Chapter 110: Conflicts on Set

In March, MCA Universal sold the script of Schindler's List at a low price to Galaxy Orion, which funded Steven Spielberg's project with $20 million. Since Spielberg was currently working on Hook, Schindler's List would officially begin development in the second half of the year.

Although MCA Universal president Sidney Sheinberg and the famous director Steven Spielberg were both Jewish and wanted to publicize the tragic experiences of Jews, they wouldn't spend their own capital on these projects unless there were greater benefits involved.

In Santa Monica, at the Palisades community, Arthur had moved into his mansion. He now owned a beachfront villa.

Winona Ryder, who had just returned from the UK, was sitting on the sofa, reading a draft of a script. "Is this the movie script adapted from Jane Austen's novel Emma?"

Arthur smiled and sat down next to Winona on the sofa. "Yes, it's something I prepared especially for you. Galaxy will co-develop it with Polygram. The script is still being perfected, so it won't be ready soon."

Winona nodded. "I'm not in a hurry. I'll wait until the script is finalized."

"By the way, Spielberg will be filming Schindler's List in Krakow, Poland, later this year. You should take on a cameo role in the movie," Arthur said, pulling Winona closer. "Since you're Jewish, participating in this project will be beneficial."

"Alright," Winona agreed without any objections.

Since Galaxy Orion, led by Arthur, sold several movies, the only project currently in production was the gothic film adapted from a comic, The Addams Family. The film's shooting was nearing completion. Without Arthur's intervention, this dark comedy would have been bought by Paramount for $22 million.

Director Barry Sonnenfeld and producer Scott Rudin had a severe conflict on set.

Arthur rushed to the Columbia studio in his Toyota Supra, fuming. The Addams Family had a $30 million investment, making it Galaxy Orion's biggest project. The release was already scheduled for November, but the movie wasn't finished, and post-production was still pending. Arthur was understandably anxious.

"What's going on?" Arthur asked with a grim expression upon arriving on set, irritated that his money was being wasted.

Amy Pascal rubbed her forehead. "Scott keeps changing the script, which frustrates director Barry Sonnenfeld. If this continues, the film's completion will be delayed."

"Delayed?" Arthur sneered. "Who dares to delay?"

"Scott Rudin?" Arthur knew Rudin previously had a good relationship with 20th Century Fox, worked there, and had a background in Broadway production and casting. He was notorious for his temper.

Barry Sonnenfeld, a newcomer and former cinematographer, was directing his first feature film, The Addams Family.

Neither Scott Rudin nor Barry Sonnenfeld was yet a renowned producer or director. For both, The Addams Family was a rare big-budget opportunity.

"Tell me directly, who's at fault? I've seen the rough cut of The Addams Family — it's quite good," Arthur said, already suspecting Rudin was the troublemaker.

"Paramount had previously negotiated with Scott Rudin to buy The Addams Family, likely promising him some conditions," Amy Pascal explained honestly.

"I see," Arthur said, standing up and walking out. "Follow me."

"Arthur, what are you doing?" Amy Pascal sensed trouble as she saw Arthur's angry demeanor.

On The Addams Family set, Orion producer Bonnie Arnold was trying to mediate between Scott Rudin and Barry Sonnenfeld. The crew members were either resting or preparing for the next scene, creating a noisy atmosphere.

Arthur Smith strode in, followed by Amy Pascal.

"Arthur," Bonnie Arnold said awkwardly, approaching Arthur. "I'm close to resolving it."

Arthur took a deep breath and pointed. "Hand me the microphone."

Standing on a chair with the microphone, Arthur addressed everyone, "This film has a $30 million budget, scheduled for a November release. Promotion alone will cost six to seven million. It's mid-March now. If the film doesn't release on time, the consequences will be severe!

Remember, Hollywood doesn't lack anything, especially people. What Hollywood lacks is damned dollars. If you don't want to work, leave immediately. Otherwise, follow the contract and finish this movie!"

Most of the actors in The Addams Family were relatively unknown, with most of the $30 million budget spent on special effects and sets. With three-quarters of the film shot, any disruption was unacceptable.

"Barry, tell me, can this movie be released in November?" Arthur asked director Barry Sonnenfeld directly.

Barry Sonnenfeld was about to say something when Arthur continued, "Follow the script from now on. Can you do that?"

Barry Sonnenfeld met Arthur's intense gaze and nodded. "Yes, I can."

"Good," Arthur then turned to Scott Rudin. "You think I'm too young? This is my movie now. Orion is a subsidiary of Galaxy. You're fired! Don't ever show up on The Addams Family set again!"

Scott Rudin's face turned pale. Being fired publicly by a 22-year-old in front of the crew was beyond embarrassing.

Arthur didn't care about Rudin's reaction. He instructed Bonnie Arnold, "Report any issues directly to Amy or me."

"Amy, it's all yours now," Arthur said, tossing the microphone aside. Anyone who disrupted his money-making efforts or wasted his money would face his wrath. Scott Rudin, a Jew, was clearly upset because Arthur had stopped the sale of The Addams Family after taking over Orion.

Damn it, Arthur had just invested in Schindler's List…

*****

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