Note: Hello. Please remember that this is a translation of my work in Spanish. I apologize for any grammar or comprehension errors. Thank you for reading.
...
In an old neighborhood of apartment buildings in New Jersey, a pickup truck parked near a specific building. Matt got out and thanked the driver with a nod.
Matt took a deep breath. The air here seemed heavier, with a hint of smoke and gunpowder, which was unfortunate, but that was the reality. This was undoubtedly the best place to film the Joker movie.
Matt worked hard to get his agents to find practically the same filming locations from his previous life.
'The power of editing is incredible,' he thought. While the location was similar, it wasn't 100% the scene he had in his mind.
Work had only begun a week ago, led by Todd Phillips, assistant director, his second-in-command.
'Nothing post-production can't fix.' There was still a long way to go, so everything was fine.
'Let's get to it.' Throwing his cigarette to the ground, Matt entered the designated building.
As he walked through the aisles, he began to see the movement worthy of a film set. Assistants and technicians hurried back and forth, most not even acknowledging him, while a few others said a brief nod and continued with their work.
"Good morning, Director Goldman," another hurried greeting.
This is the difference between being among the general public and the working public in the film industry. While Matt is considered a star, these people are more concerned with keeping their jobs and salaries than chatting or flattering him, or any director or actor.
Amidst all this "controlled chaos," someone who finally had the obligation to follow him noticed him and almost ran up to him.
"Mr. Gold, I hope the trip was comfortable," she spoke hurriedly, her voice carrying a distinctive English accent.
"Thank you, Monica, everything is fine." She was one of the filming assistants who work for Dark Film full-time.
"Right now, Director Todd is making the final adjustments to begin today's shoot," she reported as she followed Matt closely.
"Excellent, and Joaquin?" Matt asked, curious about his friend's situation.
"Mr. Phoenix is in the department we designated for makeup," she replied without taking her eyes off her tablet.
"Take me there first," Matt ordered, and Monica, now admiring him, motioned for him to follow her.
After climbing a flight of stairs and a couple of doors further down the hallway, they reached their destination. Monica was respectful and knocked softly a couple of times before announcing Matt's presence. Although it was known that the two were friends on set, professionals knew how to give their actors their time, especially with Joaquin so immersed in his character.
"Come in," upon receiving the confirmation, Monica stepped aside and made way for Matt.
"Thanks, Monica, that's all for now," Matt said, closing the door after entering.
Inside, Matt stared at Joaquin, thinner than ever. Noticing Matt in the mirror's reflection, he gave him a somewhat sinister smile and slowly turned to look at him, his eyes deep and a hint of madness.
"Matt, why so serious?" his words were slow but mocking.
Matt stared into his eyes as if they were both in a duel. The truth is, he was evaluating this guy. Luckily, in this world, Ledger managed to move on with his life, partly because he never played this role. Matt wouldn't lie about having considered him for the role, but for the sake of both of them, he decided against it. The role was ultimately as intended for Joaquin, and Matt didn't want his friend to suffer too much by getting too deeply involved in the character, especially one so complex and with so many psychotic undertones.
In just a few seconds, Matt seemed to examine his soul from top to bottom. Perhaps thanks to the fact that this was his second life, or call it a sixth sense, the fact is that these things didn't escape his notice; luckily...
"Hahaha, you look like shit, bastard," Matt joked, noticing that everything was fine for the moment.
"And you're as handsome as ever," Joaquín replied, standing up.
The two shared a warm hug, and without moving away, Matt looked him in the eyes to continue the joke.
"I didn't know you liked that stuff. You'll make me blush," he whispered in a clear mocking tone.
"Move out," Joaquín smiled and pushed Matt out of the hug.
Matt sat down directly on the sofa and unceremoniously took out his pack of cigarettes, offering one to Joaquín.
"You took a while," Joaquín stated, lighting the offered cigarette with his own lighter.
"Marriage and business problems, you know how it is," Matt dismissed as if it wasn't something worth mentioning in their conversation as they exhaled a puff of smoke.
"Are you and Jessica okay?" But he pressed the subject, dismissing Matt's words as well.
"Yeah, he was upset that I hid my plans for this movie from him," he replied sincerely, shrugging his shoulders.
