Chapter 172: MPAA

In the morning, Arthur woke up in bed with Monica Bellucci in his arms and glanced at his watch. Rubbing his eyes, he said, "I can't believe it's almost 10 o'clock."

"Last night was a bit wild," said Monica Bellucci seductively in his arms. "Aren't you going to the office to handle work?"

"No rush," Arthur laughed, leaning down to kiss her chest. "By the way, the primary filming location for Bram Stoker's Dracula is in the UK, right?"

"Yes," Monica Bellucci nodded while enjoying his attention. "Director Coppola wanted to use more traditional filming and production techniques.

He's committed to recreating the heavy atmosphere of the late 19th century, so he chose to shoot on location and use a lot of actual sets and special effects to create a realistic and magnificent screen presence."

Arthur smiled and lay down beside Monica Bellucci. "The movie has already started filming. When are you heading to the UK set?"

"In about a week. I need to get there early," Monica Bellucci said, climbing onto Arthur and kissing his chest proactively.

After all, this was a big project by Hollywood director Francis Coppola. Monica Bellucci, being Italian, got into the cast through Coppola's son, Roman.

"Hmm, if you encounter any trouble on set, just call me," Arthur reminded her, caressing her body.

"You know, in this film, you're only a sexy beauty on screen for a few minutes, just showcasing your figure.

At the end of the day, not many people will remember you for this role, so there's no need to sacrifice anything for it."

"Ah," Monica Bellucci looked at Arthur, thinking about how influential he was in Hollywood. "I understand..."

With the arrival of December, Orion's sequel Scream 2 officially started production.

As the first series developed by Galaxy, it achieved significant success, and the importance of Scream was self-evident.

In Arthur's office at Galaxy, Amy Pascal came in to inform him that The Bodyguard was rated R by the MPAA.

"An R rating? Not PG-13?" Arthur frowned. "There shouldn't be much sex, violence, or drug scenes in The Bodyguard, right?"

"The feedback we got was due to gun violence," Amy Pascal shrugged. "That's just how they are, unless we make significant cuts."

Arthur shook his head, "Of course not. Cutting those scenes would take the soul out of the movie. The Bodyguard is an action film after all, so an R rating it is."

Both Arthur and Amy Pascal knew that Galaxy was now a mini-major studio.

With its own distribution network and always developing mainstream commercial films, the six major studios had their eyes on Galaxy.

Especially now, the six major studios plus MGM made up the seven members of the MPAA.

"The MPAA really goes all out to help its members," Arthur said helplessly. It wasn't a secret that the MPAA suppressed non-members.

"By the way, I spoke with some chain theater managers. They hope Galaxy can provide more films for them to show," Amy Pascal said with a smile.

"Now, we have a growing influence in theaters too!"

This was understandable. Other independent film companies couldn't produce as many blockbusters, often making many art films.

Galaxy's high-grossing movies were the most direct reflection of commercial value. Carolco, though mainly into commercial blockbusters, did not handle film distribution and had a distribution agreement with Columbia TriStar. It was primarily a film investment and production company.

"We do need more projects," Arthur nodded in agreement. "But we should also pay attention to independent films. We need to use this method to build filmmaking talent."

"Don't worry, I'm always keeping an eye on festivals like Sundance domestically and Cannes internationally. If good projects appear, we'll notice," Amy Pascal, glad she left Columbia TriStar to join Galaxy, felt it was the right move.

At that moment, the phone on Arthur's desk suddenly rang. "This is Arthur Smith!"

"Good morning, Arthur. I'm Brandon Tartikoff from Paramount Pictures."

Brandon Tartikoff, the current CEO of Paramount Pictures.

...

In the evening, on a bench in the Barnsdall Art Park in Hollywood, the chairman of Paramount Pictures, Brandon Tartikoff, met with Arthur.

"Mr. Davis has already met you. What do you think?" Brandon Tartikoff came on behalf of Martin Davis, chairman of Paramount Communications, who wanted to acquire Galaxy.

Arthur glanced at Brandon Tartikoff and directly refused, "Galaxy is not for sale. I am very satisfied with its current growth momentum!"

Brandon Tartikoff smiled, "I guessed you wouldn't sell. Galaxy has invested in chain theaters and TV stations this year. You even won the stake in ESPN against Hearst.

