In the process of assembling a luxurious new film crew, Duke reached out to Victoria’s Secret Angels—not for the small-scale production Critical Emergency, but for The Lord of the Rings trilogy.
This fantasy epic features elves, a race known for their delicate and ethereal beauty. Duke not only invited linguists from the United Kingdom to specialize in Tolkien’s Quenya language but also sought numerous strikingly attractive men and women to portray the elves.
The casting team was actively scouting in New Zealand and Australia for suitable models, but in terms of quality, the Victoria’s Secret Angels were undoubtedly the best.
This was merely a simple cameo appearance, a mutually beneficial collaboration in Duke’s eyes. The film would gain promotional buzz, while Victoria’s Secret could leverage Duke’s reputation and the movie’s eventual success to expand their influence.
As a major shareholder of Victoria’s Secret, Duke personally called Sharon Jester Turney, the brand’s CEO, after Tina Fey made the initial contact. Their communication was remarkably smooth, reaching a consensus in no time. At an appropriate juncture, Victoria’s Secret executives would orchestrate a high-profile gathering of their Angels in New Zealand.
However, before finalizing Critical Emergency’s cast, Duke concentrated on locking in the main actors.
Gerard Butler had attended two auditions, and Duke decided to cast him as the complex character Emil Decebal Matasareanu.
The other robber, Larry Eugene Phillips, also had a fitting candidate: a British-born American actor with a rugged appearance and a distinctive receding hairline. Though his acting wasn’t exceptional, his strong physique and sharp features exuded a menacing aura.
After the audition, Nancy Josephson, who had flown to Wellington specifically, handed Duke the actor’s profile. "He initially started as a diver and even won a World Diving Championship."
Knowing Duke’s preference for physically fit actors, she was well-prepared.
"He was part of the British diving team for 12 years before transitioning into modeling. He has good camera presence and some acting experience."
Nancy closed the file and added, "He appeared in Guy Ritchie’s black comedy Lock, Stock, and Two Smoking Barrels this year, performing quite well."
"Have you seen that film?"
Duke shook his head, prompting Nancy to smile. "I made sure to bring a copy along. You should watch it when you have time. Jason’s—"
"No need, Nancy." Duke interrupted her. "Jason Statham meets my requirements. You can negotiate with Dario. Don’t get too greedy."
"You know my style," Nancy replied with a broad smile. "I believe in his potential."
Switching off the camera monitor, Duke exited the audition room first, heading toward the office area on set. Nancy Josephson followed closely behind.
Although Duke wouldn’t entertain any agency’s bundled actor strategies, he naturally prioritized actors recommended by his team, especially when the conditions were comparable. In Hollywood, mutual interests form the strongest bonds.
Prioritizing one’s own people is standard practice for all Hollywood directors and producers.
"I heard you’re looking for someone to play Liam Neeson’s character’s daughter?"
Walking beside Duke, Nancy asked, "Any promising candidates?"
"Not yet." Duke frowned. "The actress needs to be between 15 and 18, and the role requires some acting skills. There are very few girls in that age range with standout talent, and those who do are currently unavailable."
This wasn’t a simple eye-candy role. Liam Neeson’s character, Michael, is a father, and his family forms a central part of the narrative. The emotional bond between him and his daughter carries significant weight. This role couldn’t just be handed to a random actress.
In truth, among 16 to 18-year-old actresses in Hollywood, only a handful excel in acting: Christina Ricci, Kirsten Dunst, Natalie Portman...
But none were available.
Since last week, Duke had auditioned several young actresses, but none met his expectations.
One of the more striking candidates, recommended by Ino Martin, was Jessica Alba. While her looks were decent, her complexion and acting skills didn’t fit the role.
Especially her complexion—it was clear she was of Latin descent. Standing next to Liam Neeson, it would be impossible to convince the audience they were father and daughter. Moreover, as per mainstream Hollywood norms, an important character in this storyline needed to be a traditional white figure, not a Latina.
Don’t underestimate the importance of ethnicity and complexion. Even for decorative roles, they make a significant difference.
Duke asked Nancy, "Do you have any recommendations?"
