Chapter 62: Miramax

Scary Movie 3, released by Dimension Films, opened in 3,505 theaters in North America, grossing $49.7 million on its first weekend, securing the top spot in the weekly box office.

Meanwhile, Saw, distributed by Roger Films, opened in 2,310 theaters in North America and earned $18.3 million on its first weekend, placing third for the week.

The second place went to a Disney animated film.

The following weekend, Scary Movie 3 grossed $21.1 million in North America, with almost 60% drop. Saw earned $11.1 million the following weekend, with almost 40% drop.

No one was surprised by the success of Scary Movie 3; it was almost certain to exceed $100 million in North America.

However, the fact that the low-budget film Saw grossed $35.4 million in just ten days was undoubtedly a huge success.

The Hollywood Reporter: A pathological and insane murderer, bizarre and horrifying killing methods, and a profound central theme made James Wan's outstanding directorial debut.

Empire: Bloody and brutal, yet irresistible.

San Francisco Evening Post: Crazy and nauseating killing techniques.

"Pop," James Wan opened a bottle of champagne, spraying it around.

In a bar in West Hollywood, Charles specially booked the place for the film crew and company staff to celebrate.

"Charles, Universal wants to develop Wedding Crashers and Mr. & Mrs. Smith together!" Henry Winston exclaimed with excitement.

"Figures," Charles shook his head and added a reminder, "Prepare the sequel to Saw as soon as possible. We need to release it next Halloween. I want the Saw series to become a unique scenery during Halloween!"

Carpe Films was celebrating, but this Saw made many other horror and thriller film companies restless.

Hollywood doesn't avoid imitation at all.

Miramax, the king of independent film distribution companies, had released many artistic films since its founding by the Weinstein brothers.

Founded in the late '70s and acquired by Disney in 1993 for $83 million, it became Disney's independent art-house label.

In the past ten years, Miramax had released many good films for Disney, but there were definitely more money-losing bad ones.

Last year was a bountiful year for Miramax, but the three consecutive years prior were loss-making.

Shakespeare in Love, The Hours, The English Patient, and Chicago were all highlights.

However, Miramax's unrestrained approach was very different from Disney's brand. Investing in and distributing the religious homosexuality-themed Priest and the highly controversial religious film Dogma were contrary to Disney's family-friendly image.

Investing $80 million in Cold Mountain was forced through despite Disney's objections, and the bloody violence in Kill Bill seriously impacted Disney's family-friendly image.

Now, Miramax wanted to release the political documentary Fahrenheit 9/11. Disney directly issued a firm order forbidding it.

Harvey Weinstein, overweight, was walking out of the break room, putting on his pants while his disheveled assistant looked terrified, following behind him.

Harvey Weinstein sat on the sofa, hugging the company's female assistant, "Honey, tomorrow I'll promote you to a full assistant. You'll see how much better it is compared to being an intern assistant. Now, go home and get a good night's sleep!"

The young female assistant, who had been working for less than a month, walked out of the company in a daze.

Harvey Weinstein lit a cigar, not worrying at all about what had just happened. Even if young people could resist temptation, if anything happened, a lawyer would fix it.

After two puffs, Harvey's brother Bob Weinstein walked in, fully aware of what had just occurred with the assistant.

However, he didn't concern himself with that. He only cared about making money. "Harvey, Michael Eisner issued a firm order: Miramax absolutely cannot release Fahrenheit 9/11!"

"Fuck it, Disney says no to this, no to that, what are we supposed to release?" Harvey Weinstein's conflict with Michael Eisner was growing.

"Harvey, give it up. You know what kind of documentary Fahrenheit 9/11 is. You know why Michael Moore wants it released next year. Do you really think Disney would allow such a politically controversial documentary, especially one targeting the current President?"

Next year was an election year, and the intention behind releasing Fahrenheit 9/11 was too obvious. The President was only in his first term!

Did Disney want to maintain its tax exemption in Florida's Disney World? Was Disney's brand reputation important?

Miramax was already involved in bloody violence and religious taboo. If they also engaged in political sensitivity, Disney would truly be furious.

Michael Eisner was not someone the Weinstein brothers could mess with.

Harvey sighed deeply, blowing out a puff of smoke. "I'm just sponsoring the documentary with my private money; it shouldn't be a problem, right?"

Bob Weinstein, exasperated, changed the topic, "Have you seen Saw, released by Roger Pictures?"

"Kept an eye on it. Got super high box office returns for a low-budget film. Very successful!"

Bob Weinstein nodded, "You should pay attention to Carpe Films. Ever since My Big Fat Greek Wedding, their movie production budgets haven't been high, but the box office returns have been!"

Harvey Weinstein nodded as well. He had paid attention and wanted to collaborate but hadn't found the opportunity.

"That young man is promising. Miramax should definitely consider working with him," Harvey Weinstein couldn't ignore the potential.

Bob shook his head, "Universal signed a three-film distribution deal with him. Saw was released by Roger Pictures and next year's Brokeback Mountain is being handled by Focus Features."

"I heard there's a big-budget commercial blockbuster over $100 million produced by Charles Carpe. Universal hadn't greenlit it before, but now..."

Bob didn't have to say it. Harvey understood. Carpe Films now had other options. If Universal didn't want them, other companies certainly would.

Successions of three or four films made Charles Carpe fully capable of negotiating for status and benefits. After all, Lost in Translation and Saw were clear investments and productions by him.

"Look, a young producer new to Hollywood made a few low-budget films and now wants to develop a high-budget commercial blockbuster. We have so much film experience, but Michael Eisner always says our film budgets are too high and keeps cutting them back and back," Harvey was furious at Disney, at Disney's chairman and CEO, the king of Disney, Michael Eisner.

*****

https://www.patreon.com/Sayonara816.