Chapter 212: The Unblamed Victor

Ira Deutschman was somewhat silent. Having spent so many years in Hollywood, how could he not understand the principles Simon was talking about?

But that's just how people are; understanding a principle doesn't necessarily mean one can act on it.

As a graduate of the prestigious Northwestern University, Ira Deutschman often felt a sense of academic superiority over most others in Hollywood. This superiority complex unknowingly constrained his actions, compelling him always to maintain the dignity of an intellectual. Thus, even though he was well aware that hyping up the audience-pleasing elements could bring higher box office returns, Ira Deutschman resisted doing so from the bottom of his heart.

The waiter chose this moment to bring their lunch, and Simon waited until he had left before asking Deutschman, "So, do you still want this job?"

Deutschman hesitated, then asked, "Simon, is it really right to pursue a film's commercial interests so purely?"

"Many maverick filmmakers always say they don't make movies for the money. But in reality, it's not like that. Since they've chosen film, they are destined to have a stronger desire to perform than ordinary people. Deep down, they absolutely hope more people can see their films," Simon looked at Deutschman and slowly said, "As a film distributor, your job is to figure out how to get more people to see the film. That's your responsibility to the filmmakers and the investors, and it has nothing to do with right or wrong. A film that tells the truth about life, if you use 'sex' as a promotional gimmick, the director might be very angry. But when a film that originally had the potential for a few million dollars in box office sales ends up making 10 million, 20 million, or even more, and even gets an Oscar, you'll find that not only does he not blame you, he looks forward to working with you again. Ira, it's always the victors who are deemed right; the victors are not blamed."

After hearing Simon's words, Deutschman's expression shifted momentarily before he sincerely said, "Simon, I need to be honest. Before this meeting, I very much hoped to get this job. But now, I realize you have far greater expectations for the company I might be managing than I imagined. I'm not sure if I can meet them."

Simon smiled and said, "I'm not sure either, Ira. The reason I chose you is because your qualifications are just right. You're only 35 years old, not so set in your ways like those in their fifties and sixties, but you have more industry experience than someone just starting out. However, once you're on board, you only have one year."

"One year?" Deutschman asked, puzzled.

Simon nodded, "Yes. Even if you accept this job, you'll go through a one-year probation period. During this year, I'll closely monitor the operations of Gaomon Pictures, personally urge you to change your traditionally conservative management thinking. After a year, if your work satisfies me, we'll sign a formal long-term contract."

Deutschman quickly caught the additional implication in Simon's words, "Simon, do you mean Gaomon Pictures operates independently, and I'm only accountable to you, not Ms. Pascal?"

"Exactly. Gaomon Pictures will have even more independence than you think. While Daenerys Films and New World Cinema's production and distribution departments are separate, Gaomon Pictures will have a completely independent film production and distribution system. Apart from financial oversight from the parent company, you will have a great deal of autonomy."

After a few seconds of facial changes, Deutschman made up his mind, "Simon, what should I do in the coming year?"

"Get acquainted with and adjust to Gaomon Pictures as soon as possible. You can hire or fire some people and take over the distribution of a few art films under the company's banner. In the coming year, scouting projects, acquiring films, managing distributions... all these tasks need to be handled by you. I'll be involved in major decisions, offer my advice, and personally ensure you change any distribution strategies I find outdated. I'll also help you seek out some projects to manage," Simon paused briefly to let Deutschman digest his words before continuing, "As for how your work will be evaluated, the core criterion is, of course, the commercial success of the films. But it's not absolute. Film is a highly uncertain and risky business, and I allow my subordinates to fail. So, you'll be judged separately on all the projects you handle over the year. As long as you put your heart and soul into each one and are on a path I consider correct, we can sign a formal contract after a year."

Deutschman carefully noted Simon's words and asked after Simon had finished, "Then, Simon, how much budget can I expect to have for the next year?"

"$30 million. That's strictly for film operations. You can do anything you think is feasible with it: production, acquisition, distribution, etc. And it doesn't all have to be spent by the end of next year; just focus on the projects you believe in," Simon said, adding, "Also, your salary for the next year will be $150,000, with no bonus clause. But if your work is impressive, you'll get a signing bonus next year when we sign the contract. You can bet on whether I'm a generous or stingy boss. Oh, and you'll have access to the company's private jet for business travel. After a year, if we sign the contract successfully, you can use it for vacations with your family. If you work at Daenerys Entertainment long enough, you might even get a private jet fully paid by the company."

$30 million might not be enough for a blockbuster's production costs in Hollywood today, with Simon's "Batman" project's public budget reaching $50 million.

