Chapter 572: Changes at Warner!

Burbank, Warner Building.

The atmosphere was charged with anticipation as Kevin Tsujihara officially entered the CEO's office.

"Mr. Tsujihara!"

"Good morning, Mr. Tsujihara!"

Every colleague he encountered paused to offer their greetings, stepping aside with respect.

Kevin Tsujihara reciprocated with warm smiles and nods, exuding an approachable demeanor that left a positive impression on his subordinates.

As he ascended the stairs and entered his spacious office, Kevin Tsujihara's ambition burned brightly. Like any newly appointed decision-maker, he was eager to showcase his abilities.

This Japanese-American executive had served Warner Bros. in senior roles for an extended period. Following AT&T's acquisition of Time Warner, he had been promoted to the parent company, Warner Media, as a senior executive.

With this second chance, he was determined to make a significant impact.

The legacies of "Harry Potter," "Batman," and "Lord of the Rings," attributed to Barry Meyer and Alan Horn, were not his to claim. Relying solely on the successes of his predecessors would only embarrass the parent company's board of directors. Kevin, along with his shareholders, believed he had the capacity to innovate and lead the company forward.

His assistant, Beisen, also of Japanese descent, entered with a tray bearing coffee and another document.

Kevin Tsujihara inquired, "Have the matters with Marvel Studios and the Coca-Cola Cult been resolved?"

Nathan responded respectfully, "Yes, they have. Kevin Feige issued a public apology, and Martin initiated efforts to pacify the Coca-Cola Cult. Disney also worked behind the scenes, resulting in minimal media coverage."

Kevin Tsujihara nodded in approval. "Robert Iger acted swiftly to find an optimal solution."

Nathan remained silent.

After a brief pause, Kevin Tsujihara added, "You should lead a team to strategize further. Our superhero universe plan will require time to unfold. If Next Door achieves overwhelming success, it might reflect poorly on us. We must continue to find ways to delay Next Door."

"Understood," Nathan replied crisply before exiting the room.

Left alone in his office, Kevin Tsujihara turned his attention to the document Nathan had brought. It was the resignation letter of Warner Pictures President Alan Horn.

The corporate headquarters had already granted its approval.

Kevin Tsujihara read the letter carefully, and with a decisive signature, he accepted Alan Horn's resignation.

The colossal failure of "Terminator 2018" had left the corporate headquarters deeply dissatisfied with Alan Horn, who had championed the project. It was the primary reason behind his departure.

This marked Warner Pictures' most significant failure since "Alexander the Great." Even when factoring in projected offline revenues, the losses exceeded $100 million.

With Alan Horn's departure, Barry Meyer was next in line.

As per the parent company's plan, Kevin Tsujihara would assume the role of Warner Bros. chairman once Barry Meyer stepped down completely.

The Japanese executive was poised to wield substantial influence.

From Warner Pictures to DC Pictures to Warner Entertainment, all the leadership positions were set to undergo a significant transformation.

In the bustling heart of Hollywood, much like the titans of the industry, when the captain of the flagship changes course, the leaders of the other vessels inevitably follow suit.

Amidst the ensuing turbulence, a short-term price to be paid, a new and glorious era was poised to dawn.

Kevin Tsujihara's unwavering focus now turned to the very core of Warner Bros.—their film business.

Warner Bros. was an undeniable powerhouse. "Harry Potter" had been a goldmine, "The Lord of the Rings" a lucrative franchise, and "The Dark Knight" had revitalized DC comics on the silver screen.

In his examination of Warner's portfolio, Kevin Tsujihara couldn't ignore the substantial contributions of Martin Davis, who had worked closely with the studio in recent years.

However, Warner faced an array of challenges. "Harry Potter" was nearing its conclusion, "The Dark Knight" leaned heavily on Nolan's genius, and "The Hobbit," a part of the acclaimed "Lord of the Rings" series, was progressing at a snail's pace.

Before Kevin Tsujihara's arrival from New York, he'd meticulously devised a plan—an expedited "Hobbit."

Generous payouts and lenient contracts, courtesy of Barry Meyer and Alan Horn, had adversely affected Warner's profitability.

But the most pressing concern was the neighboring Marvel's bold strides with the Marvel Universe on the big screen, leaving DC no room for delay.

Kevin Tsujihara made the call.

Shortly thereafter, Walter Hamada, the freshly appointed head of DC Films, entered his office.

In his new position, Kevin Tsujihara had taken the liberty to bring in his own team. He had worked tirelessly to persuade the corporate hierarchy to drop their original choices and transfer Hamada, also of Japanese-American descent, from New Line Cinema to lead the DC comic book movie venture.

"Superhero movies have thrived in recent years. Batman and Iron Man have struck gold, and Marvel has masterfully launched its cinematic universe," Kevin Tsujihara inquired, "How is our strategy shaping up?"

Hamada, having diligently studied DC comics since his discussion with Kevin Tsujihara two months prior, had a preliminary plan in place. He responded confidently, "I'm fully confident that we can catch up."

With a measured tone, he added, "Marvel's most iconic characters, like Spider-Man, X-Men, and Fantastic Four, have all had their copyrights sold off, leaving them with a roster of second and third-tier superheroes. In contrast, DC retains control of characters from Superman to Batman to Wonder Woman, who have consistently outperformed Iron Man and Captain America in the comic book market for decades."

