I'm so charming, there are always men who love me

Chapter 3

After Marguerite walked out of the audition room, François Truffaut was no longer even in the mood to continue auditioning.

He was pretty sure that only Margaret Adjani could pull off this comeback that he had been planning for over twenty years.

Margaret sat in the waiting area outside the conference room, while inside, Italian director Giuseppe Tornadore opened his mouth and uttered a few words that caused Truffaut to have a bit of a mixed feeling -

"The Story of Adele Hugo won't be built and filmed until next month, and until then, maybe Ajani can travel to Rome temporarily and join the cast of The Pianist at Sea for two weeks, no, maybe just ten days," Giuseppe Tornadore pushed down his silver-rimmed glasses, "My movie needs a actress who, despite her brief appearance, can make a leading man fall in love and serve as an inspiration for life, and Margaret Adjani, obviously, has the magic to make that happen."

The cast and crew of The Pianist at Sea have built nineteen sets in Rome and eleven in Odessa, and with forty-four actors and seventy-five crew members already in place, the film will officially open in five days.

In the face of the male lead 1900 first love of the actor, Tornadore from the past did not ask for too much, after all, the role of this role does not eat heavy, for the acting requirements is not high, so for the former casting director recommended the French female model, although he is not satisfied, so did not determine to let the other side of the role, but also did not show a lot of resistance.

But after seeing Ajani's performance, Tornadore suddenly sprouted some kind of desire to make the "Pianist at Sea" perfect, he wants to use Ajani's unique temperament that no one can match, highlighting the fateful tragedy of the Pianist at Sea 1900.

Only such a first love and muse, it is more difficult to express the 1900 "destruction" of the tragic fate, Margaret unique sense of absurdity, loneliness and noble temperament, so that the negative 1900 more real.

Gifted 1900 debauchery, unruly, not for the world to move, and only so as to lead a man to the destruction of the road of Ajani, only to have the grace to impress him.

Truffaut had a hard time saying no to the seemingly sincere Giuseppe Tornadore, but of course he knew how surprising it was for a director to meet his favorite role-player.

But he was more than a little dissatisfied with Tornadore's "love".

After all, there is only one month to go before the filming of "The Story of Adele Hugo" begins, and if Marguerite can't get out of the role as soon as possible after the filming of "The Pianist on the Sea" is over, it is obvious that she will encounter a lot of trouble when she plays Adele Hugo.

Giuseppe Tornadore is of course well aware of Truffaut's concerns, and he looks very confident in Adjani, "An actress who can show shocking eyes in just a few seconds, I don't think you need to worry about her ability to get out of her role, that girl is a talent that will shock the world."

"I'm certainly aware of what an extraordinary actress she is," Truffaut cleared his throat, "I wrote two invitations myself for her to come to this audition."

On a fairly good note, Truffaut finally agreed to let Tornadore, for the time being, take over his Miss Hugo, with the only requirement that Ajani be given enough time to get out of the role for two weeks.

The Story of Adele Hugo is a comeback he's been planning for over twenty years, and Adjani is at the forefront of all the details.

Sitting between the two famous directors, Brian Lord has decided that the new French actress must be signed to his name.

And the representative of the French Actors' Union, who had been sitting to Truffaut's right, came to the most perfect conclusion for the audition, "Just as a century can produce only one Van Gogh, one Da Vinci, and one Rodin, this century of complexity, frenzy, and confusion will belong to Adjani in the end."

A certain arms dealer raised an eyebrow, of course this beauty had to belong to him.

When Margaret entered the audition room again, she was pleasantly surprised by the olive branch thrown by the two directors, Truffaut and Tornadore, both of whom are among the most highly regarded directors in the world of cinema today.

In addition to movie offers, Brian Lord, known as the tyrant of CAA, was also attentive to her, and after the audition, he surprised Margaret by personally inviting her to dinner.

By the way, there was also an uninvited arms dealer, but Brian Lord apparently wouldn't show the slightest displeasure with his behavior.

With its French neo-classical architecture, the Silver Tower restaurant in Paris, on the right bank of the Seine, has stood silently for four centuries.

Two big shots are proposing a choice of the restaurant's famous bloody duck, while Marguerite rests her chin and looks across the river at Notre Dame de Paris, where she heard she died.

A certain arms dealer's big caramel-colored eyes stared at her and inquired curiously, "What are you looking at?"

