Chapter 72: Desperate Measures

After hastily returning to Los Angeles on Saturday night, Simon heard nothing from Fox for the next three days.

This outcome was not unexpected for Simon; his experience in Hollywood was still relatively shallow. A young person under twenty demanding high profit-sharing terms and absolute control over film production was unprecedented in Hollywood.

However, with the success of "Run Lola Run," Simon was no longer as limited in his options as he had been a few months earlier. While assisting with the production of "Night of the Blood Zombies," Simon had also been making plans for "Final Destination," a plasma thriller perfect for the Halloween season at the end of the year. The eight-month window from the end of February to the end of October for preparation, production, and promotion seemed just right.

Therefore, Simon was not willing to tie himself exclusively to Fox. If Fox did not respond by the weekend, Simon planned to release the news and seek other collaborators.

Meanwhile, as its popularity and critical acclaim continued to ferment, the second week's box office for "Run Lola Run" not only didn't decline but actually increased due to more screen allocations. From February 20th to 22nd, the film achieved a 21% box office increase over the first four days, reaching $6.69 million.

Following that, through the subsequent four weekdays, the second week's total box office for "Run Lola Run" reached $9.56 million, making it second only to "Combat Squad," which made $11.1 million, and landing it in second place in the North American box office rankings for the week.

Orion Pictures, having released two films that simultaneously occupied the top two spots in the weekly box office rankings and both expected to break $100 million in North America, was enjoying an unprecedented high.

As "Run Lola Run" had become a national topic, its distribution faced no obstacles. Orion Pictures' President, Mike Medavoy, initially planned to expand the film's release quickly but, after a detailed discussion with Simon over the phone, agreed to the concept of "hunger marketing." Consequently, in its third week, Orion did not rush to significantly increase "Run Lola Run's" screening scale, adding screens only to 536 and focusing them on the West Coast of the U.S.

Years later, a film's third-week performance either signaled a waning interest or widespread piracy, rendering additional screenings meaningless. However, in the mid-1980s, the speed of information transmission was far from what it would be in the internet age, and movie piracy was not as rampant. The phased release mechanism from major cities to small towns still existed, with many smaller towns often waiting a month or two to see major films.

Thus, a three-week build-up of positive word-of-mouth for "Run Lola Run" seemed not at all prolonged but rather increased anticipation among viewers.

On the other side, Simon patiently waited until Friday. When Fox still had not responded, he called his agent, Jonathan Friedman, to let the news leak that he was looking for collaborators for "Final Destination."

In Beverly Hills, Los Angeles, it was March 2nd, Monday evening.

Fox's President, Ronald Goldberg, entered Morton's restaurant, a frequent dining spot for Hollywood filmmakers. As soon as he walked in, he sensed many eyes on him, though he tried to act unaffected while speaking to the approaching waiter. He was then led to a table where Barry Diller, the CEO and Chairman of 20th Century Fox, already sat. Diller, a balding man in his forties with a distinctive Jewish nose, was not someone to be underestimated based on appearance alone. As Goldberg approached, Diller, who had been reading the newspaper, stood up and greeted him with a handshake before they both sat down.

After some casual talk and ordering dinner, Goldberg glanced at the newspaper in front of Diller, which was The Los Angeles Herald with a prominent butterfly illustration—clearly related to "The Butterfly Effect." Diller, following Goldberg's gaze, asked, "I heard the film's test screenings haven't gone well?"

Goldberg, with a hint of hesitation, replied, "Everyone thinks the story is complete and exciting, but the few critics who attended the screening didn't like it—they think the plot is too fragmented and the main storyline unclear."

Diller frowned slightly; newspaper critics' poor reviews could deter audience attendance. After a moment, he inquired, "What's your plan then?"

"We're having an internal audience screening on Wednesday to see if any adjustments are needed. Then, I plan to schedule it for Easter. You know, 'Run Lola Run' might be able to boost its profile," Goldberg said with a tinge of bitterness in his voice.

A week ago, Peter Sanders had returned from Arizona with Simon's demands for "Final Destination," and Goldberg had almost laughed in disbelief.

The young man was too audacious, Goldberg thought, having worked in media for thirty years and never encountering anyone who dared to make such demands to a film

 studio. Did he think he was Spielberg?

