Chasing Stars in Hollywood

Simon's cabin was on a hill southeast of Park City, consisting of four buildings. One was for him, and the other three housed bodyguards and other attendants. 

At some point, Simon had become inseparable from his bodyguards. Given his wealth and status, it was essential to prioritize his security. The world was far from as peaceful as ordinary people imagined.

Arriving in Park City around noon on Saturday, Simon was immediately swept into a series of engagements. That evening, he accompanied Katherine to a film industry gathering organized by Robert Redford, not returning to the hilltop cabin until after ten o'clock.

The SUV, perfect for navigating Park City's terrain, quietly stopped in front of the cabin. As Simon and Katherine stepped out, they were immediately enveloped by the dense cold of the night. However, the foot of the hill, bustling with the Sundance Film Festival crowd, was still brightly lit and lively.

In recent years, the Sundance Film Festival had evolved into a comprehensive entertainment industry gathering, attracting not just filmmakers but also figures from the music and fashion industries.

Without lingering in the cold, Simon and Katherine quickly entered the cabin. Zoë Parks and Isabel Dunn, the maids who had accompanied them, had already lit the fireplace and prepared hot coffee, making the cabin warm and inviting.

The ABD trio, trained in baby care, primarily stayed at the Dume Point estate to help Janet with the children. Therefore, Simon had to select attendants from the new team of maids the housekeeper had brought.

After the previous espionage incident, Simon had instructed Janet to recheck the backgrounds of those around them. Fortunately, there were no issues, likely because not much time had passed. The backgrounds of the new attendants were clean.

As for those around Simon now, they had been thoroughly investigated. Simon hadn't dismissed anyone yet, fearing that replacing them would just bring a new batch of potential threats.

Katherine, not needing Zoë Parks' help, took off her thick down jacket herself, hanging it on a nearby rack, and cast a slight glare at Simon. She had noticed that Zoë, while taking Simon's coat, had brushed against him intentionally.

Simon pretended not to notice Katherine's glare. Once Isabel hung up his coat, he said, "You two can go rest. Also, there's no need to get up early tomorrow; Katherine and I will handle breakfast."

The two maids, sensing the mood, knew they wouldn't have any chance that night and obediently withdrew.

Simon took the coffee prepared by the maids and brought it to the table in front of the fireplace. He poured a cup and handed it to Katherine, who was sitting on the sofa, smiling, "It's not my fault, really. It's Janet who's jealous and sent these two lights to interrupt us."

Katherine accepted the coffee but only threw Simon a white-eyed glance. In reality, Janet had said Simon's living skills had deteriorated significantly in the past two years, and she feared he might starve without someone to take care of him. Hence, Zoë and Isabel were sent along.

Of course, there was a bit of jealousy involved as well. Thinking about having to stay home with the kids while her man went on a date with her best friend, Janet felt she needed to express her attitude, even if she didn't really mind.

Katherine remained silent, and Simon merely smiled, poured himself a cup of coffee, and sat beside her. If she were truly angry, she would have sat in a separate armchair. The fact that she chose the loveseat facing the fireplace indicated her mood.

As Simon moved closer, Katherine seemed embarrassed, deliberately shifting away as if trying to draw a line between them. Of course, Simon couldn't let her succeed, so he shamelessly squeezed closer, earning another white-eyed glance.

Sipping his hot coffee, Simon changed the subject, "You knew 'Reservoir Dogs' was a Gaia Films project and didn't give it a single award. Isn't that too much?"

"Reservoir Dogs" was Quentin Tarantino's breakout film. Despite securing "Pulp Fiction" in advance, some things remained unchanged. Gaia Films had maintained a close relationship with Sundance over the years, and Quentin had attended a Sundance Institute workshop last year. Thus, the script for "Reservoir Dogs" ended up in Simon's hands early. Gaia Films naturally acquired the project, also facilitating Harvey Keitel's collaboration with Quentin after finishing "The Piano."

With Daenerys Entertainment's involvement, the budget increased from the original $1.2 million to $2.5 million. "Reservoir Dogs" became Gaia Films' main entry in this year's Sundance Film Festival competition. 

While Simon didn't personally oversee the $2.5 million project, he did review the final cut before the festival. Though the closing ceremony was tomorrow, the awards had been decided a few days prior. The organizers had even notified the winning teams to ensure their presence at the ceremony.

Knowing Simon wasn't genuinely criticizing her, Katherine earnestly explained, "People didn't like the film's depiction of violence."

Simon asked, "What about you? What did you think of the movie?"

"The narrative structure is unique, but I don't understand what the director is trying to convey with this story."

Simon leaned back more comfortably on the sofa, looking at Katherine in her black turtleneck sweater and jeans, "That's why you aren't truly a filmmaker."

