voice instantly rose a few pitches; she didn’t topic, "I don’t care about my figure; I eat what I want and do what I want, it’s none of your business, that’s what we agreed on!" "I think you misunderstood, sweetheart," Adrian said with a lazily drawling, annoying tone, "I just want to see what you look like now, and compare it with Keeley, you know, it’s the monthly routine." He distinctively heard the sound of teeth grinding from the other side: "Of course, since you can’t come over right now, just take a photo and send it to me, a phone photo will do." "With clothes or without clothes?" Scarlett huffed from the other side. "Either is fine. Of course, from my personal perspective, I’d choose without clothes." Adrian laughed, "But I must remind you, if you take it on your phone, make sure to delete it after sending, in case the phone gets lost..." "I don’t need you to teach me!" Scarlett shouted angrily. "You know, poor Keeley had to strap down her full bust for that new movie, she’s complained in front of me several times, and her figure may change at the time, so no worries." Adrian chatted on his own, "Then, I’ll save your photos, and when the movie starring both you and her is released next year, we’ll compare them, it’ll be very interesting." "Yeah, very interesting... enough to satisfy your... perverted hobby!" Scarlett retorted, pausing purposely before the word ’perverted.’ Adrian could almost picture her rolling her eyes. "Thank you." He chuckled, about to end the call, when he suddenly thought of something and looked at the "pet" lying by his leg. Seemingly sensing his gaze, the "pet" immediately lifted its head with a flattering smile, wagging its "tail," and affectionately rubbing against his leg. "By the way, Scarlett, there’s one more thing," Adrian casually poured a small dish of milk in front of the "pet" and watched "it" happily lick it up as he spoke to the other end, "A new movie, related to fashion. I hope you can be the leading actress. Then you’ll get to wear lots of beautiful clothes and show your charm on the big screen, and you can act opposite... um... Julia, how about it?" "Julia Roberts?" Scarlett seemed to sigh, "First Keeley, then Julia, it looks like..." She didn’t continue, but Adrian already understood what she meant and couldn’t help laughing: "In that case, you should also add Catherine Zeta-Jones. If we’re talking about cosplay, then ’X-Men’ would undoubtedly be the most interesting." "Do you want to add Ellen Page too? I hear you seem to quite like her!" Scarlett scolded, but then sighed, "Fine, I’ll consider it, but I’m not giving any definite answer until I see the script!" "No problem, then..." Adrian checked the time, "Let’s leave it here for today, come back to Los Angeles soon. A few photos can’t appease my desire; I’m starting to miss you, Scarlett." "You’re missing many people." With a sarcastic snort, Scarlett hung up the phone, judging by the last crunched sounds, she was surely surrounded by chip bags. Sitting quietly in the chair for a while, Adrian reached out beside him, and, after finishing the milk, the "pet" cozily snuggled its head against him as he gently stroked it. "This will be a nice movie, about fashion. Are you interested?" "Great, there are two leading women in this movie, now played by Scarlett and Julia, so you’ll be the supporting actress, is that okay?" "Very good, now show me your results; let me see what you’ve gotten from your reflection during this time." Adrian said as he stood up, shook the rope tied to "its" neck, took "it" for a walk, let "it" relieve itself under a tree, and then leisurely returned to the villa. Choosing films for his women is actually quite a bothersome task, but Adrian always enjoys it, as if playing a puzzle game, and a very special one at that. His task isn’t merely piecing together scattered images to restore their original form, but to use these pieces to create a completely different yet equally beautiful picture. It’s arduous, but the sense of accomplishment upon completion is quite satisfying. Take Scarlett and Keeley’s current project, "Love Credit," which is being filmed; originally a British film, Adrian relocated it to the United States, ensuring the screenwriters considered his analysis of Scarlett and Keeley’s personalities. Another decision made today was on "The Devil Wears Prada." The source of this content ɪs 𝓷𝓸𝓿𝓮𝓵※𝓯𝓲𝓻𝓮※𝓷𝓮𝓽 Given that Lauren Weisberger was once Anna Wintour’s assistant, gathering information about her was not difficult. Thus, Adrian covertly offered her a complete package of publishing plus adaptation services. Being the film with the most expensive costume design budget ever, yet successfully leveraging small to win big with much acclaim, it naturally goes to his ladies. Currently, undoubtedly, Scarlett is best suited for the role of the female lead, Andy, considering her age, figure, and acting skills. Keira remains better suited for English classic styled films, and Jessica is still best placed as a vase. Although the film is quite appropriate for a vase role, showing acting skills would certainly be better. Moreover, Jessica’s current commercial value is sufficient. For a strong woman like Miranda, Julia, Zetajones, Nicole, and Blanchett are all viable options; Monica and Sophie are slightly too soft. Among them, Zetajones and Nicole: one has just given birth, and Adrian has always firmly required his women to rest adequately after childbirth, the other is still pregnant, so neither are considered. Between the remaining two, Blanchett’s acting is undoubtedly better, even though she hadn’t played such cold-hearted, stone-faced, yet ruthlessly fierce roles before, but it’s believed it wouldn’t be difficult for her; she tried a new type of role for the first time this year. For this reason, Adrian chose Julia, despite her current progression towards a behind-the-scenes role, having just released a medium-budget film she produced last August, achieving good results. But that still calls for a good amount of time, and before then, she needs some decent roles, and her acting is only slightly inferior to Blanchett, so she could use a distinctive role right now, despite the villain flavor, it’s worth a try occasionally. As for another supporting female role, it goes to the original lead, Anne Hathaway, who, under Adrian’s guidance, very smoothly transformed herself, presenting as a rising Hollywood star combining elements of Audrey Hepburn and Julia Roberts, but behind the scenes... Doing