Chapter 62: Reaching an Agreement

As the most influential newspaper on the West Coast of the USA, the "Los Angeles Times" typically features over 50 pages of news in its non-Sunday edition. Compared to the previously unnoticed film review of "Run Lola Run" tucked away in an obscure corner, this time Peter Butler's article about Simon Westeros landed right on the newspaper's front page navigation.

Although still not the headline news, as a prominently recommended navigation piece, this article became a must-read for most subscribers.

In this era, newspapers were the primary channel for the average person to access information, and powerful print media like the "Los Angeles Times" played a significant role in shaping public opinion.

Moreover.

A young man bursting out of a psychiatric hospital.

Madman?

A unique surname.

Earning $200,000 from a screenplay.

Produced an acclaimed indie film at the age of 18.

Genius boy.

In his article, Peter Butler lists these personal labels for Simon, which perfectly embody the American dream for Americans who admire miracles, adventure, and individual heroism.

Thus, following the "Los Angeles Times" article, the attention Simon had been accumulating in various media since his screenplay contract with Fox Studios for "The Butterfly Effect" last year, exploded.

Suddenly, many people began to ask, who is Simon Westeros?

Then.

The series of news about Simon that emerged since his rise to prominence last year were dug up by the relentless media, and every detail mentioned in Peter Butler's article became a topic of discussion.

Even a local gossip tabloid in Los Angeles made headlines with a story about Simon being attacked late at night in Santa Monica the previous year.

Although it stated that this was a real incident confirmed by the Santa Monica Police Department, the tabloid described it with a sensational tone as if they had witnessed Simon heroically breaking the right legs of five assailants and knocking out seven teeth of another, akin to Bruce Lee reincarnated.

Following this, the equally influential "San Francisco Chronicle" published a biographical article on Simon, filling in his experiences up to the age of 18.

Grew up in a children's welfare home in San Jose.

His original surname.

The only student from his community public high school to be admitted to Stanford for many years.

Developed schizophrenia less than two months after entering Stanford.

The "San Francisco Chronicle" narrated Simon's life story with much sympathy and questioned the welfare home in San Jose, speculating that Simon's mental health issues could stem from the immense pressures of his challenging life.

As for how a boy from humble beginnings could suddenly produce a highly acclaimed indie film, the "San Francisco Chronicle" couldn't find the root cause. However, the newspaper wasn't overly surprised either and quoted one of Simon's high school teachers interviewed by the paper: "Simon is a very hardworking kid, I wouldn't be surprised by any miracle he creates."

This view almost echoed the sentiments in Peter Butler's article, subtly creating a basis for Simon's sudden emergence as a film genius.

Of course, amid the noise, there were also voices of skepticism.

After the "Los Angeles Times" article about Simon was published, numerous calls to the newspaper's editorial office expressed disbelief at such high praise for a young person, and some even thought the "Los Angeles Times" was sensationalizing.

Regarding the gossip tabloid's report about Simon fighting off five attackers, a local TV late-night talk show host did not mince words in mocking it.

As the public discourse continued to ferment, attention gradually shifted to one thing: Simon's movie, "Run Lola Run."

Since you all say the boy is so exceptional, then, let's see the film, shall we?

Thus, as Simon's closest collaborator in Hollywood, numerous calls also went to Fox Studios, inquiring about the release date of "Run Lola Run," and many newspapers, whether sincerely or mockingly, urged Hollywood studios to quickly bring "Run Lola Run" to theaters.

Los Angeles.

Since the public relations campaign was a success, upon his return from Park City, Simon decided to let his agent, Jonathan Friedman, help organize a small screening in a theater in Century City for various Hollywood studios.

In the following days, Simon was busy negotiating personally with the top executives of major film studios.

However, the outcomes were not as hoped.

January 30, Friday.

Close to the end of the workday, returning from Warner Bros. Studios in Burbank, a Chevrolet SUV pulled up in front of a mansion in the Montana district.

Janet got out of the car, looked at her boyfriend returning empty-handed again, and walked over to hug Simon's arm, resting her head on his shoulder and saying, "Sooner or later, film companies will be chasing after you for collaborations, just like Spielberg."

Simon, taking Janet to the front door, laughed as he unlocked it, "Just like Spielberg? Why not be our own bosses instead, and make those executives work for us."

"Mmm," Janet nodded vigorously, very

 certain, "Daenerys Productions will definitely grow to be as big as Fox or Warner one day."

Simon opened the door, seeing Janet still clinging to him, he lightly lifted her and tossed her onto the living room sofa, then laughed, "Your imagination still isn't big enough. One day, I want to be like Morgan and Rockefeller, the masters of all of Hollywood."

I remember seeing a diagram of the corporate relations of major Hollywood studios from the early 20th century. Half of the big eight studios traced back to Morgan, and the other half to Rockefeller.

That was the golden age of capital.

Janet, thrown onto the sofa, listened to his words, her body soft, barely propping herself up, her cheeks flushed as she watched the man hanging his bag on the coat rack: "Simon, I'll help you."

"Alright," Simon agreed, noticing a message on the living room phone, walked over, pressed play, and said, "How about you start by helping me with dinner?"

"Mmm."

Janet nodded, but wrapped herself around a cushion, lying lazily on the sofa without moving.

Meanwhile, the phone message was from the president of Orion Studios, Mike Meadow, asking if Simon was free for dinner tonight, hoping to meet.

Simon clearly understood Mike Meadow's intentions and began to ponder.

Recently, Simon had made contact with all seven major Hollywood studios. However, the terms offered by the Big Seven were far from satisfying, and Simon had little room to negotiate given the lack of commercial attributes in "Run Lola Run."

Leaving Warner Bros. Studios that afternoon, Simon had already accepted a reality.

At least for now.

The Big Seven were not ideal partners.

After reorganizing his thoughts, Simon looked at Janet still lying on the sofa, smiled, and said, "Get up, no need to cook dinner, let's go freeload a meal."

Having made his decision, Simon no longer pinned his hopes on the Big Seven.

Mike Meadow of Orion Studios had been very interested in the project after seeing the script and storyboards for "Run Lola Run." Compared to the Big Seven, Orion Studios could negotiate on a more equal footing with Simon.

Both parties were inclined to collaborate, and during the subsequent dinner, they quickly reached an agreement. After intense negotiations over the weekend, Simon soon finalized a distribution deal with Orion Studios.

February 2, Monday.

An announcement in "The Hollywood Reporter" quickly caught many people's attention.

"Orion Studios and Simon Westeros reach an agreement, 'Run Lola Run' to officially hit North American theaters on February 13."