Chapter 178: Serious Consequences

Arthur looked at the business card in his hand, which Catherine Zeta-Jones had just given him. This English rose was quite interesting. She used Jon Peters as a stepping stone, but compared to the young and handsome Arthur Smith, the over-50 Jon Peters was far less appealing.

Meanwhile, Sony Chairman Norio Ohga had also arrived at the party to discuss strengthening international business with Peter Guber and Jon Peters. After all, Sony was primarily a consumer electronics company, and acquiring Columbia Pictures and TriStar Pictures was to stimulate consumer electronics sales with content.

"I heard that Hollywood's Galaxy Entertainment is now the leader among medium-sized film companies. Does Sony have a chance to acquire Galaxy?" Norio Ohga was very interested in Sony's biggest acquisition, Columbia Pictures.

Enhancing the international promotion of the film business and establishing Sony Pictures Classics didn't seem enough?

Peter Guber shook his head, "Many groups are interested in Galaxy, but Arthur Smith is not likely to sell the company."

"That's right," Jon Peters chimed in, "Besides, Galaxy only has the Orion catalog. The gap between us is still significant."

"Arthur Smith is indeed capable, but his ambition is even greater. He's now focusing more on the television sector."

Hearing this from his two top entertainment executives, Norio Ohga had no objections. After all, professional matters were left to the professionals.

In a corner of the banquet hall, Arthur encountered Michael Ovitz. "Arthur, if the A Few Good Men project is handled by CAA, I believe it would be better."

Arthur smiled, "If CAA handles A Few Good Men, the budget would be at least $40 million. Galaxy can't afford that."

If CAA got involved, the lead actress and supporting actor would definitely be their big-name clients, which would add millions of dollars in salaries.

"Arthur, Tom Hanks is now a CAA client," Michael Ovitz didn't like Arthur's direct attitude.

"Oh, so you're suggesting he breach his contract, not participate in Philadelphia, or terminate his three-film contract with Galaxy?" Arthur smiled, "Are you sure you can make that decision?"

Although Tom Hanks wasn't as famous as Tom Cruise, he was still a box-office draw. At their level, they had significant autonomy in choosing films. The agency's main role was to handle trivial matters, as they all had their own teams.

Michael Ovitz squinted. Breaching the contract was impossible. Tom Hanks was already getting $4 million for the serious drama Philadelphia, which wasn't low. Plus, after doing so many comedies, Tom Hanks yearned for a serious drama like Philadelphia.

Not to mention, the collaboration with Arthur Smith on Sleepless in Seattle had skyrocketed Tom Hanks' fame.

"Arthur, CAA has many signed directors and actors," Michael Ovitz hinted.

Arthur looked at him, "Are you threatening me? CAA's annual profit doesn't even match one of my films. You do have many clients, but don't forget, CAA attracts them with low commissions. Now, ICM and WMA aren't bad either. Training a few Oscar-winning actors or actresses isn't hard for me, let alone commercial stars."

Arthur patted Michael Ovitz on the shoulder, "Agencies should serve their artists well and not meddle in film production. I'm not Lew Wasserman. The tactics used in Back to the Future sequels don't work on me.

I've already canceled the RoboCop 3 project. By the way, Scream 2 director Sam Raimi isn't a CAA client either."

Back when MCA Universal was shooting Back to the Future Part III, Michael Ovitz used director Robert Zemeckis to pressure Lew Wasserman for higher pay. This wouldn't work with Galaxy.

Agencies had no such power now. Package deals were where they had some authority. Agencies today were partnership organizations, and top agents with major clients were essentially partners.

Like Tom Cruise, as long as you dealt with his agent Paula Wagner, CAA didn't need to intervene. Paula Wagner's team handled it and would just give CAA a commission cut. The major commission went to Paula Wagner herself.

Arthur left, knowing that agencies were crucial for small stars and underfunded producers. But for major studios and financiers, it was them who agencies needed to court.

Michael Ovitz was left in disbelief. Despite his anger, he maintained a calm exterior. "Arthur, how dare you? Training Oscar winners and nominees isn't hard?"

After talking with Michael Ovitz, Arthur found Winona Ryder and prepared to leave.

"What's wrong? You seem upset," Winona Ryder noticed Arthur's mood as they returned to Santa Monica.

"I had an unpleasant chat with Michael Ovitz," Arthur said, leaning back on the sofa.

"Michael Ovitz? The chairman of CAA!" Winona Ryder was surprised.

"By the way, did Jessica sign those young talents I mentioned? Matt Damon and Brendan Fraser, among others."

"Except for Chris O'Donnell, she signed the rest," Winona reminded him.

Arthur nodded, "Tell Jessica to talk with Tom Hanks' agent. Galaxy can guarantee three films to make Tom Hanks an Oscar-winning Best Actor. If Tom Hanks leaves CAA, this will be written into the contract. Otherwise, Galaxy will compensate him $10 million."

Arthur knew Jessica James leaving CAA wasn't a big deal, but she didn't have top clients. Tom Hanks was now a good prospect, about to enter a stellar phase of his career. Arthur wanted Michael Ovitz to know the serious consequences of threatening him.

*****

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