Chapter 60: Maneuvers

Peter Sanders nodded but cautiously added, "At least, Simon Westeros's driver's license shows he is currently 18 years old. Ronald, if necessary, I can investigate further."

Ronald Goldberg, however, remained silent, leaning back on the sofa in contemplation.

As the president of a major Hollywood film company, Ronald naturally understood the level of attention an 18-year-old director's work could bring if it hit the theaters.

Years ago, a Hollywood actor with child star origins, Stephen Paul, directed his first movie, *Back into Love*, at the age of 20. Although the film's quality was dire, and it garnered only a modest box office upon release, it still attracted attention from many major media outlets, including *The New York Times*.

Now, Simon Westeros was only 18—a gimmick even more significant than being 20. While the difference is only two years, in most people's minds, 18 is still just a youth, whereas 20 is already considered an adult.

More importantly, from the reviews in *Variety* and *The Hollywood Reporter*, the quality of *Run Lola Run* far surpassed Stephen Paul's amateur attempt.

If they secured this movie, combined with Simon Westeros's script for *The Butterfly Effect*, pairing the two could form a comprehensive promotional strategy that might yield unexpected results.

With these thoughts, Ronald suddenly remembered something: "Peter, if I'm not mistaken, didn't we sign a contract with Simon Westeros that included first rights to two of his scripts?"

According to the first rights agreement, Simon Westeros's scripts must be offered to Fox Studios first. Only if Fox Studios declined could he negotiate with other film companies.

The majority of the post-production for *Run Lola Run* was completed within Fox Studios, and Ronald was somewhat aware of this. However, since everyone didn't take a young man's experimental film seriously, no objections had been raised.

But when things get serious, they're never the same.

Hearing Ronald say this, Peter understood and nodded, but then he shook his head, saying, "Ronald, I've had someone review that contract again. There's an exception clause stating that films personally directed by Simon Westeros are not subject to the first rights agreement. So, he's not in breach of contract."

Peter Sanders was responsible for drafting the administrative work of the contract for *The Butterfly Effect*. Ronald, upon hearing this, looked at him disapprovingly: "How could you agree to such a term?"

Peter explained helplessly: "The *Butterfly Effect* was green-lit by Mr. Murdoch himself, Ronald, as you know. We had to secure the project quickly. And at that time, no one thought a no-name newcomer like Simon Westeros could produce anything substantial."

Ronald waved his hand, no longer interested in hearing Peter's excuses, and said, "Have Simon Westeros send over a copy. The day after tomorrow, I happen to have time in the morning. I'll watch the film then we can discuss further."

Regardless of the reviews, Ronald still preferred to trust his own judgment.

Peter nodded, sensing Ronald's intent to end the meeting, hesitated, and then said, "There's one more thing, about Sundance. The judge, David Anson, happens to be my friend. I gave him a call a few days ago."

Ronald knew Peter's character well; he was not a magnanimous person, so he didn't believe Peter was lobbying for Simon Westeros's film to win an award.

Glancing at the reviews on the coffee table, Ronald shook his head: "Given the current situation, do you think Sundance will let *Run Lola Run* leave empty-handed? Tell your friend, no need for these maneuvers anymore. Simon Westeros's rise in fame will also benefit *The Butterfly Effect*."

...

After a morning of continuous calls and learning that Ronald Goldberg wanted to personally review *Run Lola Run*, Simon made a quick trip back to Los Angeles on Tuesday afternoon.

On Wednesday morning, after Ronald watched the film, he didn't comment much but doubled the price Peter Sanders had suggested to two million dollars.

This was clearly still not acceptable to Simon.

Thus, he simply refused other offers and flew back to Utah that afternoon, deciding to wait until after Sundance to consider distribution deals.

Meanwhile, as the week began, media praise for *Run Lola Run* gradually increased the film's visibility.

Sundance Film Festival, although nonprofit, still operated on a standard commercial model. Both the Utah state government, which provided subsidies, and the advertising sponsors naturally hoped the festival would attract more attention.

Thus, when *Run Lola Run* started to garner attention, the festival committee continued to subtly promote it, actively contacting more media for coverage.

Then, Robert Redford's praises for *Run Lola Run*, the film's sold-out screenings, Fox Studios' $200,000 script deal, and the young director's solo effort

 on the film's production were gradually noticed by more and more people, continuously boosting Simon's and *Run Lola Run*'s fame.

Park City.

Time swiftly moved to the second weekend of the Sundance Film Festival.

In a meeting room at the Sundance Institute at the base of the city's western ski slopes, the jury members of this year's drama category at the Sundance Film Festival, David Anson, Landa Haynes, Jane Benicks, Kit Carson, and Amy Robinson, were discussing the final award results.

Although Robert Redford was the chairman of Sundance, he had no right to influence the jury's decisions.

At least, that was the case on the surface.

Robert originally thought he had reached an understanding with the five, but inside the meeting room, the discussion on awards was clearly divided.

Landa Haynes and Jane Benicks strongly supported giving the Grand Jury Prize to *Run Lola Run*.

On the other side, Kit Carson and Amy Robinson preferred another film, *Waiting for the Moon*. They felt Simon was too young and that just giving him a Special Jury Prize was sufficient. As a compromise, they also suggested giving the only technical award, the Cinematography Award, to *Run Lola Run*, which was deserved in that aspect.

Outside of these four, David Anson was somewhat silent.

After some debate, Kit Carson suddenly looked at David Anson and proposed: "Landa, Jane, how about this? Let's vote."

Landa Haynes and Jane Benicks also glanced at David Anson, hesitated briefly, but agreed.

Then, without needing any actual voting, it was already two against two; only David Anson needed to express his stance.

David Anson looked around at the others, remembering recent events.

Before this year's Sundance began, he had received a call from Peter Sanders, the current vice-president at Fox, who hinted that he hoped David could suppress *Run Lola Run* during the award process.

After the first weekend of the festival, perhaps because of the acclaim *Run Lola Run* received, or for other reasons, Peter called again, indicating there was no need to proceed as originally planned.

Yet, this didn't end there. On Wednesday afternoon, he received another call from Peter.

Peter's tone was resigned, indicating that Simon had bluntly refused Ronald Goldberg's very sincere offer, and Ronald was somewhat angered. Knowing Simon's plan to wait for higher bids after Sundance, Peter once again hoped David could influence the award results.

This back-and-forth made David question his role.

Although David Anson was a screenwriter, his primary job was as a contributing writer for *Newsweek* and didn't rely heavily on Hollywood.

Therefore, David had decided not to meddle further and let the other four make the decision.

Unexpectedly, the final decision now rested with him.

After a moment of hesitation, David Anson looked around the room and slowly stated, "I choose *Run Lola Run*."