Chapter 164: Opening Ceremony

Simon brought Janet to meet George Miller, the Australian director who happened to be chatting with Nicole Kidman.

After greetings, Simon initiated a conversation, asking, "What were you just talking about?"

Nicole Kidman, dressed in an ivory evening gown and towering in stature, replied, "George thinks I did an excellent job in 'Pulp Fiction' and hopes I can participate in a movie he's preparing."

Nicole said this with a smile, looking at Simon as if curious about his reaction.

According to Hollywood norms, production companies often require newcomers to sign multiple film contracts to continue benefiting from their success.

In the project "When Harry Met Sally," Meg Ryan signed an additional option contract with Daenerys Studios on top of her role as Sally. Now, with the box office success of "When Harry Met Sally," Meg Ryan's next movie contract, unless Daenerys Studios opts out, holds the right of first refusal.

"Pulp Fiction" was no exception, although it was an Orion project, but newcomers Samuel L. Jackson and Nicole Kidman each signed three-picture deals with Daenerys Studios.

The five-picture contract for the selection of the lead actor for Daenerys Studios' recent "Batman" follows the same principle, demanding more films over a longer term. After the era of major studios, Hollywood rarely sees contracts almost akin to indentured servitude, hence the media's ridicule as 'slave contracts'.

Noticing Nicole Kidman's smirk, Simon merely glanced at her before asking Miller, "George, can you tell me about your next movie? I really liked 'The Witches of Eastwick', but I'm even more looking forward to the fourth installment of 'Mad Max'."

"Simon, you're mistaken. I don't have plans for my next film yet. I just wanted to invite Nicole to star in a thriller that my production company plans to shoot, where I'll only serve as the producer," George Miller clarified, then added, "It's a film adapted from a novel called 'Dead Calm', about a couple grieving the loss of their child who, during a healing sea voyage, rescue a stranger leading to unforeseen events."

After Miller finished, Simon immediately thought of "Dead Calm," which, in his original timeline, was Nicole Kidman's breakthrough in Hollywood.

Simon hadn't expected George Miller to be the producer. Yet, it wasn't surprising. The main actors of "Dead Calm," Sam Neill and Nicole Kidman, were both Australians.

Ultimately, it was the Australian connection at work.

Though Simon doubted the then-twenty-year-old Nicole Kidman, who had a strong presence, could portray a young mother grappling with trauma, he didn't point this out to George Miller as their acquaintance wasn't at that level.

However, if Miller decided to proceed, Simon would favor letting Nicole take the role.

Nicole Kidman wasn't considered a box-office star, and with three contracts in place, letting her gain experience in more films wasn't harmful to Daenerys Studios.

After a casual chat, Simon was about to leave when George Miller, who hadn't mentioned this Cannes Film Festival until now, suddenly said, "Simon, I must say, your 'Pulp Fiction' is truly exceptional. It's the first time I've realized movies can be made so imaginatively."

Caught off guard by Miller's candid praise, Simon noticed the shrewd look in the genial middle-aged man's eyes and quickly responded with a smile, "George, I'm glad you liked the film."

While Simon was only interested in the Palme d'Or, having won over two jury members, he wasn't worried about "Pulp Fiction" leaving empty-handed.

Certainly, Orion wouldn't remain passive, with Mike Medavoy and others' connections in the industry far surpassing Simon's. Moreover, compared to the Oscars with its numerous jurors, operating the Cannes awards was much easier.

Simon felt no guilt about his lobbying efforts. If there was an opportunity, not seizing it meant the awards would go to someone else.

Just like "Pulp Fiction" in his original timeline, who would dare say it wasn't fought for?

Like the year Quentin Tarantino was jury president, when Michael Moore's documentary "Fahrenheit 9/11" won the Palme d'Or, the media consensus was that it was a snub to the Bush administration by the French. But awards are in the hands of the jury, and the Cannes organizers wouldn't dare interfere with a casual 'Let's trouble Bush a bit'; doing so would risk a scandal with the accomplished and independent jurors.

The reason was simple.

"Fahrenheit 9/11" was produced by Miramax, known for Harvey Weinstein's close relationship with Tarantino. The documentary, which cost $6 million to make, grossed over $200 million worldwide, netting the Weinstein brothers a huge profit.

That's the inside story.

Ultimately, the Cannes Film Festival is a commercialized cinema celebration, not as sacred as some imagine. Through this event, millions of tourists flock to this French coastal town annually, which is the fundamental reason for the festival's continuation. As for the awards, their outcomes aren't as critical to the organizers. In fact, more controversial decisions can enhance the festival's fame.

After parting with George Miller, Simon was about to greet some acquaintances at the party when Jennifer approached, saying, "Boss, Natasha Kinski is here, too. Do you want to chat with her?"

Natasha Kinski, the European actress who began dating Roman Polanski at 14 and was propelled to fame by him, was also one of this year's Cannes jury members.

Of the ten jurors, Simon could only reach William Goldman and George Miller; although he knew others, he hadn't met them or had the contacts to reach them.

Following Jennifer's lead, Simon approached a couple, and his assistant whispered, "The man is Kinski's husband, Ibrahim Moussa."

After the couple finished greeting another guest, Simon approached Natasha Kinski, extending his hand, "Hello, Ms. Kinski."

Natasha Kinski, wearing a conservative round-neck, long-sleeve gown that evening, looked puzzled at Simon's greeting and didn't shake his offered hand. Instead, she pointed at him hesitantly, "You, um, you are, oh, I remember now, you're Simon Westeros. What does 'Westeros' mean, anyway?"

Simon didn't expect this stunning brunette to react this way, even suspecting she might be high.

Withdrawing his hand smoothly, Simon replied, "Westeros' is a surname I chose for myself, nothing more."

"Ha, you think I'm stupid?" Kinski said, her gaze drifting to Janet beside Simon, her eyes suddenly brightening, "Esmeralda, I saw you in a movie a few days ago. Your performance was fantastic."

As she spoke, Kinski moved closer, snatching Janet from Simon and, like close sisters, began to walk away with her, leaving Simon puzzled about what had just happened.

Recalling Kinski's controversial reputation, Simon doubted her bisexual tendencies, given her known preference for older men. Kinski's husband, seeing his wife leave with another woman, looked displeased and briefly greeted Simon before walking away.

Simon shrugged and headed towards the "When Harry Met Sally" crew.

The film had also arranged for a Cannes screening, and since the international rights were sold to Disney, they were handling

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