Chapter 485: Different Film Genres

Chapter 485: Chapter 485: Different Film Genres

"Merely speaking of actor qualifications, screen texture, and public recognition, I actually favor Natalie Portman more."

Sophia disregarded Irene’s thoughts and expressed her own first,

"First of all, Natalie’s casual viewer base and international fame are completely incomparable to Anne at this stage.

She debuted as a child star, cultivated Hollywood for years, secured her footing with top IP works, and her persona as an academic high-intelligence powerhouse is deeply rooted in people’s hearts.

Audiences of all ages and circles globally are extremely familiar with her, her box office foundation is solid enough, and she carries the audience appeal of a top actor inherently."

"Secondly, her acting style is more inclusive," Sophia slowly added,

"She can both command aloof and detached elite roles and interpret delicate, complex emotional cores, with extremely strong plasticity. External professional evaluations of her have always been extremely high, with almost no acting controversies.

Placed in The Devil Wears Prada, she could completely match Miranda’s aura confrontation, portraying the elite texture of a workplace newcomer after advanced transformation, fitting the film’s high-end fashion tonality. We could even shoot this movie to be sharper and more attitude-driven, rather than a simple ’fairy tale’."

Hearing this, Irene suddenly realized that her sister Sophia had a different view on her handling at the end of the film—that giving up the elite future within reach for the sake of dreams looked too "dreamy."

But she did not speak out, letting Sophia continue.

Regarding Anne Hathaway, Sophia’s evaluation was likewise objective and fair, without deliberate belittling: 𝒻𝑟ℯℯ

"Anne’s current screen labels are too single. After exploding in popularity with The Princess Diaries, she is firmly rooted in teenage and family audiences.

The sweet, innocent, and well-behaved girl image is deeply ingrained, and her acting path is relatively solidified. Her advantages are youthful vivacity and strong affinity, but her shortcomings are also exceptionally obvious.

It is difficult for the public to bind her with the labels of top fashion workplace, hardcore workplace transformation, and urban elites. Compared to Natalie, her global box office appeal and circle adaptability are indeed slightly inferior."

Sophia raised her head, looked at the calmly expressioned Irene, and seriously summarized: "From the perspective of commercial box office, casual viewer cognition, film style, and star status matching degree, Natalie Portman is a safer, more pleasing, and less error-prone choice. If we only look at external conditions, I would support her starring as Andy without hesitation."

This fair evaluation left Irene momentarily unable to find an angle of opposition, because the visible gap between these two actors right now was indeed real.

She originally wanted to replicate roughly the same plot according to the original film, because this plot had already undergone audience testing in her previous life, so Andy needed that kind of pure, clumsy, ideal-embracing "foolishness," which is the soul core of Andy’s character.

But what her sister said was not entirely wrong either.

A professional, sharp, and highly elite-feeling Andy could indeed spark a different kind of spark, but if so, this movie should not be called The Devil Wears Prada but rather Fashion Clash.

"Sophia, have you ever thought about what kind of movie we are ultimately filming, or rather, do you hope The Devil Wears Prada should lean toward commercialization or art house films?"

Irene asked Sophia a very simple question, yet it left her stunned.

Two minutes later, she slowly shook her head and smiled saying, "No wonder you can take awards with your left hand and box office with your right hand. My market acumen is indeed inferior to yours."

As Sophia was completely persuaded, the casting of the female lead for The Devil Wears Prada was settled, and the early preparation work for the entire film officially entered the right track.

As the co-Producer of this film, Sophia fully recognized Irene’s persistence in the characters.

Commercial films have a commercial film perspective, and art house films have an art house film direction.

Since Irene knew the specific route to take, there was nothing to struggle or be troubled over.

The two sisters reached a unified consensus, and all subsequent controversies and doubts regarding supporting role choices, set scheduling, shooting pacing, fashion resource docking, and costume/prop implementation completely vanished into nothingness.

Having spent years struggling in Hollywood, successively handling multiple blockbuster projects, and building her own entertainment territory single-handedly, today’s Irene was long no longer that fledgling, hands-on, meticulous young director of yesteryear who needed to monitor everything personally.

At that time, if she wanted to accomplish something, she could only rely on herself staying up late to polish, personally docking, and monitoring the post throughout, clumsily groping forward step by step.

But times have changed.

Today’s Irene holds box office myths, awards on her body, and connections spread across The Big Six Studios.

Her subordinate Echo Pictures is steadily growing, and she has cultivated a core team of mature professionals with extremely strong execution skills under her command.

Whether it is set construction, fashion clothing docking, makeup/styling team matching, location approval, or crew logistics coordination, shooting schedule planning, and investor docking communication, a mature and complete execution system has long been formed.

As long as Irene speaks out to command, sets the direction, and finalizes standards, her staff, cooperative teams, and countless outsourcing teams in the industry wanting to climb connections and vie for cooperation would scramble and do their utmost to land things properly, completely eliminating the need for her to expend extra mental energy on trivial monitoring.

Precisely because the project’s situation was completely stable, Irene was able to extricate herself and transfer all her work focus to the next core priority—the global publicity and distribution work of Pirates of the Caribbean: At World’s End.

As the most anticipated ultimate blockbuster of the summer season this year, the first two installments of the Pirates of the Caribbean series had long completely ignited the global market, accumulating massive fans and a top casual viewer base.

As the staged concluding work, the third installment bore the audience’s highest expectations, and every step of the publicity pace, material arrangement, roadshow planning, and public opinion momentum could not afford the slightest mistake.

Disney, Fox, and Future World Pictures early on finalized the publicity schedule, officially launching the global promotional tour where all main cast members assembled.

A year later, core cast members like Johnny Depp, Keira Knightley, and Henry Cavill once again gathered fully at the Los Angeles Fox headquarters, cooperating with the crew to shoot promotional posters, record interview materials, and participate in preview press conferences.

The reunion after a year apart kept the entire set lively and vibrant.

The various main actors had long shed the greenness and unfamiliarity of their first meeting.

Through years of precipitation and their respective trials, their temperaments and states were quietly undergoing changes.

Some grew increasingly relaxed and mature, some shed juvenile childishness, and some precipitated a calm aura unique to screen actors.

And among the many familiar faces, Henry Cavill’s change made Irene feel exceptionally direct and obvious.

The last time they met was still during the full cast publicity period of Pirates of the Caribbean: Dead Man’s Chest.

At that time, Henry Cavill still carried the gentlemanly, aloof temperament unique to British male actors, combining youthful vibe and heroism, eye-catching enough yet still carrying the greenness of a newcomer.

Yet meeting again after a year apart, Henry Cavill standing before Irene’s eyes seemed to have completely completed a transformation.

His figure was increasingly upright and robust compared to last year, with broad and relaxed shoulders and back, and neat, smooth lines.

Years of fitness and stage training had polished out symmetrical and full muscle lines.

When he took off his costume and wore a simple casual suit, the superior proportion of broad shoulders and a narrow waist was extremely eye-catching.

His facial contours had also completely opened up, with sharp and deep angles.

His brows and eyes had shed the remaining youthful softness, gaining a few more points of mature male calmness, sternness, and certainty, making his aura increasingly powerful and captivating.