Chapter 135: I Certainly Can't Let You Succeed

Beverly Hills.

In a guest room at MGM headquarters, United Artists' Chairman Tony Tomopoulos leaned back on the sofa, sipping coffee brought by his secretary, while speaking to Michael Ovitz seated across from him. "Did you hear? That kid tried to feel out Semel at a Warner Brothers party last night about selling DC Comics to himself. Pascal seems to be negotiating a TV series deal for him with Columbia too—ten million dollars and it didn't scare him off. Young people these days, they make a bit of money and think they can buy the whole world."

Listening to the clearly unsettled tone of Tony, now in his sixties, Michael Ovitz didn't quite see Simon Westeros as reckless for becoming suddenly wealthy. However, given the purpose of today's meeting, he simply nodded and chuckled along, "Hollywood needs people like him, otherwise how could we finance all the movies we produce each year?"

Tony, catching the hint of acumen in Michael's response, pressed on, "I know you've been eager to push the Rain Man project forward. But that kid has shown some real greed in his dealings with Fox—asking for a 10% box office share for a screenwriter, unheard of in Hollywood history. As for this collaboration, even if Rain Man continues to be delayed, it's United Artists' interest I certainly won't compromise."

Michael nodded in understanding, "I get it, Tony. I've always been a proponent of equitable benefit. Business thrives when we all make money together."

As they spoke, Tony's secretary entered with Amy Pascal.

After greetings, the trio settled on the sofa. Michael turned to Amy with a smile, "How did it go with Robin?"

Before coming to MGM headquarters, Amy had just met with Hollywood actor Robin Williams about the Dead Poets Society project. Though Robin was a CAA client, he wasn't Michael's direct responsibility.

However, Amy wasn't surprised by Michael's sudden question. The head of CAA always seemed to have his fingers on the pulse of Hollywood, like a spider aware of every vibration on its web.

"Robin is very interested in the script for Dead Poets Society. We plan to sign the contract tomorrow."

Michael appeared somewhat surprised, "That quickly?"

Amy explained, "Simon wants this wrapped up before the end of the year so he can start preparations when he returns."

Tony, feeling out of his depth with Amy and Michael's discussion, interjected, "Westeros isn't in Los Angeles?"

Amy turned to Tony, "Simon is in New York, it's Christmas Eve tomorrow, and his girlfriend is there."

As the secretary served Amy her coffee, Tony waited a moment before asking, "Since that's the case, Amy, why don't you start by telling us about your plans for developing The Hobbit? It's a classic novel, and United Artists won't hand it over lightly."

"Tony, Daenerys Film doesn't plan to start The Hobbit immediately. We want to secure the rights and spend two to three years developing and perfecting the special effects needed for this fantasy epic before we begin production."

Tony shook his head, "Three years is too long, and that sounds like an excuse just to secure the rights."

Amy countered, "Tony, if I said Daenerys Film would start production immediately, that would truly be a pretext. A fantasy novel like The Hobbit, involving dragons, elves, dwarves, and such, cannot be rushed without meticulous preparation, or it will fail."

Tony persisted, "Alright, Amy, what's your offer?"

"Tony, I've already made an offer to United Artists—$1 million. Now, as a supplement, Daenerys Film can invest $10 million in Rain Man."

Though Tony had made a fuss over The Hobbit, in truth, he wasn't much concerned about the novel's rights. United Artists had acquired the rights to The Lord of the Rings and The Hobbit back in 1969, and although the books were bestsellers at the time, they hadn't shown much commercial potential in film, which is why United Artists transferred the rights to Saul Zaentz in 1976.

Hearing Amy's straightforward commitment to invest $10 million in Rain Man and considering some kid's substantial wealth, Tony quickly changed his stance, "No, that's not enough, Amy. If you want The Hobbit, you'll need to invest at least $15 million."

Amy looked puzzled at Michael, "Michael, you didn't mention this on the phone."