"Just because of this secret movie of ours?" Joaquín raised an eyebrow, not quite believing it.
"No, not just about this one, it was about all the ones that follow," Matt's answer was more than clear to his friend.
"Oh, you told him about that whole plan of yours then," Joaquín quickly understood.
"I told him everything. Fortunately, he forgave me after two hours and a trick up his sleeve." Matt smiled triumphantly, making Joaquín snort at his adolescent attitude.
"Although we're trying for a baby now." At these words, Joaquín looked back almost automatically, his expression puzzled.
"Matthew Goldman? The most acclaimed married man and heartthrob in all of Hollywood, a workaholic and a woman's leg addict, will have a baby soon... the world is going crazy." After a long list of titles and attributes, Matt almost smiled at Joaquín's joke.
"What can I say? I have to be a family man now," he replied, shrugging again.
"Besides, I said trying, not that I'm going to be one," he added, stubbing out his cigarette in an ashtray.
Joaquín smiled broadly and took a hidden bottle of whiskey from the makeup table to pour into two glasses. He took one for himself and handed the other to Matt.
"To Jessica, the best tamer in the world," Joaquín said, raising his glass to suggest a toast.
"To Jessica," Matt replied, and they both clinked glasses.
Matt downed the whole thing in one gulp, set the glass aside, and didn't drink anymore. It was fine for a toast, but he didn't like to drink much beyond that. He already had enough with cigarettes, and the fights with his mother over them, so why add alcohol to the equation?
The funny thing was that his mother thought it better for him to drink more often than smoke. Quit one of the two biggest vices in the world to embrace the other, which is tied for first place.
Matt was sometimes speechless. He often assumed this was the logic of "stressed" Hollywood stars. Most of them love to drink at parties and events, and even when they're going home from work. Anyway, to each his own.
Right now, he had more important things to think about.
"Everything's okay on set, right?" he asked, resuming the conversation with Joaquín.
"Better than I expected, to be honest. Todd is better than I originally thought," the actor replied, shifting in his chair.
"He's good. If he weren't, I wouldn't have entrusted him with this task in the first place." Matt trusted him; Todd was the original director of the play, after all. In this world or the past, there were always some unshakeable points, and these two's connection to the Joker script was one of them.
"Arrogant Matt, you made me remember the old days." At his friend Joaquín's words, he remembered when they were younger and Matt always acted like he knew the absolute truth.
"I'm closer to being a psychic than you think," Matt joked, although it wasn't that far from the truth.
"Hahaha, yeah, sure, praise be to you. But putting that aside, don't you think..." Just as Joaquín was about to continue the topic, there was a knock at the door.
"Mr. Goldman, Mr. Phoenix, everything on set is ready to begin," said the voice they both recognized as Monica.
Silently, they both looked at each other and understood that it was time to get to work, to create art.
"Shall we leave now?" Joaquín stood up.
"Behind you, dear star," Matt replied with a mock bow.
It was time to start revolutionizing the world of cinematic universes.
.
.
.
The day's filming officially began.
They were about to shoot a scene in which Arthur changes in the company locker room.
For this set, the neighborhood gym was transformed into Arthur Fleck's workplace; the impoverished theme was perfect with the appropriate decor.
Matt stood adjusting the secondary camera himself. Even though the scene was a fixed angle, it was always good to try other options. He had a certain pride and didn't want to do a 100% copy, at least of the staging.
Assistant director Todd Phillips sat in front of a monitor, watching Joaquín slowly remove his jacket and then the shirt he was wearing underneath.
Joaquín seemed to be immersed in the plot, even though the scene was simple. It was difficult, but he made it look like it was nothing special.
With his back to the camera, Joaquín couldn't rely on facial expressions to convey emotion.
How would he project Arthur's crushing loneliness with just his back and silhouettes?
Truth be told, Todd Phillips was very curious; he knew that a scene without expressions was often more complex since the actor had to show everything with his body.
Joaquín finally went shirtless, revealing a skeletal figure. The crew gasped internally. Watching him take off his clothes made them realize how drastic the 15-kilo loss was for a man of his build.
Matt was pleased with what he saw. Putting down his camera and standing behind Todd, he had a clear view of the frame on the monitor. It was simply fantastic.