Kevin Tsujihara nodded in agreement. "That's precisely why, upon assuming my role, I chose DC to create a superhero cinematic universe under the Warner and DC banner."

Hamada, embracing his new responsibilities with zeal, continued, "Nolan is currently working on a realistic interpretation of Batman, which aligns well with DC's vision. We'll put a hold on Superman, as it recently faced a cinematic setback, and the timing isn't right for Wonder Woman or the Justice League."

Kevin Tsujihara pondered the proposal. "I see your point. So, what's your choice for the flagship?"

Hamada confidently stated, "I've opted for Green Lantern. It has a dedicated fanbase and offers DC the opportunity to expand its universe into the cosmic realm, keeping pace with Marvel next door."

Kevin Tsujihara considered the proposal carefully. "Very well. You shall lead DC Films in crafting a detailed plan. A project of this magnitude will require the approval of the review committee."

Hamada responded with determination, "I'll assemble the team and get to work right away."

With a sense of urgency, Kevin Tsujihara concluded, "Speed is of the essence!"

Hamada nodded in acknowledgment, fully aware of the expectations placed upon him in his new role.

Within the solemn confines of the Warner Building, an atmosphere of unease hung palpably in the air. While ordinary employees might not have sensed it, the executives were acutely aware of the impending changes following the leadership transitions between Warner Pictures and DC Pictures.

Whenever new leaders assumed power, they tended to bring in their own trusted allies—a fact made evident by the Japanese CEO's recent actions.

Alan Horn's resignation and Barry Meyer's forthcoming departure as chairman had cast a shadow of apprehension over Daniel, who had maintained a close rapport with both men.

The vice president of the distribution company, responsible for overseeing medium and large projects, couldn't shake off the lingering concern that he might be replaced.

Rumors had been swirling in the past few days, leaving Daniel with two possible paths ahead. One was to seek opportunities elsewhere, akin to Alan Horn, though such options were far from plentiful in Hollywood's competitive landscape. Changing industries held immense risk, particularly for someone in his position, with a lavish home and several children attending prestigious private schools. A single misstep could spell financial ruin.

On the other hand, some executives from various subsidiaries had already chosen the alternative route—to pledge allegiance to Kevin Tsujihara.

In the wake of Kevin Tsujihara's ascension, it was improbable that every key position would be replaced. After all, they worked for Warner Bros., not any individual executive.

Daniel recognized the pivotal nature of his role and had been pondering his options intensely in recent days.

Today, with Alan Horn's formal resignation, the situation reached a critical juncture.

Clutching a document in his hand, Daniel dialed a number and subsequently left his office, heading upstairs.

In the reception area outside his office, Daniel came face to face with Kevin Tsujihara.

"It's like this. There's something I'd like to discuss with you," Daniel stated with an appropriate degree of deference. "Recently, Warner initiated a review of our classic films archive. When Martin Davis got wind of it, he requested a comprehensive list. He's interested in selecting projects from our archive to revitalize our old films..."

He recounted the events with 90% truth and a 10% embellishment.

Kevin Tsujihara, furrowing his brows inquisitively, sought clarification.

Daniel continued, "Martin Davis possesses an extraordinary instinct for project selection. Since his Hollywood debut with 'Zombie Stripper,' all his subsequent works have been released by Warner Bros., achieving remarkable success, even revitalizing poorly-received projects upon their release, both at the box office and on DVD."

Daniel proceeded to furnish Kevin Tsujihara with information regarding several selected old films that had piqued Martin's interest. "He seems to possess an uncanny knack for predicting the film market's reactions. His selections invariably meet with success, a trend observed repeatedly in Hollywood."

Kevin Tsujihara perused the documents and offered a smile. "Impressive."

His remark extended beyond the three old movies in question, reflecting his approval of Daniel's stance and approach.

Returning the documents, Kevin Tsujihara suggested, "You're well-acquainted with Martin Davis. Pay him a visit and inquire about his fascination with these three films."

Daniel did not hesitate. "I'll reach out to him right away."

Prioritizing his need for job security over other considerations, Daniel understood the importance of maintaining a positive relationship with influential figures like Martin and Kevin Tsujihara.

After bidding farewell to Daniel, Kevin Tsujihara returned to his office, where he gazed out of the floor-to-ceiling windows, exuding an air of contentment. His vantage point offered sweeping views of Burbank, creating an illusion that Hollywood lay within the palm of his hand.

...

At Warner Studios, within the confines of the "Gone Girl" studio, Martin, David Fincher, and Charlize Theron delved deep into discussions regarding characters and scripts.

A knock on the door signaled Bruce's arrival as he announced, "Daniel is here."

With ongoing negotiations with Warner Bros. for the distribution of their film, David Fincher and Martin joined Daniel to meet him.

Daniel wasted no time in getting to the point. "David, your pace of shooting and production has always been deliberate. I need your commitment to complete the filming and production of this movie before November next year."

The mutually agreed-upon North American premiere date was slated for the upcoming holiday season.

David Fincher, well aware of the competitive landscape in Hollywood, acknowledged the situation. Although victory in this round was improbable, he remained determined to vie for the Best Director Oscar.

He promptly assured, "I'll work at least six days a week from now on to ensure 'Gone Girl' wraps up on time."

Extending his hand, Daniel sought David's commitment, which was reciprocated with a resounding high-five.

While this was an informal agreement on a personal level, official negotiations were still ongoing. Once these were successfully concluded, a formal contract would be drawn up.