Chapter 500: The Gun Issue

The roar of an engine grew closer as a red Mercedes G-Class SUV sped towards them. The vehicle completely ignored the scattered obstacles on the road. At an intersection, it abruptly braked, skidded, and turned towards a path overgrown with weeds, its speed increasing as if chasing something.

Standing atop a building in an open-air film set, Matthew watched intently as the red Mercedes G-Class performed stunts under the skilled hands of a driver provided by Mercedes-Benz. The SUV's agility and speed rivaled that of a high-end sports car.

This open-air set was located in the western part of Burbank and spanned several dozen acres. The film crew had constructed several streets depicting post-disaster New York for close-up shots.

As Matthew's sponsor, Mercedes-Benz supplied most of the vehicles for the production, especially the protagonist's car. The custom red SUV continued its wild drive. It seemed the crew planned to film numerous similar scenes to have ample material for post-production editing and selection, meaning Matthew wouldn't need to be on set immediately.

For such high-risk driving scenes, the production wouldn't allow the main actors to perform. Even if they agreed, third-party insurance companies would intervene. Every film crew purchases substantial insurance for their lead actors, particularly accident insurance. Matthew's policy alone was worth five million dollars. If anything happened to him, the insurance company would face a significant payout.

The biggest issue, though, was that if Matthew, as the lead actor, were injured, the entire production would halt. The third-party insurer's main responsibility is completion guaranty, and any delay in finishing the film would be a major problem for them.

Matthew observed the scene for a while longer until Bella Anderson quietly approached him on the rooftop.

"Is everything settled over there?" Matthew asked.

Bella Anderson whispered, "Yes, Lister personally oversaw the moving and escorted Miss Daddario to the north side."

Matthew nodded lightly and inquired, "Is Anna satisfied?"

"She seemed quite pleased," Bella Anderson replied. Having been by Matthew's side for a considerable time, she had become accustomed to certain things. "Miss Daddario mentioned she'll be able to pay the rent by the end of the year."

"That's fine," Matthew responded, seemingly unconcerned.

Internally, Bella Anderson couldn't help but think: living in your house, she's not likely to run off, so there's no rush for the rent.

She then cautiously asked, "Matthew, have you told Miss Daddario about the house's history?"

Matthew tapped his forehead lightly. "Oops, I forgot about that."

He genuinely had forgotten, as he had never cared about the house's past incidents.

Bella Anderson added softly, "I didn't mention it either."

Matthew shrugged. "It's not a big deal. I'll tell Anna next time I see her."

He truly didn't see it as significant.

Bella Anderson changed the topic. "I saw Amanda over there. She asked me to inform you that the dispatch date for the charity supplies is set for October 24th."

"I know," Matthew acknowledged. This date had been agreed upon by several parties. "Bella, could you coordinate with Guillermo and Avazi this afternoon to adjust the filming schedule?"

Bella Anderson nodded slightly.

Matthew continued, "How are the media contacts coming along?"

"Helen informed me yesterday," Bella Anderson replied. "At least thirty media outlets will be present, including Warner Bros.' Warner TV."

She seemed to remember something else. "Oh, and Steven Spielberg's assistant called your public number, inviting you on behalf of DreamWorks to the premiere of 'Flags of Our Fathers' on October 25th."

Matthew didn't hesitate. "Respond that I'll attend, and make sure to coordinate with the crew for those two days off."

"Understood," Bella Anderson said.

Matthew decided to attend even though he didn't recall much about the film. Spielberg's involvement in his charity event and his donation compelled Matthew to return the favor by accepting the invitation.

Coordinating the days off would also benefit the production schedule. There were scenes that didn't require his presence, and Guillermo del Toro could plan to shoot those during his absence.

The red Mercedes G-Class sped by again. Mercedes-Benz had chosen this vibrant color to appeal to younger demographics, particularly affluent young individuals.

As the brand ambassador for Mercedes-Benz's entire range of small passenger cars, Matthew was aware of their strategy. During an ad shoot in Stuttgart, a campaign specifically targeted the booming market across the Pacific. Mercedes aimed to expand its marketing efforts there.

