Chapter 190: French Filmmakers

At the Oscars Nominees Luncheon, which has been a tradition since 1985, a group photo is taken, and many of the nominees participate.

Obviously, Arthur was not interested. In the evening, he left the Samuel Goldwyn Theater with Sophie Marceau.

On the coastal road by Venice Beach, a car was parked at the Marina del Rey pier, and many private yachts were moored in the harbor.

Arthur had specially taken Sophie Marceau out to sea that night.

"You don't seem very interested in the Oscar nomination party, huh?" Sophie Marceau asked Arthur in confusion as they boarded the yacht.

Usually, filmmakers are extremely eager to pursue the Oscars. Now that the nominations are out, shouldn't they be working hard to win?

Arthur handed Sophie Marceau, who was sitting on the couch, a glass of champagne. "I do care about the Oscars. It's just that others are handling it. I don't need to personally oversee everything."

After thinking for a moment, Arthur continued, "This year, I'm planning to set up Galaxy's international branch offices in the UK, France, and Germany. We've already acquired a small film company and two theaters in the UK. I'll probably need to personally visit France and Germany to check things out."

Sophie Marceau inquired, "I remember, Galaxy has a collaboration with Gaumont, right?"

Arthur nodded. "Yes, we do, but for Galaxy to expand into the international market, major European countries and regions must have offices and staff. Whether it's distributing Hollywood films locally or bringing local films to North America, we need people and channels."

Because many films with good reputations at international film festivals have already sold their distribution rights in advance.

Just buying films at festivals involves too many uncertainties.

Sophie Marceau smiled, "French films mainly focus on artistic value, which is different from Hollywood's commercial approach. You must have noticed that the mainstream French film market is still inclined towards art films. Many French filmmakers resist the Hollywoodization of French cinema."

Arthur wasn't concerned, pulling Sophie Marceau closer for a kiss. "Don't worry, the investors behind French films absolutely welcome commercial films. The problem is that Hollywood's impact on commercial films is too strong. Director Luc Besson, who made Subway and The Big Blue, is interested in French commercial films, isn't he?"

Luc Besson is only 33 this year. He directed Subway in 1985 at 26 and received thirteen nominations at the Cesar Awards.

The Big Blue, released in 1988 when Besson was 29, garnered eight Cesar nominations, including Best Film and Best Director.

In 1990, Besson's film La Femme Nikita received nine nominations at the 16th Cesar Awards, including Best Director.

Now at 33, Luc Besson has essentially established himself as the leading French film director of the 1990s, with both critical acclaim and box office success that satisfy investors!

"Luc Besson," Sophie Marceau remarked, familiar with him, "others find his pursuit of commercial success too aggressive. Many French filmmakers don't really like him."

"Commercial success?" Arthur smirked cunningly. "Wait a few years; if Luc Besson adopts Hollywood's methods for filmmaking, won't he become a target in the French film industry?"

"Well, Besson's films still have a lot of artistic value, with unmistakable French charm and passion," Sophie Marceau acknowledged, knowing that French film companies need to make money too.

"His works achieving commercial success means they definitely don't lack fans!" Arthur lovingly kissed Sophie Marceau's neck and said, "France indeed needs commercial films, but there's a significant lack of talent.

With support from the French Ministry of Finance and TV stations, the box office for art films may not be high, but filmmakers can still thrive without feeling any sense of crisis."

Sophie Marceau placed her glass down, pulled Arthur onto the couch, and ran her fingers through his hair. "Actually, I also think Hollywood films are too commercialized. Shouldn't films be made for more than just money?"

Arthur laughed, caressing Sophie Marceau, "So, that's why you broke your contract with Gaumont after making the La Boum series to shoot Andre Zulawski's Mes nuits sont plus belles que vos jours, transforming from an angelic teenage star to a seductive goddess?"

While removing Arthur's clothes, Sophie Marceau explained with a smile, "After shooting teen films like La Boum, Gaumont wanted me to continue playing pure and innocent roles.

Almost every script was the same teenage love story. I wanted to try something different, but Gaumont wouldn't allow me to star in a film like Mes nuits sont plus belles que vos jours, saying it didn't fit my image. I had no choice but to break the contract with Gaumont to rebel!"

Arthur thought this was a result of a rebellious young Sophie Marceau being swayed by the seasoned Andre Zulawski.

"Hollywood is great for quickly boosting your influence. If you have time, you can still take on some European art film projects," Arthur said while kissing Sophie Marceau's chest.

"I know," Sophie Marceau cradled Arthur's head. "No one doesn't dream of breaking into Hollywood. It is the largest market and the most industrialized film hub in the world. But I want to play more challenging roles. Hollywood only seems to want young and pretty sex icons."

Arthur lifted his head, "Some big movies do focus on roles like that, but being part of them can quickly build your popularity. However, last year's Thelma & Louise was outstanding, wasn't it? It earned Ridley Scott an Oscar nomination for Best Director and both Geena Davis and Susan Sarandon nominations for Best Actress!"

Sophie Marceau's hands traced Arthur's chest, "That kind of film is really good. If you come across such scripts in the future, consider me. It's bold and meaningful, touching on feminism and same-sex themes."

Arthur moved in for a kiss, "Then you should work hard these days and inspire me to come up with an impactful script for you!"

Sophie Marceau smiled, wrapping her arms around Arthur's neck and kissed him passionately, thinking it might be best to start production on Fanfan soon.

A good script isn't easy to come by.

*****

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