Nancy shook her head helplessly. "A large-scale open audition might uncover some hidden gems, but if we’re sticking to known names, you’re right—there are only a few suitable candidates."
"If no one suitable turns up," Duke said with a hint of frustration, "then we’ll hold an open audition."
"I’ll try to help once I’m back in Los Angeles," Nancy replied.
Following Duke into an office, Nancy sat near Tina Fey’s desk and said, "I’ll do my best to help you find someone suitable."
Duke nodded, then remembered something. "What about the female lead? You said you had someone in mind for me to consider."
"She’ll arrive in Wellington this afternoon." Nancy flipped through her files. "I wanted you to meet her first."
She handed Duke a profile and continued, "She’s a British actress who studied at Oxford University. She’s been acting in films since 1993 and is willing to play the role of a mother."
Duke glanced through the profile. "She’s a bit young for a mother role. She’s okay with it?"
"I’ve already explained the situation to her, and she doesn’t mind," Nancy replied earnestly. "You underestimate how much the name ’Duke Rosenberg’ appeals to actors aspiring to fame."
Closing the profile, Duke didn’t comment further. Roles like playing a mother in Hollywood movies often stand out, but young actresses typically avoid them.
In this industry, catering to mainstream audiences is crucial, leading to various taboos. For example, while racial discrimination exists in society, casting a Black actor as the primary antagonist in a film could spell disaster. Similarly, children cannot be shown firing guns on screen without severe age restrictions like NC-17.
Likewise, actresses who take on the role of a mother to older children often struggle to land romantic lead roles afterward—a sort of unwritten rule.
For female stars, romantic leads often command the highest paychecks.
In this instance, the daughter for the mother role had already been cast. A Canadian agent from ICM recommended an 11-year-old girl from Canada. Despite her age, her appearance was peculiar—she looked more like a seven- or eight-year-old, possibly due to stunted growth.
By the afternoon, Duke met Nancy’s recommended actress in the audition room. Her acting skills were decent, not extraordinary. However, her role wasn’t particularly demanding, and she had some experience and a solid foundation. Combined with her affordable fee, Duke decided to cast her as the mother.
For the next few days, Duke remained immersed in auditions, balancing work on both Critical Emergency and The Lord of the Rings. He found himself constantly shifting between the realms of fantasy and realism. Simultaneously preparing two films was a grueling task, pushing him to the brink of exhaustion. ᴛʜɪs ᴄʜᴀᴘᴛᴇʀ ɪs ᴜᴘᴅᴀᴛᴇ ʙʏ 𝓷𝓸𝓿𝓮𝓵⁂𝓯𝓲𝓻𝓮⁂𝓷𝓮𝓽
Fortunately, Critical Emergency was a small project. Otherwise, the workload would have been overwhelming, possibly leading to burnout.
Human time and energy are finite. Directors cannot detach themselves from pre-production responsibilities. Even though The Lord of the Rings had Charles Roven and Zack Snyder managing its overall progress, Duke still felt the strain.
This dual-production workload left Duke determined: this would be the last time he attempted to juggle two projects simultaneously. Unless absolutely necessary, he vowed never to repeat this grueling process.
The only solace he found was that years of collaboration and shared success had forged a deep bond of mutual interest between Warner Bros. and himself. This major Hollywood studio placed unwavering confidence in him, providing robust support for both The Lord of the Rings trilogy and Critical Emergency.
Moreover, his team’s seamless coordination played an integral role. Their synergy was a critical component of Duke’s success. Anyone familiar with filmmaking understood that creating a blockbuster required far more than a competent director and a solid script.
After another week of auditions, Duke finally secured the sixth and final principal actor for Critical Emergency: Liam Neeson’s on-screen daughter. She came recommended by a friend of Nancy Josephson and had appeared in I Know What You Did Last Summer the previous year.
Admittedly, her acting was only adequate, and her age leaned toward the upper end of the desired range. However, the difference between a 16-year-old and a 19-year-old white actress wasn’t substantial. With makeup and camera tricks, any issues could easily be resolved.
With that, all six of Critical Emergency’s lead actors were finalized. Reflecting on the cast with a future-oriented perspective, Duke realized the lineup was impressively star-studded.