However, Deutschman had no complaints. The most financially flexible year at his previous company, New Image, didn't have $30 million for discretionary spending. Deutschman quickly decided to use all the funds for acquisitions and distribution, the areas with the lowest risk and shortest operational cycles. Art films, requiring far less investment than commercial films, could be managed with an average budget of $5 million each. $30 million would allow him to manage six films next year.

As for production, he could scout scripts now and, if officially signed next year, start production with potentially more budget.

With these thoughts, Deutschman stood up, reached across the table to shake Simon's hand, and smiled, "Boss, I look forward to the day I have my own private jet."

Deutschman was decisive, signing the employment agreement the next day and diving into his work at Gaomon Pictures.

In the following days, Simon also finalized the casting for the other two supporting roles in "Batman."

Beyond Black Mask Roman Sionis, who went to William Dafoe, the final choice for Commissioner Gordon was Tommy Lee Jones, and the role of Batman's butler, Alfred, was given to Anthony Hopkins.

Both Tommy Lee Jones and Anthony Hopkins would become household names, one for the "Men in Black" series and the other for his award-winning performance in "The Silence of the Lambs."

If it were ten years later, bringing the two together for supporting roles in "Batman" would be unthinkable. But at this point, they were still not as famous as they would later become and barely counted as second-tier in Hollywood.

Tommy Lee Jones, just over forty, hadn't made any notable films since the 1980 documentary "Coal Miner's Daughter." Before accepting the role of Commissioner Gordon, his five most recent films were failures, with only one, produced by New World Cinema, making over $6 million at the box office.

At 51, Anthony Hopkins had even fewer recent big-screen appearances, mainly starring in TV movies and series.

Thus, both were affordable veterans who could give audiences a sense of familiarity, fitting Simon's vision for Commissioner Gordon and Alfred perfectly. Importantly, both agreed to long-term contracts for up to five films.

In another timeline, Scarlett Johansson and Samuel L. Jackson, despite being supporting actors in the Marvel Cinematic Universe, earned far more than the actors playing Thor, Hawkeye, and the Hulk, primarily because their characters were irreplaceable, and they hadn't signed as lengthy contracts as the main heroes.

Unlike Catwoman, Commissioner Gordon and Alfred are tied to the Batman series. If the series continues, it's unlikely they could be replaced mid-way, and Simon didn't want to change actors partway through. After negotiations, both actors' starting salaries were set at $150,000, with a maximum increase of $300,000 per sequel, a fair amount for supporting roles. If either reached their later levels of fame, such increases would seem trivial.

Therefore, while Simon couldn't limit future film appearances for the two supporting actors as he did for the main role, he was prepared to potentially stifle their career growth if necessary, such as by changing the lead actor in "The Silence of the Lambs."

Ensuring the success of his DC cinematic universe was his priority.

With the core cast set, "Batman" began script readings and rehearsals more frequently. Simon's deputy, Joe Silver, even flew to Melbourne in late October to coordinate location scouting and set design for the film's early next year start.

As Halloween approached, the box office landscape looked grim compared to the same time last year.

The October box office in 1987 totaled nearly $180 million, but this year, with October not yet over, the total was projected to be only $130 million, a reduction of nearly one-third.

Even the upcoming November and December holiday season appeared sparse in terms of film releases compared to previous years. The Hollywood writers' strike earlier in the year resulted in lower-quality films, leading major studios to adopt a more conservative distribution strategy.

Thus, Daenerys Entertainment, set to release "Scream," "Mulan," "Dead Poets Society," and "Rain Man," stood out during the year-end season.

Simon insisted on negotiating with North American theaters to secure a release for "Rain Man" on 1,136 screens. Along with the other three films, Daenerys Entertainment's year-end lineup was on par with a standard wide release.

Simon also approved a $5 million advertising budget for each film, covering TV, radio, newspapers, magazines, and other media platforms. Including copy and printing costs, the total promotional budget for each film was expected to exceed $8 million. If the box office met expectations, further investments were planned.

In an era when traditional distribution was shifting to a wider release model, Daenerys Entertainment's equal or even greater promotional investment compared to production costs seemed unwise to many. However, Simon paid no mind.

The ability to break free from the constraints of major studio distribution channels hinged on this gamble.

The upcoming years wouldn't offer Daenerys Entertainment the same favorable market conditions as now. Missing this opportunity would mean facing combined pressure from Hollywood's major players once they recovered from the impact of the writers' strike.

After a final barrage of trailers on mainstream TV networks and MTV, "Scream's" release date finally arrived.

The previous week saw a slight increase in the North American box office to $32.67 million, thanks to the release of "Halloween 4" by Galaxy International. However, "Halloween 4's" opening week box office of just over $8 million posed no threat to "Scream."

On October 28th, "Scream" officially opened on 1,755 screens across North America.

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