wrong must have consequences, especially when she pleaded for another chance herself; Adrian wouldn’t have any pity left. However, this time, Anne was sensible enough to surrender herself completely to him, not resisting those intense measures, though instinctively for self-protection, she fragmented her inner self. Considering Anne abandoned everything so submissively, Adrian didn’t hold back—note she has no projects this year—thus he stripped her of the chance to be "The Devil Wears Prada’s" lead role, but offered her the supporting role instead. Overall, if suitable, he wouldn’t mind boosting her higher, the greater Anne’s fame and popularity, the more gratifying Adrian finds parading her. As time moved into October, film schedules turned utterly quiet, whereas TV series heated up, though films have the advantage over series, given they face winter hiatus and summer break altogether roughly four months; during which time network TV dramas halt broadcasts—Cable TV series continue in the summer, as there are relatively fewer series, but the winter halt affects them too. Movies, albeit during low season, always usher in new releases; for instance, the previously mentioned four films showcased in Toronto, three selected for October release. "Sideways", "North Country", and "The Dead Girl" are all classified as independent films; low-investment, limited commercial value. Even with Adrian’s support, they wouldn’t receive heavy promotion, choosing to release them during the low season is perfect. "Pride and Prejudice" fairs slightly better but just slightly, thus scheduled for early November. Even though these three films received favorable reviews at the Toronto International Film Festival, especially Sophie-directed "The Dead Girl," as her first full-length directorial work following her Oscar-winning actress crossover, this buzz alone garnered substantial attention. Yet throughout October, the most focus wasn’t on this film but... a certain fellow who offended every European filmmaker’s creation: "The Pianist!" "Adrian employed an exceedingly realistic method, presenting that bloody history with genuine brushstrokes before us, while another Adrian precisely delivered through outstanding performance." "Visually and narratively, it’s highly reminiscent of old films, executed with much restraint, ideally interpreting that dark period." "Unlike ’Schindler’s List’ with its dramatized multiple shooting unable even to kill a person scene, in ’The Pianist’ the Nazis replace the gun without hesitation, slaughtering the opponent, void of fortunate timing or mercy, only frigid cruelty, offering an overwhelming sense of true shock." Having waited for a long time, hungering American media and critics instantly expressed opinions via their channels, fervently hyping this film. Certainly, there were some comments veiled in malice, such as comparisons suggesting "Schindler’s List more mirrors Spielberg’s pretentious nature" or proclaiming "this is the finest Holocaust film," yet both concerned parties remained indifferent. "Surely, Adrian excelled beyond me; it’s a painfully real piece," Spielberg wrote in his column. "Thanks to Steven for ’Schindler’s List,’ without which I wouldn’t have contemplated making a Holocaust-themed film. Thankfulness to everyone supporting this," read a statement from Adrian’s office. These feeble attempts at provocation were pitifully inadequate; Adrian had said before Spielberg’s film seeded his ideas, not to mention he was an investor in "Schindler’s List." Compared to bustling North America, Europe appears silent, as if the film that won this year’s Palme d’Or hadn’t premiered at all. Reasonably so, Adrian’s remarks previously embarrassed them sorely and indirectly fragmented European filmmakers, hardly suitable to mention again; need to increase the chaos? Initially, none noticed the most damaging aspect of Adrian’s remarks was not seizing artistic discourse but slowly fermenting post-appearance on "The Ellen DeGeneres Show"... As a world-renowned miracle director with countless classic works, with series like "The Matrix" and "The Lord of the Rings" as hallmarks and diverse styles of films; even he didn’t dare call his works art, even he must cautiously strive with reverence; what makes you European directors hold claim to art? This is the most severe slap, even originally boasting French felt their faces burning hot, so afterwards, European filmmakers swiftly unified stance, too late, they could only try minimizing it. Thus, Sophie hesitated repeatedly before ultimately deciding not to bring "The Dead Girl" to the Venice Film Festival; wouldn’t know what might happen otherwise. However, some matters can’t merely fade through ignoring, not addressing those American victors thrilled by their perceived win; Adrian wouldn’t allow such outcomes. He specifically timed "The Pianist" for October release, not immediately post-Palme d’Or titled or amidst fervor escalating, for ticket sales, but sustaining "The Pianist’s" impact, reminding certain parties: See, how much goodwill I extended, how many sacrifices I made for you, shouldn’t you respond by displaying an inch of decency? Regardless, profit was never his aim for this film; if financials needed appearing well, he might as well drop a few hundred thousand or a million on it to heighten box office visibility; furthermore, trust not all of global Jewish audience lets him incur losses. Thus, European filmmakers fell unlucky; staying away from assessing this film or referring to the miracle director proved futile, as reports regarding him surfaced everywhere, online, television, print media, even appearing on sports channels, damn Chelsea! This encapsulates the power of media moguls; leaving aside prior claims infamous "Nazi sympathizer" Lars von Tier can now only rally a handful followers online to shout; unable accomplishing anything more with European film circles assuredly shunning him, who dared provoke that fellow? Even so, ultimately European filmmakers ended up responding; though Adrian spoke nary a word again, as the online discourse got hot enough, Americans pushed aggressively; continuing ignorance nearly equated unilateral declaration of victory; how could they avoid replying? Damn Lars von Trier! Damn Adrian Cowell! European filmmakers mentally cursed in vexation. (To be continued. If you enjoy this work, you’re welcome to visit Qidian (qidian.com) to vote recommendation tickets, monthly votes, your support is my greatest motivation.)