Illusiveone
patreon
160: Redoing my Life, Vanity Fair Interview
🕑 Added 2025-01-16 14:46:28 +0000 UTCI still need to add more to Chapter 159. It’s mostly about Daniel going to Jay’s house and the tweets Ryan and Daniel send to each other. I will update it soon.
Chapter 161 will be posted later today, and after that, I’ll post Alyxander Pt. 6 and The Son of Ice and Fire, Chapter 102.
.
.
I was being interviewed by Vanity Fair today. They were preparing a major feature on me for their May issue, coinciding with the release of Batman Begins. The piece was positioned to highlight me as the next major Hollywood power player while simultaneously promoting the brand and projects of Midas Productions.
The focus would be on the future of the production company I had founded, exploring its ambitious slate of films like John Wick and The Revenant. This article would position Midas as a rising force in Hollywood and reinforce my image as both a burgeoning creative and a business powerhouse.
I knew I had made enemies along the way—Harvey Weinstein being the most notable—though there were certainly others I didn’t even know about yet. The only way through the resistance was to keep pushing forward. Momentum was everything; there could be no slowing down.
The photoshoot for the article was scheduled for next month, but today was all about the interview. My office at Midas was now fully furnished, so I had the interview here. As I sat on the couch, Julie walked in and told me that Sam Kashner, the journalist assigned to the story, had arrived.
Raj, my PR guy, had told me that Sam was known for his insightful and nuanced profiles of Hollywood personalities. He was a seasoned journalist in his late sixties, with an impressive résumé and a knack for weaving colorful anecdotes and opinions of people who had worked with me into his writing.
I stood as he entered the office. “Mr. Kashner,” I said warmly, extending my hand. “A pleasure to meet you.”
“Likewise, Mr. Adler,” he said, shaking my hand with a firm grip. “I’ve been looking forward to this.”
“Please, have a seat,” I said, gesturing for him to take a chair across from me.
Once the greetings were exchanged, we got down to business. He recorded the interview and took notes in a notebook. Sam began with a few standard questions to set the tone. “What inspired you to pursue a career in filmmaking at such a young age?” he asked, his pen poised above the paper.
I leaned back slightly, thoughtful. “I’ve always loved storytelling. Writing was my first love, and filmmaking was something I always wanted to do….”
He nodded, jotting something down. “So, you don’t see it as a departure from being an author? I’ve noticed you’ve slowed down your book releases in the past few years.”
“Not at all,” I said. “I still consider myself an author. Filmmaking is just another avenue for storytelling. The medium may change, but the heart of it remains the same.”
Kashner moved on to questions about Midas, his tone curious but tinged with skepticism. “It’s quite ambitious to start a production company at such a young age. Do you feel confident in the projects you’ve lined up?”
I leaned back in my chair, choosing my words carefully. “I wouldn’t have started Midas if I wasn’t completely sure of its potential. I don’t take on anything lightly. I’m a perfectionist, and I make sure every project we commit to meets the highest standards. The movies we have lined up this year… I genuinely believe they’ll blow everyone away and establish Midas as a force to be reckoned with.”
Kashner raised an eyebrow, his pen hovering over his notebook. “Everyone I’ve spoken to mentions your confidence. They say it’s almost contagious.”
I chuckled. “Confidence without results is just arrogance. I’ve never made bold claims I couldn’t back up. Confidence comes from knowing the work speaks for itself.”
He nodded, clearly intrigued. “How hands-on are you with the films Midas produces? Are you involved in every stage, from development to post-production?”
I folded my hands. “I’ve learned that the key to a great film lies in balance. The director and the studio or producer need to share a mutual respect for each other’s roles. If one side has too much control—whether it’s the director or the studio—it can derail the entire project.”
Kashner leaned forward, a slight frown creasing his brow. “Don’t you think directors should have more control? Isn’t cinema ultimately a director’s medium?”
I nodded, expecting the question. “Absolutely. The director’s vision is critical, and it should always be respected. But there’s a misconception that executive interference is always a bad thing. Sure, it can be, but what people don’t talk about enough are the times when it saved a film. Unchecked creative freedom can be just as dangerous as overbearing studio control.”
He tilted his head, skeptical. “For example?”
I smiled. “I think Star Wars is a good example. George Lucas wanted a sprawling space opera, but the studio’s interference in the editing and restructuring helped shape the story into a more digestible, fast-paced narrative, which significantly improved the film. Another example is Zoetrope in the ’80s. Francis Ford Coppola was all about giving directors complete creative freedom, and during that time the company struggled financially; some of the films they produced were both critical and commercial disasters.”
“Still, the director—” Kashner started to say.
“I’m saying balance is key,” I interrupted. “Directors are visionaries, but even visionaries need guidance. It’s about collaboration—finding a compromise where everyone works together to elevate the film. That’s the philosophy I’m instilling at Midas. Every voice matters, but at the end of the day, it’s about the audience. If we’re not delivering a story that resonates, what’s the point?”
