Chapter 174 The Final Candidate

June 10th marks a new week with the release of three new films: Disney's family comedy "Four Daughters, Two Mothers," Paramount's thriller "Poseidiki Base" starring Sean Connery, and MGM's horror sequel "Haunted 3."

The strategy to question the fairness of the Palme d'Or for "Pulp Fiction" at the Cannes Film Festival has failed, and some media have turned their criticism towards the film's excessive violence and its homage to many other films.

However, with "Pulp Fiction" igniting a viewing frenzy similar to last year's "Run Lola Run," these tactics only serve to increase people's curiosity about the film.

Frankly, for most audiences, especially the mainstream teenage group of "Pulp Fiction," it's challenging to understand the film's appeal without being influenced by external opinions. But when surrounded by media and peers discussing "Pulp Fiction," these individuals often enter the cinema with preconceived expectations.

Thus, the details like Vincent and Mia's twist dance, the "Gold Watch" plotline foreshadowing from "The Deer Hunter," and countless rich details such as Esmeralda from "Taxi Driver" become incredibly interesting. Coupled with the film's innovative circular narrative structure, the movie effortlessly earns its 'cool' label.

Due to "Pulp Fiction's" success, the popularity of its star actors, such as Samuel L. Jackson and newcomer Nicole Kidman, has soared. Even Janet, appearing only briefly in the film, has become a topic of discussion for her outstanding performance as taxi driver Esmeralda, with Jonathan Friedman jokingly asking if she's interested in signing with WMA.

Amid unstoppable enthusiasm, "Pulp Fiction" maintains its box office lead in its second week with only a 15% drop, earning $23.38 million from June 10th to June 17th.

After two weeks, "Pulp Fiction's" North American box office surpasses the $50 million milestone, reaching $50.91 million.

Easily achieving a $50 million box office in two weeks, media and box office tracking agencies predict "Pulp Fiction's" total North American earnings could reach around $150 million, possibly breaking $100 million within six weeks.

Coincidentally, the release of "Pulp Fiction" and "Basic Instinct" is spaced exactly six weeks apart.

Following "Crocodile Dundee II," which experienced a significant drop last week, continues to decline with a 31% decrease this week, earning $12.35 million for a total of $65.15 million.

Although "Crocodile Dundee II" had a strong opening of over $30 million, its current trajectory suggests it might barely break $100 million, far from the first film's $174 million.

"Fly Over the Future," starring Tom Hanks, defies expectations with a slight 4.7% drop in its second week, earning $12.01 million for a two-week total of $24.6 million.

While $24.6 million may not compare to "Pulp Fiction" and "Crocodile Dundee II," it's a notable achievement against this week's eighth-place "Comedy Farm," which significantly dropped.

In its second week, "Comedy Farm," similar in genre to "Fly Over the Future," falls 26%, earning $6.01 million for a two-week total of $14.12 million.

If the coming weeks' drops remain minimal, "Fly Over the Future" could potentially repeat its original timeline's success of breaking $100 million in North America. Fox has already begun preparations to increase screenings.

Aside from "Pulp Fiction," "Crocodile Dundee II," and "Fly Over the Future," this week's other films performed modestly, with the best-opening new film "Four Daughters, Two Mothers" earning only $9.11 million.

After breaking $100 million in North America, "When Harry Met Sally" slips to tenth place, quietly earning an additional $2.15 million for a total of $102.36 million.

Without surprise, "When Harry Met Sally" is expected to drop below $1 million next week, with Disney reducing its screenings to 635. It's projected to finalize its North American box office around $110 million by August.

The North American summer movie season is in full swing, while the Hollywood writers' strike continues.

On June 13th, after another round of negotiations, the Alliance of Motion Picture and Television Producers offers a new contract. Although it makes some concessions, it still falls short of the Writers Guild's initial expectations.

With the strike lasting over three months and the TV fall season severely impacted, writers struggling without income for a quarter are considering whether to accept the new contract offer.

Simon doesn't believe he has influenced the situation to a significant extent. The pilot airing of "Who Wants to Be a Millionaire" on June 20th is likely to occur after most writers have voted, indicating the strike will continue for another two months.

After several discussions, General Electric, holding $220 million in debt from New World Entertainment, responds positively to Simon's debt-for-equity swap proposal. GE's CEO, Jack Welch, even personally calls Simon.

However, GE proposes a similar deal to Warner's Chairman Steve Ross, wanting to use New World Entertainment as leverage for a stake in Daenerys Studios.

Like many corporations seeking prestige after accumulating wealth, entering the entertainment and media industry is a common goal. Currently, Coca-Cola Company holds half of Columbia Pictures' shares, and Paramount's parent company is Gulf+Western Industries.

GE acquired NBC two years ago with similar intentions.

Daenerys Studios, though recently established, has attracted GE's interest with its string of successful films. Swapping a potentially loss-making debt for shares in a rising Hollywood star seems like a wise transaction.

Simon, as before, decisively rejects the offer.

GE proposes using the New World Entertainment shares for a 49% stake in the new company after the debt-for-equity swap. While GE doesn't demand controlling interest, Simon believes the $220 million price tag won't secure even half of Daenerys Studios' current shares, let alone future company shares.

With GE unwilling to compromise, there's no need to continue negotiations. Simon hopes "Who Wants to Be a Millionaire" will achieve expected success.

In Los Angeles, at Daenerys Studios' headquarters in Santa Monica, Simon returns from visiting the "Scream" film set in Bakersfield, North Los Angeles.

In the large conference room, Simon, seated at the head of an oval table, is surrounded by Amy and ten white males aged 25 to 30, the final candidates for the lead role in "Batman."

Planning to finalize the casting by the end of the month, Simon intends to train the selected actor for about half a year. He briefly reviews the resumes of the ten individuals before addressing them: "As you've seen, you're the final ten. Bruce Wayne will emerge from among you. Today's meeting isn't an audition but a chance to talk."

After a polite response, Simon continues: "First, I must remind you that Daenerys Studios won't make any concessions. To secure this role, you must sign a 15-year contract for five films. If all goes well, this contract could be completed in ten years. The extended term is to prevent mid-contract breaches, which would freeze your career unless you can pay the substantial breach penalty."

The room falls silent until someone asks about Daenerys Studios breaching the contract.

"We won't breach the contract," Simon assures, explaining the studio can choose to terminate the agreement if the project falters.

Acknowledging the world's inherent unfairness, Simon emphasizes the once-in-a-lifetime opportunity "Batman" offers. Despite the low initial salary, the role promises significant earnings through endorsements and other film roles. He invites those unwilling to accept these terms to leave.

No one leaves, and Simon proceeds to detail the final audition process, including background checks for any history of racism, sexual assault, or robbery that could tarnish the role. He warns of intensive training and financial support from Daenerys Studios, urging those unable to commit to depart.

With no one exiting, Simon addresses drug and addiction tests conducted by an invited medical team. He dismisses those unable or unwilling to pass the test, leaving the decision to the candidates.

Returning to his office, Simon meets Valerie Golino, the lead actress from the original "Rain Man," now cast in the same role for the version influenced by Simon. Golino, having finished her scenes last month, greets Simon eagerly.

Despite her agent's absence, Golino assures Simon of her readiness to discuss her role, following advice from Friedman. Simon, satisfied with her appearance, invites her into his office for further conversation, interrupted by a call from Friedman.

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