Most of the time when sorting through my email, I don't really think the news items people occasionally submit in are at any rate worthy of posting.

"While it’s more of a hush-hush thing right now, what I can tell you is that Charlie’s (Kaufman) got a really ingenious idea brewing up; think Malkovich with a slight touch of Adaptation. It’s a really weird and different concept, but our early contestant for leading man is Jim Carrey. Charlie and James met over a weekend at Carrey’s cabin to discuss the specifics and he’s (Carrey) literally blown away; this is like nothing he’s ever heard of before. Where our two films (Being John Malkovich and Adaptation) were skewed to more of an art-house, intellectual audience, Charlie’s got a great idea that will angle the demographic to more of a universal edge. I think those who were turned off by those two works are going to be real surprised with this.

The only thing is that Warner Bros. is hesitant if I can operate such a production, as I haven’t done anything to this scale. I mean, we’re talking something that could be blockbuster status. Charlie doesn’t ever write material this mainstream; he aims for a very specific audience that you don’t find at your average multiplex. And this is like a classic example of a cross between mainstream and art-house; the concept is so out there yet so very creative, but has a twist of every-day cinema to it. It’s hard to get my point across without mentioning the plot, but I could get in trouble if I do so.

But they (WB) sort of want me on the project because they know I can direct. It’s not self-glowing or anything, as that’s pretty much the situation. It’s one of those story ideas where if you don’t have the ideal talent handling the project, there’s just no point in risking it all. They were thinking about going to either John Woo or Christopher Nolan, as both have a good visual sense as the movie needs, but both are swamped. But really, I don’t think Charlie’s ideas concur with their filmmaking motif. The script is like Malkovich with about fifty times the amount of fantasy to it, and heavily requires the protagonist actor to be able to…well, morph, if I can use that word.

It’s the type of role that could either make an actor huge if executed properly or if already famous like Carrey, it’s just going to build tremendously onto the current status of his career. The movie is such a huge risk being that we’re crossing two different moviegoing territories (mainstream and art-house), but if we can pull off the film as wondrously adventurous and fantasy-like as Charlie’s early ideas appear, we’re talking about a film that could change the way we look at cinema.

Visual effects and acting wise, I know the new Matrix will have a good shot at winning honors in that field or at least as visuals go, but here those two components are going to be so trippy that it’s literally going to be like no film we’ve seen before. I know that comes off a little bias, but I’m never been as confident about any idea I’ve produced as I am with this. And the thing is, budget wise it’s only going to be roughly $30 million or so; but with the technological techniques we can bring to life here, god damn is all I have to say (laughs).

And with $30 million, Carrey’s gonna have to take a major cut in the pay and he’s willing to take the sacrifice, which already is just mind-blowing. The role is going to be so demanding both psychologically and physically that it’s one of those few times where such a high paid salary would be worthy, but here it’s just not going to be an option. Jim’s just a very good sport, and if we can get this idea to go through I think it’s going to be the role that fans look back on thirty years from now.

I’d hate to reveal anything, but the script would carry such a climactic twist to its formula that (M. Night) Shyamalan is considering to executive produce to give me a boost of recommendation as director. And I don’t know if you know Night, but he doesn’t executive produce; he writes his material and directs it, nothing else; well, producing his stuff too. But in terms of other filmmakers, he’s never offered such a generous hand.

The thing that is literally breathtaking is that studios don’t force upon a hush-hush device for a concept unless it’s truly of epic proportion in either buzz or if it carries a huge potential in success. And months ago I was forced to sign a contract that I wouldn’t speak about any relative details regarding the plot; I was allowed to tease and go around the path, but not walk directly on it. It’s just a funny studio device they live by in marketing, and it’s all new to me. (laughs) I’m a guy who barely made any money on Malkovich and Adaptation and now they’re telling me that I can’t tell anyone about this project or the risk of being taken off (in consideration) lingers.

I was making music videos just some years ago and now I’m under contract for a movie they believe could be so big that it can’t go public quite yet. It’s like you’re trying to wake up from a dream that seems so obvious to be one. Or even an April Fools joke that just seems too good to be true, and in this case, it is."