F.F. Moses was on his way to meet Sam, one of the directors he worked with when he was in the industry. Sam had explained who Ian was over the phone and this was the first time Moses actually listened to Sam without rejecting her offer within the first two sentences. It wasn’t a personal relationship, Moses always treated Sam like his own daughter and Sam so badly wanted Moses to get back into directing knowing how skilled and experienced he was.
[During the call]
“You tell me that I might want to see the script every time you call me, Sam,” Moses said over the phone.
“Yeah, I know. But this one is different, Franklin. This is from Ian, Ian Renner,”
“The new director?” Moses asked right away.
“Yes, him. He was a director but he is looking for someone to direct his newest script now. And for some reason he is not directing it, maybe something that has to do with his other plans. Either way, this might be a great chance. Because even you know how good his scripts are, and you are one of the best directors I know. Please, can you say yes to this one?” Sam was silent for a while. “I truly want director Moses to do a great hit before retiring, Marles would have wanted that, too,” Sam continued.
“Listen, Sam. The reason why I haven't been directing isn't because something unfortunate happened, but because I haven't found a script writer that is as good as Marles in a long time, and I can’t really get myself into directing if I don’t have a nice script that I can get behind, we both know how eager every producing studio is to have me, it is just a matter of a good story,” Moses explained himself.
“Yes, but you might want to read this script, it has its own backstory, too. I’ll send you a pdf right away, you’ll get the physical script once you are here, let’s both go and meet him, I’m a huge fan already,” Sam said and laughed.
[present]
Just like that, Moses was on his way to meet Sam. Going out for something related to his own work gave a nostalgic thrill to Moses. Of course, during the two years, he had made visits to different sets and helped his friends here and there. But his own project sounded good to Moses. For starters, he was trying to direct a movie again anyway.
Moses was stuck in traffic, and he knew the traffic would be there for a few more minutes. Because of his inner excitement, he took his phone and started reading the script again from the beginning. Unlike some newbie script writers, Ian had done a great job in executing his ideas. The dialogues seemed to be on spot and were totally relatable and perfect for each character. That was something people who were new to the industry didn't do a lot.
Letting out a sigh, he looked at the road in front of him and noticed people being busy with different things. The driver to the left was on his phone, scrolling down social media and liking pictures of strangers. The driver to his right was almost asleep yet trying hard to keep up. For a brief second, he felt as if the world was running too fast. He sighed and smiled at himself thinking, things would be fine for him, soon.
[...]
After reaching Ian’s office with Sam, he was given a thick paper set which had “Green Book” written on the front page. Moses touched the front page and knew it would be great if the young director was a wonderful man too. It was because personalities affect a lot when it comes to making deals in Hollywood.
“Mr. Moses and Ms. Sam, you can meet Sir. Ian now,” Murphy the assistant said with a polite smile.
They both went in and greeted Mason and Ian who were seated in the conference room. Looking at Ian, Moses felt that he was a nice guy from his first impression. A good smile, with a nice suit, and even from the way he shook hands, it was professional.
If you spot this narrative on Amazon, know that it has been stolen. Report the violation.
“I’m so glad to see you here sir. It’s such a pleasure to meet you finally, how have you been?” Mason started the talk because Moses was such a huge director two years ago.
“The pleasure is all mine, and I’m very delighted to see young Renner like this. Two successful movies, and so many plans. I see such a bright future, Ian,” Moses focused on Ian Renner solely. “Mason, how have things been going for you?” He then questioned Mason.
“Things have been pretty fine lately. With Ian handling the studio on his own, I don’t have much to do but help him. It has been such a relief and a miracle, also, I definitely must say, this visit of yours is also a miracle to everyone who knows you,” Mason said with a grateful smile.
“Haha, thank you. Your words are as kind as ever, Mason. I remember meeting you in 2015, at the award ceremony, even back then, you were such a nice person to interact with,” Moses said, taking Mason by surprise.
“I- I didn’t think you would still remember it. Henry was a huge fan of you and the last movie you directed, Friends To Last. It became such a huge hit, so, we had always wanted to meet you in person, the awards were the perfect place. And to think we are finally working on a project together, such a small world,” Mason said.
“And a small life, Mason. I want to ask Ian a question, son, what was your prime reason behind writing Green Book?” Moses questioned Ian who was looking at the two people catching up on the good ol’ days.
“Hmm… The thing is, I was accused of active racism, which I wouldn’t even dream of doing. But, well, we all know how things go here, you find one bad thing, competitors create massive rumors to halt your success in any way possible. Because of all of that, the idea of the script came to my mind. Although I proved them wrong already, I felt as if the story shouldn’t go down the drain. In fact, this is a huge contribution to the black community,” Ian completed stating out his reasons.
Sam was looking at them silently and from time to time she kept checking her emails because she was a busy worker career-wise. This little trip wouldn’t have been made if it wasn't for Moses and considering how busy the times were.
“That’s very thoughtful of you, son. You don’t mind me calling you son, right?” Moses asked with a smile. The wrinkles of his face moved while he smiled but Moses looked like a pleasant old man nevertheless.
“Of course, why would I?”
“I love the idea actually. It has been so long since I felt the excitement to work on a project and I’m glad it’s this. I read the script and I will read it again from the papers here, because the papers do a much better job than the screen. Why don’t you explain the whole story in your words to me, Ian? I would love to hear them, coming from the sole owner of the idea,” Moses asked.
It was natural for a director to want to know the ideas and initial intentions of a script writer because knowing the story can be perspective-wise. At the moment, Moses was so engrossed in Green Book and ready to go through any procedure to get his hands on the project. As for him, his comeback in his career started the moment he walked through Ian’s door.
“Okay, since you already read the script, I’ll give you a quick summary from myself. Green Book goes back to 1962. The story will be about Dr. Shirley and Tony Lip. Who are from two totally different worlds. Dr. Don Shirley is a world-class African-American pianist, who is about to go on a concert tour in the Deep South in 1962, back to where it all begins. In need of a driver and protection, Shirley recruits Tony Lip, a tough-talking bouncer from an Italian-American neighborhood in the Bronx. So the story is how regardless of their differences, the two men soon develop an unexpected bond while confronting racism and danger in an era of segregation. In the story, they were provided with a little vert guide book for visitors--The Negro Motorist Green-Book. So, before endless kilometers of unfriendly territory, a single man chooses the hard way for the sake of progress. The question is, can a single person make a difference?”
Ian explained the entire story with short breaks in the middle and got nods and hums from the two visitors and Mason. Ian felt how much of a good movie this would make, even while explaining the plot.
“And, if you direct this, all the profits will go into charity, or we can agree upon something you want. It’s your wish because I really want you to work on this, sir.” Ian said and continued to be respectful of an experienced director.
“Yes, son. Thinking of it, this project wasn’t for money. Your script actually reminded me of Marles. How good and original his plots were, his writing… How it was suitable and timeless. That actually is something you are blessed with, Ian. I’m more than pleased to work on this,” Moses said, securing the deal with his words.
“Yeah, what do you think about the charity part?” Ian questioned.
-