"Did you say you met Emma Watson in Geneva?" In the Warner Bros. makeup room, Helen Herman dismissed the makeup artist and turned to Matthew, who had just finished getting his makeup done. "And you chatted for a while?"
Matthew scratched his slightly itchy face and replied, "It wasn't just a chat; we agreed that I would treat her when she comes to Los Angeles."
Helen Herman couldn't help but think further and reminded him, "I remember Emma Watson was born in 1990 and is not yet eighteen."
"You're overthinking it, Helen," Matthew understood what she was implying. "I know where to draw the line."
Helen Herman continued to warn him, "There are many male stars in the industry who mess around with sixteen or seventeen-year-old girls, but you shouldn't. If the other party turns against you, even with the Romeo and Juliet law, it can be very troublesome."
She appeared unusually serious. "How many girls who come to make it in Hollywood have simple minds?"
Matthew nodded, "I know, don't worry."
He had just encountered a complex and daring girl the day before. Of course, he had specifically asked the relevant crew members; the girl was over eighteen, or the crew wouldn't have cast her in such a role. While using an underage girl for such explicit scenes might be acceptable in independent art films, mainstream commercial films wouldn't take that risk. Matthew certainly wouldn't either. He had heard from Wilson, his lawyer, about the Romeo and Juliet law, which aims to prevent consensual acts between young people from being harshly labeled as crimes, thus protecting them from being recorded as sex offenders, affecting their happiness and future.
In other words, if someone wants to have a relationship with someone under seventeen, as long as they are not a registered sex offender, and the age difference between them and the other person is not more than three years, and the other person is over fourteen, it is allowed.
People like him, of course, are not protected by the Romeo and Juliet law. This protection applies not only to girls but also to boys.
According to Wilson, many states have established this law partly due to a famous case in Georgia where a female teacher, during a classroom film session, used the darkness to force a male student to perform oral sex on her.
"And..." Helen Herman, not holding back, said directly, "Try to subtly find out if Emma Watson has any thoughts of switching agencies."
Matthew glanced at her, asking, "You want to poach Emma Watson?"
Helen Herman responded calmly, "Why not? Her salary and popularity in the fashion world are top-notch."
"Okay, I'll ask." Matthew then reminded her, "It might be difficult; her agency has thoroughly considered her post-Harry Potter transition. Her speech in Geneva was orchestrated by her agency to boost her image."
Helen Herman nodded slightly, "I know, Emma Watson is now an ambassador for the United Nations Children's Fund." She adjusted her glasses, "But it's worth a try."
Matthew said no more. He would help Helen Herman within his capabilities.
Not long after they finished talking, a crew member came to remind Matthew that it was time to shoot. He left the makeup room, exited the studio, and headed to the outdoor set.
The outdoor set was surrounded by green screens. The next scene to shoot involved a fight with Charlize Theron.
Charlize Theron was already on set, discussing the scene with the stunt coordinator. Matthew approached and took a good look at her outfit. She wore a black costume, with a short coat open nearly to her navel, a very short skirt, and thigh-high boots, looking extremely sexy.
The outfit was quite revealing, but for Charlize Theron, it was no big deal. Matthew had always known she was the type of actress who dared to show skin. Even in recent years, she had many semi-nude scenes.
"Hi, Matthew," the stunt coordinator greeted him, then began explaining the action scene to him, "Your fight scene focuses primarily on raw strength. Charlize's character will later have some magic effects added, so all related shots will be filmed separately."
He then looked at Matthew, "Your character relies entirely on close combat."
Matthew nodded without comment. He and Charlize Theron had rehearsed this scene during pre-production, and they both had stunt doubles for the more difficult parts.
After the stunt coordinator finished, director Peter Berg came over to give a few final instructions, and they were ready to start filming. However, one of the cameras malfunctioned and stopped working.
It wasn't a major issue, and the technicians worked quickly to fix it. Matthew and Charlize Theron didn't leave the set, instead waiting patiently by a car.
"I've been looking forward to this scene," Charlize Theron said abruptly. "For a long time."