Young people indeed have spirit. The Addams Family almost became a Paramount project, but you insisted on completing and distributing the movie yourself.

Your vision for movies is indeed good!"

"Scott Rudin, huh," Arthur shook his head slightly, "He may be capable, but he is not me."

"So, do you still think Galaxy is an independent film company?" Brandon Tartikoff asked again.

Arthur lit a cigarette, "None of that really matters, does it?"

"Yes, it doesn't matter," Brandon Tartikoff nodded, "Galaxy is a newborn company. In terms of scale, heritage, and resources, it's not comparable to the Big Six.

With Galaxy's rapid development, if the major studios target Galaxy in terms of scripts, distribution, and theaters, how would you respond?"

Arthur smiled and puffed out some smoke, "I can adapt scripts myself. Galaxy is also willing to invest in distribution. If the movie is popular, theaters will naturally increase the screening schedule.

The advantages of the Big Six are enormous, and I certainly find it difficult to cope. Let's see who makes the first move. Whoever moves first, I'll target them specifically, developing similar movies to compete in the same release window.

Galaxy has no other shareholders; I call the shots alone. And, I have confidence in my works!"

Brandon Tartikoff was stunned for a moment upon hearing this. This was a mutually destructive approach - certainly confident and fierce.

"Arthur, it seems Mr. Davis will be disappointed this time," Brandon Tartikoff shook his head.

Arthur glanced meaningfully at Brandon Tartikoff and said, "Mr. Tartikoff, I've heard that Sumner Redstone, chairman of Viacom, has always wanted to acquire a major Hollywood studio.

Universal, Columbia TriStar, 20th Century Fox, Warner Bros., and Metro-Goldwyn-Mayer United Artists have all changed owners in recent years.

Disney is not for sale, so which one is the most likely target?

How confident is Mr. Martin Davis in Paramount Communications? The key figures in Paramount's revival, Barry Diller and Michael Eisner, didn't get along with Davis!"

Brandon Tartikoff shrugged, "Hollywood is just a business," and he stood up, patting Arthur on the shoulder.

"Well, I should head back. If you can maintain Galaxy's momentum, you'll soon become a dominant force in Hollywood.

Like Disney, which was once just an animation studio, but has become one of Hollywood's Big Six. Metro-Goldwyn-Mayer, which once dominated Hollywood, is now reduced to a plaything for the mafia."

Metro-Goldwyn-Mayer became the toy of Las Vegas casino magnate Kirk Kerkorian in the 1970s, its brand used as a casino image.

A few years ago, Kirk Kerkorian sold Metro-Goldwyn-Mayer to an Italian consortium led by Giancarlo Parretti.

Who is Giancarlo Parretti? He's a front for the Italian mafia's money laundering operations, acquiring the company with large loans from Credit Lyonnais.

Moreover, Giancarlo Parretti and his associates not only hold Metro-Goldwyn-Mayer but also the French film powerhouse - Pathe.

As for Disney, it was just an animation studio back then and wasn't among Hollywood's eight major film groups.

Hollywood's eight major film forces at the time could be divided into five major and three minor studios. The five major ones were 20th Century Fox, Paramount, Metro-Goldwyn-Mayer, RKO, and Warner Bros.

The three minor ones were Universal, Columbia, and United Artists.

With the closure of RKO and the bankruptcy and subsequent acquisition of United Artists by Metro-Goldwyn-Mayer, Disney's rise was the latest, starting mainly after Michael Eisner took over as CEO in the mid-1980s.

Now, with the decline of Metro-Goldwyn-Mayer--United Artists, the current Big Six structure has formed.

Watching Brandon Tartikoff leave, Arthur showed no change in expression. As long as Galaxy continued to produce good works, it wasn't that difficult to outshine the Big Six in the North American market.

Last year, the total box office of the North American market was over $4.3 billion. This year, it hasn't increased much, definitely below $4.5 billion.

"Metro-Goldwyn-Mayer - United Artists, what a pity," Arthur thought about having just acquired the rights to the Lord of the Rings novels.

However, the film distribution rights for The Hobbit series were still with Metro-Goldwyn-Mayer - United Artists.

*****

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