Phillips's eyes were glued to the monitor. Joaquín slowly turned, walking to a narrow bench and sitting with his back to the crew.
Feigning a stretch with his arms crossed behind him, his shoulder blades prominently protruding, his body twisting to reveal prominent ribs and a hunched posture, the shot was a work of art in itself.
Matt glanced sideways at Sher, the cameraman, who was intensely focused, his camera in hand.
The scene was brutal. To say so much without music, without dialogue. Yet, a raw and desolate loneliness spilled out, enveloping everyone on set.
Phillips's eyes widened, and he took a deep breath. This is unreal. He'd worked on documentary films with unacted, unfiltered scenes, and this shot felt like one of those occasions.
In a corner of the room, Robert De Niro, who initially didn't have a particular fondness for Joaquin, had to admit that the man was dedicated to his work. The emotional leap was astonishing, and in terms of raw ability, he had to admit, given what he'd seen this week, that there wasn't much difference between the two in terms of acting and dedication.
Matt, leaning on Todd's shoulder, watching live for a second and then on the monitor for the next, finally straightened up.
"Cut, two-minute break," with his words, everyone snapped out of the fantasy and back into the real world.
At the end of the performance, Joaquin Phoenix did something even more astonishing than the performance itself, for some. The guy sat there for a moment, then effortlessly slipped out of character, as if it were an automatic switch between character and reality.
"Well done, Todd." Matt gently patted his assistant director on the shoulder and gave him a knowing smile, although inside, Matt's heart was a little dark.
Just before filming began, a simple phone call had ruined his mood a bit—one more problem to solve. Perhaps starting this whole project in secret was a mistake.
Too much hasty planning, although on the bright side, he no longer had to rush things.
In his past life, controversies had been good for the film's box office; he hoped it would be the same in this world.
.
.
.
In the afternoon, after a quiet stretch of filming, Matt decided to step away from the crowd and have a heart-to-heart with Todd Phillips.
Two blocks from the rented building, there was a typical coffee shop, with fries and coffee that was too light for his liking.
In Los Angeles, things had gotten complicated. He hadn't even had a busy day, and now he had to make a decision. The news that the Joker was on the move and plotting something with the DC superheroes spread faster than he thought.
"This coffee is awful," he couldn't help but mutter, getting a laugh from Todd at his sincerity.
"That's what these restaurants do, but I admit I like it this way." Trying to get the conversation going, Todd was the first to break the thin ice.
"So, my friend, aside from movies, your other tastes are horrible," Matt joked, not hesitating to play along.
As usual, Matt was smoking with his left hand while with his right he drew the Bat logo on a napkin.
"I'm sure you've heard something on the news," Matt asked, looking up and putting his pen aside.
"Yeah, you have to give them points for creativity. I wasn't expecting a headline like 'Too Psychopathic Even for Matthew Goldman.'" Knowing the personality of the man in front of him, Todd decided not to be too polite; he preferred it that way.
"Yeah, that one in particular hurt a little, although I also felt a bit of pride." Taking another drag, Matt smiled and proceeded to color his drawing.
Todd looked at what he was doing and had to admit he liked it. Not too classic, but not extremely modern either. The Bat logo would always be the best.
The news was talking about two supposedly leaked scripts written by Matt, one of them featuring the Joker, criticized for being too psychopathic and dark; And the Batman one was so bad that Christopher Nolan rejected it after reading just the first three pages of the script.
To this, Todd could only agree with the first point and prefer not to talk about the second. He doubted the bad script was real, but he couldn't do much about it either.
"Todd, I don't think I've ever told you why I chose you as my assistant and co-director for this project," Matt said, suddenly turning serious, surprising Todd with his sudden change of attitude.
"No, you didn't. I didn't ask either, and you didn't ask me why I accepted when everyone obviously thought it was the wrong decision." While he was surprised, he knew how to handle difficult situations, and this wasn't one of them. He felt more like he was taking an exam to which he already knew all the answers.
"So I think we're even, though I can tell you the story if you want." He adapted very well to Matt's style. While Matt was a little older, the man in front of him was a living legend barely his age.
In Hollywood, no matter how much pride and strong personal identity most claimed to have, the biggest fist made the law.
