One month later, accompanied by Shelly, Irene entered the conference room at American Zoetrope, the Coppola family’s production company, to attend the pre-production meeting for Legally Blonde.
"Irene, this is Jack Harris, the assistant director for this film." Jack appeared to be in his early thirties. He wore a black suit and tie and had a reserved manner, unlike many directors.
"Hello, Irene. Please call me Jack. The script is strong," he said, standing to extend his hand.
"Hello, Jack. Thank you. I look forward to working together to make a successful film," Irene replied, shaking his hand.
"We will," he said.
Several other core crew members were present. Francis introduced them individually. Irene was there to meet her future collaborators and to finalize contract details.
"Because this is your first feature, you should understand certain procedures personally. Afterward, your agent can manage them," Francis explained.
"Your director’s fee is two hundred thousand dollars, paid in three installments: fifty thousand before principal photography, one hundred thousand upon completion of filming, and the remaining fifty thousand after the North American theatrical run."
This was standard practice, which Shelly had already outlined, so Irene had no objection.
Francis then summarized the director’s rights and obligations. The detailed terms would be drafted by Shelly and Francis and included in the contract.
As with most first-time directors, Irene had input but not final authority. Major decisions remained with the producer.
"Of course, since the project originated with you, you may also participate in editing." This was an element Francis had secured for his daughter.
With him overseeing, no one objected during the discussion.
When the explanation concluded, Francis presented the formal director’s contract. Irene reviewed the additional clauses. The profit-sharing arrangement they had discussed was included. She signed.
The contract had been reviewed by multiple parties. They assumed that after theater and distributor deductions, remaining profit would be minimal. The provision was viewed as a gesture from father to daughter, so no one opposed it.
Even Shelly Ovitz, involved in the drafting, did not consider it significant. He did not believe Irene could deliver a major success at this stage. If she could, most working directors would be out of work.
None anticipated how the clause would be viewed a year later.
"Who is my producer?" Irene asked after signing. The other department heads had departed to begin work. She realized Francis had not identified the most critical role.
"I am," Francis said.
Irene looked surprised. Since Bram Stoker’s Dracula, her father had not directed or been closely involved in production for nearly six years. Even Sophia’s debut had been managed by Aunt Julie.
"Surprised? Did you not want me as producer? I expected some would question whether I was actually directing, or claim favoritism, but—"
Irene embraced him before he finished. She understood the concern behind his decision.
"All right. I will perform the duties of a producer only. The film remains under your control. Are you confident?" Francis asked, patting her back.
Irene stepped back, met her father’s eyes, and answered, "Yes."
Francis saw in her eyes the same determination he had possessed.
"The story takes place primarily at school, the protagonist’s home, and a courtroom, so locations are manageable. Personnel are currently scouting sites. Do you have preferences?"
"Our school would be suitable," Irene said, thinking of USC. In terms of aesthetic and accessibility, it was an optimal choice.
"I will arrange for someone to contact them. I intend to assign the score to Skywalker Sound. Lucas will ensure his team cooperates. This film requires minimal visual effects, which reduces costs. Any other requests?"
Irene considered. "Can the film be released next summer? If so, please have someone obtain additional Britney posters from Jive. We need to establish realism, so the story feels immediate to the audience."
"No issue. Those are simple to arrange."
"What about casting? I have authority over casting, correct?" She thought the original lead had performed well and saw no reason to change unless necessary.
"Of course. We will respect your decisions. Do you have recommendations?"
Irene paused but did not name the original actress. In Hollywood, no role was irreplaceable, and another performer might be suitable.
"No specific names, but I have one criterion."
"Which is?"
"I want the cast to be attractive."
Francis laughed. "Understood."
During the next month, Irene completed most of the film’s storyboard sketches while attending classes. Pre-production advanced steadily. Filming dates and requirements had been arranged with the university, which supported student projects.
With her father’s support, matters proceeded efficiently. Casting soon began.
Before auditions, the team convened in the production’s temporary office for a preparatory meeting.
After the assistant distributed coffee, Shelly handed a stack of resumes to Irene.
"These are young performers represented by CAA. Do you see any potential candidates?"
Irene reviewed them. The first was Reese Witherspoon, the original lead, who was currently a promising talent at CAA. The others did not stand out, so she selected a few based on appearance.
Aside from Reese, she chose several with suitable looks and returned the rest to Shelly.
"Do you have recommendations for other roles?" Irene asked.
"I received several submissions," Assistant Director Jack said, presenting additional resumes for male and female actors.
Roles in Hollywood were often secured through connections. Without representation, performers did not know where to submit materials.
She reviewed them and selected a few more actors who seemed appropriate.
Projects such as this rarely attracted established performers.
It was not as artistically prestigious as Sophia’s work, nor as commercially prominent as a Lucas production.
The entire film, from director to screenwriter, was Irene’s responsibility. Even Francis’s reputation among younger audiences had diminished.
The crew consisted almost entirely of Coppola affiliates. Externally, the project appeared unlikely to succeed.
Even CAA’s standard packaging approach was not applied, because Irene lacked recognition.
Consequently, most actors with established careers declined to audition.
Logically, an actress like Reese Witherspoon, whose career was advancing, would not appear on this list.
She was with CAA, had read portions of the script in advance, found it interesting, and indicated to the agency that she would audition.
This was common in Hollywood. Performers concerned with their reputation avoided projects perceived as unsuccessful.
Observers were assessing the film’s prospects based on conventional criteria.
But Irene had an advantage others did not know about.