Page 22 of Something Like Forever
“Ah,” Marcello repliedenigmatically. “Wouldn’t that be something?”
Tim frowned. “If that’s where thisconversation is headed, at least wait until I finish the firstdrink.”
“You’ll get no argumentfrom me,” Marcello said, taking another sip. “I heard you stoppedby the studio while I was gone.”
Studio Maltese, theheadquarters of Marcello’s media empire. Officially he dealt inphotography, although his future successor, Nathaniel, had thestudio increasingly involved in video production. The respectablekind, like commercials and online content designed to goviral.
“Was there something youneeded?” Marcello added.
“I might have missed you,”Tim said. “A little bit. You should have seen Nathaniel. Dude was amess.”
“Oh?”
“Yup. He was totallystressed and said that you never look like you’re doing much whileyou’re at the office, but that you must be holding back the tidesomehow because he was drowning.”
Marcello barked laughter. “Never let theblood show.”
“Huh?”
“Charles Eames,” Marcelloexplained. “One of the greatest designers of the twentieth century,along with his wife, Ray. No matter how badly the audience wishesto know the manner in which a magician performs his tricks, it’salways better to maintain the mystery. I’ll be opening a new studioin Japan.”
Marcello said thiscasually. No abracadabra or waving of a wand. His sleight-of-handwas too good for anything so showy.
“I’m ready for a refill,”Tim said after draining his glass.
Marcello reached for the bottle. “Alwaystake your pleasure seriously. Another of Eames’ little gems, oneI’ve made part of my personal philosophy.”
Tim didn’t reply. He wastoo busy trying to imagine what Austin would be like withoutMarcello. Forget the city. The idea that really upset him was hisfriend moving away. At times Jason’s refusal to leave Texas seemedchildish, but on an emotional level, Tim understood. He also wantedthe people he loved to remain as close to him aspossible.
“Don’t appear sodowntrodden,” Marcello said. “I meant it when I said my heartbelongs here.”
“So you’re not moving toJapan?”
Marcello cocked his head.“I’m tempted to lie, simply so that darling expression of yourswill remain. But no. This client is impressed by my business modeland wishes to replicate it, with my help.”
“Including the escortservice? And the porn movies?”
Marcello tittered happily.“I only wish. No, they are blissfully unaware of thataspect.”
“This is big,” Tim said.“It could mean a lot of things.”
“I’m aware of that,”Marcello said. “Why do you sound more concerned thanexcited?”
“Because if you set up astudio for them, they won’t need you anymore.”
“Not quite,” Marcellosaid, his expression sly. “While I’ll admit some details have beenlost in translation, what they truly desire is a studio accessibleto the community. Keep in mind, this client was once the marketleader for photography equipment. No doubt they have plenty ofstudios of their own, but the media they produce is too technical.It lacks artistic flair or the more guerilla photography of today’syouth. The current generation is content with the cameras in theirphones, and it is hoped that a community studio will allow them tocome into contact with more sophisticated— Yes?”
Tim had raised his hand, feeling like he wasin another family therapy session with Allison. “You lost me. Giveme the ‘our plane is about to crash and we’ve got two minutes leftto live’ version.”
“In that scenario, I’m notcertain I’d be interested in talking,” Marcello said, letting hiseyes wander. “Very well, when we were young, the latest fashion orhottest cars helped determine status and popularity. These days,it’s how many followers you have on Instagram. What better way toget the upper hand on your peers than with superior photo equipmentin a studio designed to be—forgive me, this isn’t my choice ofwords—selfie heaven.”
Tim thought about it andlaughed. “Sorry, I’m just trying to imagine Uncle Marcellosurrounded by dozens of Japanese teenagers as you teach them how totake a decent photo.”
“Hundreds of teenagers.Perhaps even thousands. The budget and scope for this project ismonumental. That’s why I need your help.”
“I’m not that good with acamera,” Tim said. “You should be talking to Kelly Phillips. Out ofall your photographers, he’s got the most artistic eye.”
“I plan on doing so,”Marcello said, “but you have another type of expertise that Irequire. They want this studio to have a certain sensibility, amixture of Western and Eastern cultures, and that includes theinterior design. Not just the furniture or accessories, but alsothe paintings on the walls, and perhaps even a tasteful sculptureor two.”