Katherine, puzzled and slightly offended, glanced at him. Despite having an Oscar nomination for Best Director, Simon's comment stung. 

Simon gestured to her leather boots, "Wearing those indoors? Aren't your feet cold? Take them off to warm up."

Katherine looked at her boots, tapped them on the floor twice, and angled her legs slightly, "You take them off for me."

"Sure."

Simon, without hesitation, set his coffee down, grabbed her legs, and pulled them over. Katherine, careful not to spill her coffee, watched as he quickly removed her boots and even her socks.

The shoes and socks were new, and Katherine, a neat person, wasn't worried about making a bad impression. However, once they were off, she quickly pulled her feet back, hiding them beside Simon instead of placing them on the floor. After reclaiming his coffee, Simon asked, "Why do you think you aren't a true filmmaker?"

"In my view, a true filmmaker expresses what they want to express. The director of 'Reservoir Dogs' did an excellent job of that. Your problem is being confined by traditional thinking, believing a film should convey specific values or social messages. That's a severe misconception."

Listening intently, Katherine found Simon's words made sense. As a fine arts student, she knew that many outstanding artists merely showcased their inner thoughts through their work without intending to instill particular views in others. Despite this, many such pieces became timeless classics. Perhaps films should be the same.

Reflecting on her career, her first feature, "The Loveless," was an alternative vampire love story, a genre she didn't particularly like. But as a woman wanting to direct in Hollywood, she had limited choices. Subsequent films like "Blue Steel," "Point Break," and the recent "Thelma & Louise" were all infused with her intent, though not always successfully. The feminist awakening in "Thelma & Louise," for example, came more from the screenwriter than from her.

Thinking about Simon beside her, his films like "Run Lola Run," "Pulp Fiction," and even the commercially driven "Batman: Year One" all bore his strong personal touch. Viewers could easily remember these films and associate them with Simon Westero. In contrast, her own works were less likely to leave a lasting impression, aside from her being a rare female director.

Simon, noticing Katherine's contemplative expression, teased, "Feeling defeated, like life's a failure and not worth living? Come, my shoulder's here for you."

Katherine kicked him playfully, then asked after some thought, "What should I do then?"

"Find subjects you're truly passionate about. Even if you don't write the scripts, draft the outlines yourself and create something genuinely yours."

Katherine fell into deeper thought. She felt an unsettling realization that she didn't know what she genuinely wanted to make. She shuddered at the idea of facing her age, a topic she avoided in front of Simon.

Life's harsh realities had long stripped her of naive and simple dreams. She initially switched from fine arts to film, believing it could more comprehensively showcase her thoughts, thanks to a mentor's advice. Enthusiastically, she plunged in, only to face disillusionment. Most directors in Hollywood didn't direct their first film until after thirty, and as a woman, her path was even harder. Over ten years, she had only completed her debut, "The Loveless," in 1981, with little acclaim, followed by years of struggle.

How many dreams could withstand the test of time? How many people, like Simon, could emerge spectacularly, leaving the world behind? Pondering this, Katherine looked at Simon, shaking her head slightly, "I don't know what to do."

Simon, seeing her discouraged, pulled her feet onto his lap, warming them, "No one knows what to do at first. Only after seeing the world's flaws and having the desire to change them will you strive in that direction. So, take the next year or two to observe the world seriously. Find something you think people should remember or change, something that resonates with you personally. Then make that your next film."

Katherine remained silent, waiting for Simon to continue. He asked, "What do you think my life goal is?"

Katherine smiled slightly, "Janet said you want to rule the world."

"Did Janet tell you her dream?"

"Yes, to destroy the world."

"Well, it's impressive that you haven't killed me yet to protect humanity. You must really like me."

Katherine kicked him again, more gently this time. Simon massaged her calf through her

 jeans, "I'm actually very pessimistic about the world. I think humanity will self-destruct, and it won't take long. So, ruling the world is boring. Even if you achieve it, you can't control everyone's mind."

"Controlling minds? You're even scarier than Janet."

"When you have the capability and are used to it, certain things become mundane."

"Hmm?"

Sensing Katherine's growing confusion, Simon clarified, "You, unlike Janet and me, potential sociopaths, probably want this world, or at least this country, to get better. That's a common view for people who've lived in a stable society for long."

Katherine nodded, albeit finding it strange. Simon had used the word "Human." It could mean people or humanity, but "humanity" seemed more fitting, implying he wasn't quite human. After witnessing his extraordinary deeds, this seemed plausible.

Unaware of her thoughts, Simon continued, "So, take the next year or two. Don't rush into making another film. Observe the world carefully. Identify what you think people need to remember or change, something that resonates with you. Then, make your next film about that."

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