Matthew looked at her, asking, "Looking forward to our close-quarters combat?"
Charlize Theron's expression didn't change, "Looking forward to being able to punch you hard." She asked Matthew, "Did you know I've been wanting to punch you?"
Matthew spread his hands, "If you really want to hit me, I won't fight back; you know that."
Charlize Theron shook her head, "I came to the set today and heard a lot of people talking about you."
"Who doesn't gossip? And who isn't gossiped about?" Matthew played dumb.
Charlize Theron glanced at him and didn't bother to say more, opting to keep silent.
About ten minutes later, the camera was fixed, and with all the extras and lead actors in place, and the behind-the-scenes crew ready, director Peter Berg called for action, and the day's filming officially began.
Surrounded by green screens, Matthew lay on a stretch of asphalt, a large crater beneath him and debris all around. He struggled to get up as Charlize Theron, dressed in thigh-high boots, approached him with a queenly stride, her cold expression far from friendly.
Charlize Theron reached him, angrily saying, "You can't keep doing this to me!"
Her face showed hatred, sadness, and reluctance. The once stoic expression she wore on camera suddenly became exceptionally rich, as if she were delivering an Oscar-worthy performance.
"Uh..." Matthew was momentarily stunned by Charlize Theron's sudden outburst.
Director Peter Berg's voice quickly followed, "Cut!" He reminded, "Matthew, don't freeze up!"
Matthew raised his hand in acknowledgment, "My bad."
Peter Berg called out again, "Reset, we're reshooting in three minutes!"
Hearing this, Matthew didn't bother standing up, sitting on the ground as Charlize Theron approached. "What's going on? Your acting's really improved after a few days."
Charlize Theron, aware that her acting wasn't her strongest suit and that she hadn't won the Oscar for Best Actress solely based on her performance, was indifferent to Matthew's comment, calmly saying, "You figure it out."
Matthew wasn't an idiot and fell silent instantly. After a few seconds, he shook his head and said, "Charlize, we're friends."
Charlize Theron forced a smile, "Yes, we are friends."
She said no more, turning back to her spot, leaving Matthew to watch her as she walked away. He noticed she seemed even bulkier, her figure appearing burly despite the trench coat.
The shooting resumed, and Charlize Theron remained in excellent form, with Matthew ready this time, matching her performance.
"What? What do you mean?"
On camera, Matthew got up from the ground and followed Charlize Theron, who walked into a crowd of extras, striding ahead.
To their left, a camera moved along a track, capturing them both.
"Hey, I love you, Hancock!" an extra shouted.
Matthew ignored the comment, focusing on Charlize Theron, "What do you mean?"
Charlize Theron continued walking, "Whenever we meet, it ends badly. Whether in Persia, Greece, or Brooklyn!"
Matthew hurried to catch up, confused, "Brooklyn? I've never been there!"
Seemingly provoked, Charlize Theron abruptly stopped, turned around, and jabbed her finger into Matthew's chest, shouting, "I've put up with you for three thousand years! I've had enough! Enough! Do you understand?"
Matthew raised his voice, "I don't understand a word you're saying!"
Ignoring his lines, Charlize Theron continued, "Now that I finally have a happy family, you're here to mess it up again!"
Her finger jabbed upward, poking Matthew's face, her tone seething, "You're here to mess it up!"
Matthew protested loudly, "I don't know what you're babbling about!" Watching her walk away, he yelled, "I have no idea what you, crazy woman, are talking about!"
Charlize Theron stopped in front of a heavy truck, turning back and removing her sunglasses, seemingly on the brink of exploding with anger, "Did you call me crazy?"
Matthew nodded, "Crazy woman!"
Charlize Theron nodded in return, put her sunglasses back on, and turned to grab the truck's front bumper.
With that long shot ending, the next scene of the female lead smashing Hancock would rely on post-production effects.
Before filming, during the design of the action scenes, Matthew had suggested to Akiva Goldsman and Peter Berg that the fight scenes between superhuman characters should convey a god-like power and scale, not just a schoolyard brawl.
Both men had accepted his suggestion.
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