Throughout the presentation, the representatives from the production team transitioned from initial skepticism to attentive engagement.
One individual picked up the sketches, which included shot durations, transition methods, and lighting notes, and examined them carefully.
Francis experienced a degree of pride he had not anticipated. Irene’s performance exceeded his expectations.
"How do you intend to manage the blocking for the wide-angle shot of the hallway group dance?" Director Edward Nelson asked. His tone remained formal, but it contained genuine inquiry.
"I have pre-designed the choreography and referenced group sequences from several classic musicals, with the goal of balancing movement and spatial composition," Irene replied. She produced a blocking diagram she had prepared in advance.
She had viewed this music video more than twenty times in her previous life. Even without the "internal cinema," each frame remained clear in her memory.
"Regarding the costumes," another executive began.
"I believe that will not present difficulty for Jive. The garments are common, and an assistant costume designer could execute them," Irene answered without hesitation.
Britney, who had been observing anxiously, was now absorbed by the materials.
She took Irene’s arm, her voice excited. "This is exactly the image I envision when I perform the song. I love this concept. May I actually wear this to dance?" Her enthusiasm influenced the room.
Producer Karl smiled for the first time during the meeting. He looked at Edward Nelson, who provided a subtle nod.
"Miss Coppola," Karl said, his tone more amicable, "you have demonstrated creativity, an understanding of the project’s requirements, and considerable attention to execution. You have persuaded us."
He turned to Shelly. "My assistant will contact you tomorrow morning regarding the contract. We need to proceed to production as soon as possible."
The atmosphere in the conference room changed, and discussion became active.
The meeting, scheduled for forty-five minutes, continued for nearly two hours as participants discussed how to implement the details from the materials.
After the meeting, Britney embraced Irene. "We are really going to do this together."
"That is correct. For you, this is your debut music video and it is essential. For me, it is my first work and equally important. Let us ensure it succeeds." Irene returned the embrace. She intended to assist Britney in obtaining the Best New Artist award that she had not received previously.
Shelly observed them and spoke quietly to Edward Nelson as he departed. "It appears the decision was correct."
Edward Nelson paused and looked at Francis, who was carefully collecting the manuscripts. He said quietly to Shelly, "You may have secured a significant talent. You understand my meaning."
Shelly regarded the two young women, who were still conversing. "Perhaps two. Is Britney’s management contract still with you?"
"Then we should discuss that further."
Hearing her friend’s excitement and observing the sunlight outside, Irene recognized that her first step had been successful.
After the meeting concluded, no one remained long. Britney had training obligations. With the music video approaching, she needed to learn the choreography quickly.
In the car, Irene’s tension decreased. Despite her composed appearance during the meeting, she had been apprehensive and had maintained a controlled demeanor.
With only her father present, she could relax.
"I did not know your storyboards were so detailed," Francis said. His tone conveyed pride and satisfaction, with a trace of wistfulness.
"I am not yet at your level," Irene replied. She had seen her father’s boxes of manuscripts since childhood, some used and some discarded.
"You are more advanced than your mother and I were at seventeen. By the time you reach our age, your accumulated work will likely exceed ours."
Irene leaned forward and embraced her father. "That is because I have you both. You are my foundation. I was concerned about performing poorly in front of you."
"You will not, child. These," Francis held the folder, "are your true foundation. If you prepare to this degree for each project, or more, success will be more attainable."
"I will, Dad. Is that not our family practice?" She was grateful to have been born into this family, which allowed her to address the limitations of her previous life.
The next morning, before ten o’clock, Shelly Ovitz arrived at the Napa Valley estate.
In the garden, he wore a professional suit and appeared alert, though incongruous with the setting.
"You look well today," Irene said, handing him a cup of black tea with limited enthusiasm.
"You do not need to offer insincere compliments when we meet. Your director’s fee is ten thousand dollars." Shelly produced the contract negotiated with Jive. "Given your lack of practical experience, the company will pay five thousand dollars initially, with the remainder upon completion of the music video."
Irene understood this was standard practice. "That is acceptable."
Shelly then outlined the director’s rights and obligations. She would not participate in early preparations; she would join once the location and personnel were arranged.
As an external director for a single music video, Jive’s team would manage the preliminary work. She would await notification.
Irene reviewed the contracts Shelly provided. The final document was her management agreement with CAA.
Neither raised objections. Irene was satisfied with Shelly’s efficiency, and Shelly acknowledged Irene’s directorial ability. There was no reason to delay signing until after the music video aired.
The contracts would be reviewed by the Coppola family’s private attorney. For now, she examined them briefly and set them aside.
Shelly did not remain long after finishing his tea. He intended to negotiate for Britney next. That would be more challenging, as her parents were more difficult to engage than the Coppolas.
After the attorney verified the documents and the contract was signed, Irene chose to report to Jive daily, although they had not required it.
Even though it was only a music video, it was her first project. She wanted to observe its development from conception to completion.
Within ten days, personnel for cinematography, set design, lighting, costumes, makeup, and art direction arrived. They constituted a professional crew with an established history of collaboration with Jive.
The team selected a filming location: a small classroom building at the Warner Bros. Studio, frequently used for low-budget youth productions.
Before filming commenced, Irene rented a small apartment in Burbank for one month. It would serve as the temporary preparation office for Britney’s music video and as her base for refining the script and storyboards.