Chapter 192: Japanese Capital

The cocktail party at the Four Seasons Hotel was bustling with activity, with many senior executives from various film groups in attendance. Arthur quickly encountered Frank Wells, the president of Disney Group.

"Congratulations on Beauty and the Beast getting an Oscar nomination for Best Picture as an animated feature," Arthur had to admit that Disney was the king of 2D animation.

In terms of box office and reputation, Disney's animated films had been more successful year after year, and this year Disney was set to release Aladdin!

Frank Wells smiled, "Unfortunately, Disney falls short in live-action films. If we had someone like you in charge of our live-action division, it would be perfect."

"Didn't Disney just establish a Film Fund, supported by Japanese foundations, to invest in live-action films?" Arthur changed the subject.

Frank Wells was noncommittal, "When it comes to attracting Japanese investments, no one in Hollywood beats Warner Bros.!"

Disney's live-action films mainly came from three studios: Walt Disney Pictures, Touchstone Pictures, and Hollywood Pictures.

Starting in the 1980s, a domestic American fund, Silver Screen Partners, had prepared three separate funds for Disney.

A notable figure on the Silver Screen Partners' board was George W. Bush, the son of the current president.

However, the long return period for film investments prompted Silver Screen Partners to demand that Disney prioritize fund returns before distributors and producers for the third fund.

Disney found it difficult to accept these terms and began attracting Japanese investments instead. Unlike the dominant American capital, Japanese investments were much easier to negotiate.

Frank Wells laughed, "That is actually an American fund too!"

Arthur remained indifferent, "Of course, the Fund is registered in the U.S., but the money comes from Japan, right? Through Japanese securities companies or American banks issuing bonds to Japanese buyers, why not be open about it?"

Frank Wells shrugged, "Mostly, no one really cares where the money comes from."

Frank was correct. The Fund had raised $600 million, the largest film fund in Hollywood so far. $300 million of it was from Japanese investors through Yamaichi Securities, and the other $300 million was realized through bonds issued by a banking consortium led by Citibank, with buyers including Fuji Bank, Sumitomo Bank, and Long-Term Credit Bank of Japan.

Japanese capital was eager to flow into Hollywood.

Arthur found this scenario very familiar. Compared to American domestic capital, Arthur definitely preferred the power of international capital.

There was no need to elaborate on the economic strength of Japan and Germany; otherwise, why would Arthur favor capital from these two places so much?

Arthur looked at Frank Wells, "I remember Disneyland Paris is about to open, right?"

"Next month. Michael Eisner is personally overseeing it," Frank Wells took a sip of his drink. Disneyland Paris was undoubtedly Disney's biggest project in progress.

Arthur gave a thumbs up, "Looks like Disney is about to add another revenue stream!"

However, he chuckled inwardly. Disneyland Paris was destined to be Disney's biggest loss-making project since its opening.

It had been losing money from the very beginning.

After chatting with Frank Wells, Arthur met Jon Peters, one of the co-CEOs of Sony Pictures Entertainment.

However, Arthur didn't see his previous companion, Catherine Zeta-Jones. He vaguely remembered receiving her business card!

After the cocktail party, Arthur and Winona Ryder drove to a seaside villa in Pacific Palisades, Santa Monica.

"Arthur, has The Addams Family made $200 million at the box office?" Winona Ryder asked from the passenger seat on Sunset Boulevard.

"Not quite. The Addams Family made over $100 million domestically and around $80 million overseas, totaling $180 million globally," Arthur said, reaching for Winona's thigh.

"You know, The Addams Family had a production cost of only $30 million. It's undoubtedly a blockbuster!"

It was so close that The Addams Family almost got sold to Paramount by that scoundrel Scott Rudin.

"Arthur, are you planning a sequel?"

"I am, but I'm not satisfied with the current script for the sequel to The Addams Family. We need to come up with a good script first," Arthur didn't want to waste the potential of the series prematurely. The story of The Addams Family was quite complete.

The sequel needed careful consideration. Developing it randomly could be counterproductive.

"Okay," Winona Ryder had been keeping an eye on the box office figures for Galaxy Productions. Arthur was very capable, so there was nothing to worry about.

"After the Oscars, you're going to Europe. Once we get to England, we should vacation at my Cotswolds country house," Winona Ryder explained with a smile. "I spent 1.6 million pounds to buy a farm estate in the Cotswolds. The scenery is beautiful!"

Arthur smiled and nodded, then parked the car under a tree by the roadside and cupped the woman's face, kissing her directly.

"Arthur, we're almost home," Winona Ryder said, breathless and disheveled after the kiss, leaning on Arthur.

"Really?" Arthur chuckled, placing his hand on Winona's fair chest, lamenting, "It seems like we're getting busier and busier!"

Winona Ryder laughed, "I saw your scandals in the news, you know, with Nicole Kidman and Sophie Marceau, those foreign actresses." Saying this, Winona directly unbuckled Arthur's belt.

"Not at all, the newspapers are just making things up," Arthur said, leaning back in his seat as Winona Ryder began to lower herself.

Arthur took a deep breath, one hand touching her hair while cars occasionally passed by on the road!

After a while, Winona Ryder raised her head and wiped her mouth with a tissue, "Arthur, I remembered Tracy Jacobs, the agent who brought you, seemed to have met with the UTA head."

"Is she planning to leave CAA too?"

"She just joined CAA from ITA not long ago, and now she's leaving?" Arthur shook his head, not too concerned. Johnny Depp wasn't an A-list star right now anyway.

"Let's go home!"

*****

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