Michael was also taken aback by Tony's sudden shift and frowned, "Tony, you can't do this; it will only put Rain Man on hold again."

Tony only looked at Amy, saying, "Since Westeros is willing to offer Columbia $10 million for a TV series that's hardly worth it, he shouldn't mind another $5 million for a movie starring Dustin Hoffman and Tom

 Cruise, especially to secure The Hobbit rights."

Amy, visibly annoyed, retorted, "Tony, we didn't offer $10 million for a TV series."

Tony thought for a moment, sat up straight, and said, "Amy, I think it's best if Westeros himself comes to talk to me."

Amy shook her head, "As I just explained, Tony, Simon is in New York."

Tony smirked, "It's not two hundred years ago; just give him a call."

Amy picked up her bag, "If you insist, Tony, I'll discuss it with Simon."

"No, I mean now," Tony insisted, not giving Amy and Simon any time to prepare, "We can hold a teleconference right away."

Amy glanced at her watch, "It's five o'clock in the afternoon in New York; it's Simon's personal time."

"Call him, Amy. I want this settled today. Otherwise, you can tell him during business hours tomorrow that this deal is off."

After a moment's standoff, Amy dialed a number from the phone on the coffee table.

On speakerphone, Simon's voice soon came through, "Hello?"

"Simon, it's me," Amy glanced at Tony and continued, "I'm at MGM headquarters. Mr. Tomopoulos would like to speak to you."

"Tomopoulos?"

"Chairman of United Artists."

"Oh."

Hearing the casual tone from the speaker, Tony felt irked but took over, "Simon, this is Tony Tomopoulos."

"Hello, Tony."

Tony got straight to the point, "Simon, let's be direct. The Hobbit is a very precious asset of United Artists. If you want the rights to this novel, Daenerys Film needs to invest at least $15 million in Rain Man."

After a brief pause, Simon's voice came again, "Tony, isn't the budget for Rain Man $25 million? If Daenerys Film is putting in $15 million, whose movie is it?"

"Simon, United Artists developed the entire project, the rights naturally belong to us. But, Daenerys Film will certainly get its fair share of the profits."

"Sorry, Tony, I'm not used to paying a lot and not having control. If United Artists wants $15 million, Daenerys Film must take charge of the project, like with Basic Instinct."

"Simon, that's impossible, unless Daenerys Film takes on the entire investment."

"Tony, I'm not interested in the project, I just want The Hobbit. $10 million is already generous for United Artists, raising another $15 million shouldn't be a problem."

"$15 million, Simon, since you want The Hobbit, it has to be $15 million."

After another pause, Simon finally said, "Then make it $25 million. Daenerys Film will handle the production, United Artists will handle the distribution, and you must guarantee the release schedule, marketing efforts, and a minimum number of screens."

Tony, expecting a drawn-out negotiation over the phone, was taken aback by the swift conclusion.

United Artists had previously purchased the screenplay rights to Rain Man, and Tony's strategy was to seek external investment whenever possible, otherwise to finance it through pre-sales and loans, with United Artists handling production and MGM handling distribution.

Having A-list stars like Dustin Hoffman and Tom Cruise involved, although generally not favored, ensured some commercial security for Rain Man compared to most Hollywood projects.

Given United Artists' current situation, securing quality movie projects wasn't likely.

Under this operational strategy, his company would earn a stable distribution fee regardless of the outcome. If the film succeeded, United Artists would reap additional profits as the producer. If it failed, the company wouldn't suffer much.

Now.

This financially robust young man had suddenly proposed a plan Tony hadn't anticipated.

$25 million.

Such a large sum offered so readily—considering Warner, Universal, Paramount, and others had all rejected the project, and even Spielberg couldn't draw enough funding and had to use filming Indiana Jones 3 as an excuse to drop out.

Who could have expected such a sudden turn?