"The Land of the Buried Bones." Margaret smiled, lifting the champagne in her hand and taking a sip, casual posture but with an incredible air of elegance.

Brian Lord joins the conversation, "I take it you were thinking of Mr. Victor Hugo's Notre Dame de Paris because of your upcoming role as Adele Hugo?"

Margaret didn't contradict him, the corners of her mouth quirked into a smile as she naturally brought up the subject, while Brian had already turned the conversation to CAA's enormous influence in Hollywood, emphasizing in particular his cloak-and-dagger sociability as a gold agent.

Since Margaret was ready to open up the width of her life with the path of acting, breaking into Hollywood was certainly a task that had to be carried out.

But she is only a newcomer to Hollywood, even a French one, and without a strong agency to back her up, it is obvious that she will not be able to change her fate of shooting TV dramas.

It's hard to say whether it's good or bad to be involved in a TV series, but in Hollywood, where there is a clear distinction between entertainment stars and movie stars, movie stars stick to the route of specializing in the big screen, and viewers will only willingly pay for your movie if they have to see you in the cinema.

And with Brian Lord now handing over an olive branch, Margaret certainly wasn't going to turn it down.

You know in Hollywood there has always been a saying, "If you can figure out how to get Brian's cell phone address book, then anything can be done."

Every year before a major awards show, Bryan always hosts a banquet in person months in advance and meets with the judges in conjunction with the producers.

Whether it's to lobby, or to make an impression, he always manages to get his artists on the podium with his "mystical magic".

CAA co-manager Brian Lord, who had been doing well in Hollywood in recent years and had no need to sign new talent to boost his position in the industry, couldn't let the new French actress sign with another agent after seeing Marguerite's performance.

She was incredible, she played a character with real soul, and when her charisma combined with her acting talent, it simply overshadowed everything else.

You just can't take your eyes off her at all whenever she's in your line of sight, and that sense of excellence and precision is definitely a talent that's beyond the reach of ordinary people.

Brian is busy trying to convince Ajani to sign with him to break into Hollywood; after all, the actress, who I've heard is very capricious, turned down a twenty-year contract at the Théâtre de France only a short time ago.

Who knows if she'll politely decline another CAA agency deal, citing restrictions on her social freedom.

As the conversation progressed, Brian became more and more satisfied, realizing that the French actress, who had come from an orphanage, spoke better English than the average Frenchman, probably thanks to her ex-boyfriend.

A certain arms dealer, on the other hand, frowned at being ignored - was her dining etiquette too good for its own good, compared to her he looked like a bottomless riff-raff.

A French orphanage with such superior etiquette classes? I'm afraid it's hundreds of times better than the private high schools on New York's Upper East Side.

When Brian Lord finally succeeded in convincing Margaret to sign with CAA, notice the eyes of the man beside him, always on his newly minted signed artist.

CAA Tyrant clears his throat, "Margaret, this is Mr. Tony Stark, CEO of Stark Industries."

Tony Stark was clearly the golden bachelor that everyone was chasing, and while he was equally notorious for being a playboy, few people would actually turn him down; after all, the law of money would always be the golden rule in Hollywood.

Of course, Brian doesn't really have a problem if Margaret has no intention of turning him down, in paper-drenched Hollywood, it's supposed to be a matter of what you want.

He'd signed Margaret Ajani for her unrivaled talent and tremendous promise, and as an agent, his first priority would always be Ajani's interests.

Margaret was looking into Tony Stark's eyes framed by long lashes, "Your eyes are a little too focused."

Tony Stark was an unapologetically flamboyant rich kid, with a smart and showy personality that made him the center of attention in the crowd wherever he went, such as at this moment, when the eyes of many of the girls in this restaurant were resting on him, demonstrating his excellent womanizing skills.

He was conceited and arrogant, and was looking at Margaret with a little bitchy look on his face, "If you don't look at me, how do you know that my eyes are on you?"

Margaret smiled, "I'm sorry, I'm too young to be ready for a serious relationship."

As if worried that the rejection was too serious, she added politely, "But play is fine."

Tony Stark raised his voice, "Playing around? You want to play me?!"

Margaret's eyes skimmed over the arms dealer's not-so-obvious baby belly and frowned, "Seriously, not too much."

Tony Stark: "......"