Despite past hardships, Matthew had seen many luxury cars on construction sites, where the booming real estate sector attracted numerous new wealthy individuals. For these people, a hundred-thousand-dollar car was merely an entry-level purchase.

When it came to entry-level luxury cars, other brands couldn't compete with the German BBA trio.

Recently, SUVs and off-road vehicles were all the rage. The nearly bankrupt Land Rover revived thanks to the Pacific market. Mercedes likely wanted to capture a larger share of that market too.

As for his role with Mercedes-Benz, Matthew had pushed it to its limit. Now it was about extending the partnership to maximize benefits, especially given the substantial $12 million annual endorsement fee.

As long as his film career didn't plummet, his collaboration with Mercedes should remain stable.

Unfortunately, Rolex preferred to endorse sports stars. Both he and Cindy Crawford were just two among many of their endorsers.

Armani's underwear line was another matter. Although Helen Herman's recent talks with Armani had shifted their preference from David Beckham to Matthew, the higher-ups at Armani hadn't made a final decision.

Matthew and Helen understood that Armani was waiting for the release of "300". While the trailers and posters generated significant buzz, the actual film's reception would determine if Armani expedited the negotiations or chose someone else.

This was typical of commercial partnerships, always prioritizing mutual benefit. No profit, no deal.

Conversely, if Armani offered only a million-dollar endorsement fee, Matthew would refuse without hesitation.

Similarly, he wouldn't lower his salary demands for a role in "Iron Man". Marvel's reluctance to offer $20 million meant he wouldn't take the part. Reducing his fee once could lead to a series of further concessions.

At that moment, the red Mercedes G-Class halted, and a crew member approached to inform Matthew it was time to prepare for the next scene.

Matthew descended from the rooftop and headed to the temporary set. Another red Mercedes G-Class was positioned on a platform that could shake. The upcoming scene involved the protagonist driving while hunting deer with a gun.

Matthew took the M4A1 rifle handed to him by a crew member and glanced at the vehicle. A German Shepherd named Carl was already seated in the passenger seat. He slung the rifle over his shoulder and prepared to get on the platform.

Guillermo del Toro approached and quietly reminded him, "Watch your emotions."

Matthew nodded slightly. "Got it."

"Alright then," Guillermo del Toro said, patting Matthew's arm. "By the way, the handler just bathed the dog this morning."

"Thanks," Matthew replied.

He jumped onto the platform and took the passenger seat next to Carl, the German Shepherd. The dog immediately began to growl softly, showing signs of hostility.

"Carl!" the handler rushed over, holding the dog's head. "Easy, relax."

Matthew was puzzled. They had gotten along well before filming started. Why was Carl suddenly so hostile during the shoot? He hadn't done anything different, or had he?

"Growl... Growl..."

Carl's hostility intensified. Matthew narrowed his eyes, and Guillermo del Toro's voice rang out, "Get that dog out of the car! Quickly!"

The handler opened the car door, but Carl refused to budge, glaring at Matthew with growing hostility.

Matthew exited the vehicle. There was no need to confront a dog, even if he could easily kick it away.

As he removed the rifle from his back and prepared to leave the platform, he suddenly realized something. During all his previous interactions with Carl, he hadn't been armed. But during the bathtub scene and today, he had a gun.

Could the gun be the problem?

Considering this, Matthew glanced at the car where Carl had been taken away. He decided not to voice his speculation about the gun. After these two encounters, he preferred not to film any close-up scenes with the dog again. Who knew if it might suddenly attack?

Descending from the platform, he called Guillermo del Toro over.

"Guillermo, this isn't going to work," Matthew said directly.

"Agreed," Guillermo del Toro nodded. Before he could continue, a representative from the third-party insurer approached and interjected, "Director del Toro, please avoid putting Mr. Horner in direct contact with the German Shepherd again. There's a risk it might harm him."

Matthew seized the opportunity, "I'm a bit concerned too."

Guillermo del Toro quickly decided, "Alright, we'll switch to using a model for these scenes and enhance them with CGI in post-production."

This solution was acceptable to everyone, and the subsequent filming proceeded smoothly.

Before the day ended, Bella Anderson informed Matthew that she had arranged with the crew for him to have the next two days off.

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