As a stream of reflections flickered through his mind, Tony couldn't help but ask, "Simon, $25 million, all handled by Daenerys Film, are you sure you're not joking?"

"Tony, do I sound like I'm joking?" Simon's voice carried a hint of impatience, "Alright, that's settled. Amy, wrap this up. I need to go out to dinner with Jennifer. Talk later, goodbye."

With that, the call was cut off.

A soft click later, silence fell in the guest room.

Amy, noting Tony's brief silence followed by his uncertain expression, stood up, "Tony, let's talk about this later. Simon's decision was too rash; I need to discuss it with him."

When things go unexpectedly, there's often a hidden twist.

Tony, seasoned from years in Hollywood, wasn't easily swayed.

Though unsett

led by Simon's rapid accumulation of over a billion dollars at such a young age, Tony absolutely recognized the young man's talent in filmmaking. He also had a general idea of Simon's previous bold, astute, or risky and brilliant collaborations with Orion, Fox, and Disney.

Thus, Tony didn't believe Simon Westeros would blindly throw $25 million at a script nobody else favored, just for a novel's rights.

The current situation.

Either Simon Westeros actually saw great potential in the script, which explained his seemingly foolish insistence on taking over the entire project. Or, an obscene amount of money had turned a once brilliant young man into a reckless, judgment-impaired spendthrift.

Hearing Amy's voice, Tony added another reason to his thoughts.

Or perhaps, all of Simon Westeros' previous business operations were orchestrated by this woman, and his true nature was as shown on the call.

Curious to see if Amy was playing hard to get, he stood up as she did, extended his hand again, and said, "Then, that's it for today, Amy. I need to think this over as well. We'll, uh, schedule another time next week."

After shaking hands with Tony and nodding at Michael, Amy walked out of the guest room.

As the negotiations couldn't continue, Michael, who had been quietly observing, also stood and bid farewell to Tony.

Leaving the MGM office building and noticing Amy's car exiting the parking lot, Michael approached her window, knocked, and when the glass slid down, he smiled and asked, "Amy, can you explain what just happened?"

Amy's face showed resignation, "Michael, as you saw, Simon lately..." She shook her head slightly and sighed, "I don't even know how to advise him anymore."

But Michael's smile remained unchanged, "Amy, if I remember correctly, on Monday you complained that $10 million was too much, yet today you didn't seem to hesitate about the investment."

Amy's expression didn't falter, "That was Simon's decision."

After a brief chat, Michael watched Amy drive off, his smile lingering. He realized, one way or another, the Rain Man project was settled.

Perhaps.

According to the young man's vision and capabilities, this film might still bring some surprises to everyone.

After all, Michael Ovitz didn't believe that a young man, who had made such a strong impression on their first meeting, could so easily lose his sense from a large sum of money and become reckless and undiscerning.

With this thought, Michael suddenly remembered a detail Amy Pascal mentioned at the beginning of their meeting.

His smile widened.

Kid, since you're eager to sign Robin Williams, I certainly can't let you succeed just yet.

Let's see if this brings any surprises.

Hmm.

Robin Williams.

Michael Ovitz recalled, his excellent memory quickly providing a series of information.

Robin Williams, who entered the film industry with the live-action Popeye, hadn't had any notable works in recent years and was considered a second-tier comedy star. His latest movie, Good Morning, Vietnam, a popular anti-war type reflecting on the Vietnam War and styled as a satirical comedy, resembled Robert Altman's MASH, which had been nominated for Best Picture.

The internal screening received positive feedback, with a release scheduled for December 25, the day after tomorrow.

However, Disney seemed to plan a similar award-pushing strategy as MASH, starting with a limited release to build word-of-mouth, initially only in single-digit screens.

The driver pulled up.

Michael got into the car and picked up the car phone to call his friend and neighbor, Disney CEO Michael Eisner. Maybe they could arrange a family screening tonight, watching a comedy together.

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