He jotted down a few notes, nodding slowly. “That’s an interesting perspective.”
“You can see the other side of the argument as well,” I said, leaning back on the couch. “Take Fox, for example. After the second X-Men movie didn’t perform as well as they’d hoped—not bad, mind you, but not the blockbuster they expected—they decided to pivot. They focused on Wolverine, the most popular character, and greenlit X-Men Origins: Wolverine.”
Kashner nodded thoughtfully, his pen dancing across the notepad.
“And we all know how that turned out,” I continued. “Studio interference completely derailed it. They had a golden opportunity to solidify Wolverine as a standalone franchise—maybe even pull superhero movies out of the slump they’d fallen into in the ’90s—but they fumbled so badly that Fox practically abandoned their superhero IPs for years.”
“Until now,” Kashner interjected, raising an eyebrow. “I’ve heard whispers that Fox is considering getting back into the superhero game.”
I shrugged. “Of course they are. They own some of the most popular comic book characters in their arsenal. You don’t just let something that valuable sit on a shelf forever.”
Kashner’s tone shifted, curious. “Speaking of superheroes,” he began, “let’s talk about your work with Stardust Studios and now the new DC Studios.”
I smiled. “That’s what started it all. Stardust approached me to adapt Toy Story, and the success of that movie changed my life. It opened doors I didn’t even know existed.”
“And DC?” he prompted, leaning forward slightly.
“Ah, DC,” I said with a chuckle. “I think we can circle back to your earlier question about balance. At DC, I’m the artist—the storyteller. I’m the one writing the scripts and crafting the narratives. But I’m also dealing with executives, navigating their input, and aligning it with the creative vision. So, you could say I have experience on both sides of that earlier discussion.”
Kashner laughed. “The rare fox who actually protects the henhouse?”
“Something like that,” I admitted, grinning. “But honestly, it’s been an incredible experience. These are some of the most iconic characters in the world, and the challenge of bringing them to life on the big screen is one I don’t take lightly.”
“What’s your ultimate vision for DC?” Kashner asked. “There’s definitely been a renewed interest in superhero movies lately.”
I leaned forward, my tone earnest. “I want the general public to truly connect with these characters. Everyone knows Spider-Man and Superman, but there are so many other incredible heroes and stories that have been neglected for far too long. My goal is to bring them into the spotlight, to make audiences fall in love with them the way I have.”
“That’s ambitious,” Kashner said, scribbling notes.
“I believe this decade will be the superhero decade,” I said confidently. “The genre is evolving, and you’ll see that in the coming years.”
Kashner chuckled. “That’s a bold prediction, Mr. Adler.”
I smirked. “Bold predictions are what I do best.”
Kashner moved on from the subject to ask about my involvement with other studios. “You’re also working with other studios, like Universal?”
I nodded. “Yes, I’m currently working on the Fast & Furious franchise. The next movie is entirely written by me, and I think people are going to love it. It’s a fantastic script. We start shooting in May.”
Kashner was intrigued. “Any other plans with Universal?”
I smiled but gave nothing away. “Yes, but I’ll keep that under wraps for now. Let’s just say there are exciting things in the pipeline.”
He chuckled, scribbling notes. “Fair enough.”
The conversation shifted to the movies I had in production. Kashner asked about John Wick, The Revenant, and the other projects I had announced or hinted at. I even provided some clues about a new project still in the writing stage.
Kashner seemed eager to press for more details, but he decided to let it go. “You’ve got quite the slate,” he said. “By the end of next year or so, Midas could very well be a household name.”
“That’s the goal,” I said with a nod.
As the interview began to wind down, Kashner asked, “What do you ultimately want Midas to be? What’s your vision for the company?”
I leaned forward, my tone earnest. “I want Midas to be a place where directors and storytellers who have a clear vision can bring it to life. Like I mentioned earlier, I believe in balance. If you’re willing to work with me, you’ll have my full support. I want Midas to be more flexible than other studios. I think that’s what will make us stand out. And I believe that once our first few movies come out, everyone will understand what we’re about.”
Kashner nodded thoughtfully.
He closed his notepad and stood, extending a hand. “Thank you, Daniel. This has been enlightening. I hope to watch you grow into one of the greats in this industry.”
I shook his hand firmly. “Thanks, Sam. That means a lot.”
As we walked toward the door, Kashner glanced at me. “Off the record—what’s really going on with you and Harvey? I heard some rumors.”
I gave a small, measured smile. “I have that handled for now.”
He nodded but didn’t seem entirely convinced. “I like you, Daniel,” he said. “You’ve got ambition, and you’re not afraid to shake things up. Just… be careful.”
I smirked. “I always am.”
Comments
Illusiveone
I will post a list in the chat later.
mlungisi mguni
Can someone please make a list of all the movies Daniel have been involved with or written himself