Matt had a brilliant mind, and his talent wasn't limited to film. He wasn't one of the richest men in the world because he was lucky and a good director; that was simply impossible.
"You're a smart man, and well, you're a good man, Todd." If there was one thing Matt knew how to do, it was recognize his own, the souls that strived more than the body.
"You too Matt, even if the gossip tabloids haven't gotten any dark stories out of you I can see that you're one of us, like Joaquin, like me" this was probably the first really serious and no-mask conversation the two of them had.
Matt smiled proudly without saying a word. It was a blessing to have another brother. The next step required it to be that way between the two of them. Historically, it was common knowledge that Matt preferred to leave one of his stories aside rather than give a very few the pleasure of telling them. In the past, a couple of companies had experienced this firsthand.
Matt knew he wasn't wrong with his past choice and with this future choice.
"Blessed be the day I decided to look for him," Matt thought as he put out his cigarette.
As for the "why?" Todd Phillips had accepted this, being already an established director in Hollywood... only he himself knew the exact answer, but Matt also had his own conclusion about his decision. As soon as he presented the proposal and the script to Todd, he had an almost immediate connection. He loved the story. Matt also knew well that Todd wanted to be more than just a renowned comedy director. You only had to watch the documentaries at the beginning of his career to know what this man was truly after.
"In Los Angeles, my presence is necessary, obviously for business. I thought that for this project of mine I could be more discreet at the beginning, but now I see that I must start strong."
"I'm a little disappointed that I can't continue in person, but I know you can do well." From his suitcase at one side, Matt pulled out a piece of paper and placed it in front of Todd along with his pen.
Todd looked at the paper in front of him; just by skimming it, a sincere smile of excitement formed on his lips.
"Matthew... Are you sure... "This?" he asked, unable to hide his excitement, his eyes shining but also carrying a hint of concern.
"This could be one of the most important works of your life," he continued, still looking Matt in the eye.
"Todd, I'll just ask you two questions," Matt exclaimed, without breaking eye contact, drumming his fingers on the table.
"It's like you saw on the news, this film has just begun and much of its preparations were done quietly, and yet it already has strong opposition from the media, especially Disney and old rivals."
"The Joker is more than just a movie; it's the gateway to a world of billions of dollars, with a very delicate balance between art and commerce."
"The first question is... Are you willing to bear the weight of this film and what it represents?" With just words, Matt placed a heavy weight on his newest brother's back.
In his seat, Todd looked at the paper contract in front of him and the block it represented. He raised his head. He looked at him and noticed that Matt hadn't taken his eyes off him.
He was nervous, he couldn't deny it, but there was something about him, something about that man in front of him, and above all, something about this movie that made all his doubts seem insignificant.
Todd, with renewed determination, looked back at Matt and nodded.
"What's the second question?" he challenged Matt directly this time.
"Hahahaha," Matt, unable to contain himself any longer, laughed.
"The second one's easy," he commented, leaning back in his seat.
"Do we need a lawyer to get you to sign, or can you sign a paper yourself?" Obviously, Matt could never remain too serious for long.
Todd smiled helplessly, took the pen in his fingers, and after about five minutes of silent, boring reading for Matt, quickly signed each sheet.
"Okay, congratulations, Todd Phillips, you're officially the director of Joker." The first movie of my beloved DCU" Matt raised his coffee cup and proposed a toast, to which Todd responded without hesitation.
...
Note: While writing this chapter, I realized something. I think I have good ideas, but I don't know how to execute them fluently. It's difficult for me to write on my own, but this story and I have a duel pending, and I'm not going to let it win.
Note: For the same reason as the previous note, I decided that the protagonist of the story will manage and direct the entire DCU as a whole and not as a film director directly. What do you think about this?
Note: In case anyone still isn't clear, this story is based, almost purely, on my vision for creating a DCU, so the best chapters, in my opinion, will be the chapters of the "premiere" of each movie or the premiere of the series in this universe, since they will be as detailed as possible. After all, the fanfic revolves around that.
Note: Thanks for reading. I know the posts are a bit long. cap, if it's annoying I can correct it and make shorter caps, although of course there will be more since it's basically dividing the chapter I wrote into two.