Thus, Goldberg chose to ignore him.

However, as news of Simon Westeros seeking new collaborators for "Final Destination" spread over the weekend and as the latest weekend box office figures were released this morning, Goldberg began to waver.

Ignoring Westeros's news for now—Fox wasn't about to let go without saying—Goldberg couldn't ignore the past three days' box office figures for "Run Lola Run."

In its third week, the film's per-theater average remained at $20,110 despite an increase to 536 screens. According to an internal Hollywood report, due to recent media buzz, "Run Lola Run" not only attracted viewers from all age groups but had also sparked a viewing trend among teenagers, who thought the film was exceptionally "cool" and often chose to see it multiple times. The scarcity of screenings had even spurred more people to queue for tickets.

By the end of the third weekend, "Run Lola Run" had made $10.78 million, easily surpassing New Line Cinema's "Nightmare on Elm Street 3," which opened in 1343 theaters, and claimed the top spot in the weekend box office.

To date, "Run Lola Run's" North American total had reached $27.31 million—a figure that left most other films in the dust.

Given that it had now secured the top spot in a traditionally slow movie season, maintaining its number one position seemed effortless.

First place always garnered the most attention.

"Run Lola Run" already had high visibility, and maintaining the weekly box office top spot would only draw more interest, creating a virtuous cycle.

With a box office of $27.31 million in just two and a half weeks, the film's final earnings could far exceed media expectations.

Goldberg didn't even want to think further about it.

Regret was a bitter pill.

As the waiter served their dinner, Diller didn't start eating but looked at Goldberg, unsure what to say next.

Diller and Goldberg had known each other for twenty years. It was Goldberg, then at ABC's production department, who had helped Diller rise to prominence, leading to his successes at ABC Television and Paramount Pictures.

Three years ago, after Diller was ousted from Paramount by its envious chairman Martin Davis, it was Goldberg who had introduced him to 20th Century Fox, allowing him to become its Chairman and CEO.

Goldberg had effectively elevated his former subordinate to his boss, twice over.

Grateful for this, Diller had always appreciated Goldberg.

However, as the head of Fox Films, Goldberg's management had been lackluster; Fox hadn't had a film break the $100 million mark in North America for three years.

Despite their close personal relationship, which prevented Diller from dismissing Goldberg, both knew that if the situation continued, the company's major shareholder, Rupert Murdoch, wouldn't tolerate the lackluster performance indefinitely.

After a moment of silence, Diller finally said, "Ronald, I've heard about the young man and the news from the weekend."

Goldberg grimaced, "Barry, do you think I should agree to his terms? He's not even twenty and is demanding conditions not even Spielberg would easily ask for."

"Isn't there a guarantee?" Diller replied, "At $16 million, the guarantee is a bit low, but if it only needs an $8 million production budget, Fox can definitely profit."

"If it were just that, of course, we could discuss it," Goldberg said. "But he also demands absolute control over the project. Director, cast, filming, final edit—everything. How can I trust him with that?"

"I just watched 'Run Lola Run' this afternoon," Diller countered. "For an 18-year-old, it's an exceptional film. So, Ronald, if you can confirm that 'Run Lola Run' was indeed completed by him personally, perhaps you should agree."

Goldberg hesitated, "That's confirmable. But, Barry, you know, this has never happened in Hollywood before."

"That could be a selling point for the future," Diller smiled. "Just like his age. Imagine, if he weren't 18, the film might have made $10 or $20 million. But now, it could make $100 or $200 million. If he also planned the related marketing, that would be truly impressive. So, Ronald, I suggest you try your best to bring this young man under Fox's wing. Perhaps you'll find the next Spielberg."

Goldberg knew Diller meant well, greatly respecting his insight and abilities, hence valuing his advice.

Moreover, Goldberg was acutely aware of his own situation.

If he couldn't turn Fox's fortunes around soon, not only would he be out after his contract expired next year, but he would also struggle to find comparable work at another studio.

Enticing a young talent who had just made his mark in Hollywood might seem like a desperate move.

However, with well-known directors either

 having stable partnerships with studios or laden with unending contracts, Goldberg had no better options.

Thinking this over, he nodded, "Alright, then I'll talk to him as soon as possible."