Chapter 132: Two Ghost Films

Amy Pascal was used to Simon's frequent bursts of inspiration and replied thoughtfully, "I remember three years ago, due to poor management, Warner Bros. proposed selling DC to Marvel, but they were rejected. I'm not sure about the current situation, but after the stock market crash, large companies are generally restructuring their assets to reduce debt. The comic book industry has been declining since the 1970s, so if you offer enough, Warner might agree."

Simon drummed his fingers on the table, imagining a grand fusion of the Marvel and DC superhero universes, then asked again, "You mentioned Semel will call me this afternoon?"

Amy nodded, "It's probably about 'Run Lola Run's award campaign. Orion might have mentioned it to you? If 'Run Lola Run' can make an impact this awards season, it would be beneficial for their rights management as well."

'Run Lola Run' had concluded its North American theatrical run in August and was now in the three-month window before video release. After selling the overseas rights to Warner Bros., the film had leveraged Warner's international distribution network to gross over $200 million overseas, now moving into the post-release phase.

The original 'Run Lola Run' had not achieved much acclaim in North America, but circumstances were now different.

With a global box office of $400 million, a partnership between Warner Bros.—one of the big seven—and Orion, known for its awards campaign expertise, plus the film's undeniable quality, 'Run Lola Run' was set to be a major contender in the upcoming awards season.

Perhaps Simon's only disadvantage was his age.

Previously, the youngest Oscar-winning Best Director was 32 years old. If Simon were 30, he might have a chance to break this record. Now, it seemed almost impossible, and he could only hope for a nomination.

Glancing at his watch, which showed it was three o'clock, Simon anticipated Terry Semel's call might come before the end of the workday, possibly an invitation to a dinner party. However, Simon had other plans for the evening, and discussions about acquiring DC would have to wait until the weekend or next week.

While he was calculating his next moves, the conference room door was knocked on, and Amy's assistant Vanessa peeked in, "Mr. Westeros, Ms. Pascal, Mr. Craven is here."

Simon and Amy stood to greet Wes Craven, who entered with a middle-aged white man wearing glasses.

Today was December 18, a Friday.

Simon had brought out the story outline for 'Scream' yesterday, which Amy and Craven had reviewed. Although Craven had not yet agreed to direct, he had suggested hiring a screenwriter to draft the script and see how it turned out.

The middle-aged man in glasses must be the screenwriter Craven recommended.

After brief introductions, Craven said, "Simon, Amy, this is Bruce Joel Rubin. He was the screenwriter for 'The Girl Next Door' that I directed last year for Warner Bros. I think he could try writing 'Scream.'"

Hearing the name Bruce Joel Rubin, Simon almost couldn't mask his surprise.

Before collaborating with Wes Craven on 'Final Destination', Simon knew that Craven had directed the unsuccessful 'The Girl Next Door' for Warner Bros. last year but had not realized that Bruce Joel Rubin was the screenwriter.

Bruce Joel Rubin might not be widely recognized, but few would not know 'Ghost.'

Bruce Joel Rubin was the screenwriter of 'Ghost.'

Released in 1990 in the original timeline, not only did 'Ghost' become one of the most tear-jerking romantic films of all time, but it also grossed $500 million worldwide on a $22 million budget, coupled with a series of Oscar nominations, making it a critical and commercial success.

Simon had previously attempted to locate Bruce Joel Rubin without success, and now unexpectedly encountered him under these coincidental circumstances.

Perhaps it wasn't a coincidence at all.

Ultimately, Hollywood was a small circle. Many of the people Simon was interested in were probably closer than he realized, just unnoticed.

Contemplating whether he should attend more social gatherings in the future, Simon regained his composure and discussed 'Scream' with everyone, subtly steering the conversation towards his desired direction.

After a brief chat, when Simon questioned his ability, Bruce Joel Rubin defended, "Simon, 'The Girl Next Door' might not have done well at the box office, but the script was an adaptation of a novel, and I believe Wes and I did our best within the creative constraints set by the studio."

"So," Simon looked at Bruce Joel Rubin, "Bruce, do you have other scripts or ideas? Although I've provided the story outline for 'Scream,' I still hope the screenwriter can bring enough creativity."

Bruce nodded, "Of course."

Simon waved his hand, "Let's hear it."

Bruce thought for a moment and said, "A few years ago, while watching 'Ham

let,' the scene where Hamlet's father's ghost leaves his body and instructs his son to avenge him gave me an idea. The story is now very well thought out, though I haven't started writing it. Sam and Molly are a couple about to get married. One evening, after watching a play, they are walking home when they are mugged. Sam is stabbed by the robber and becomes a ghost who can't communicate with the living. He lingers around Molly, only to discover his death was not an accident..."

In the conference room.

Before Bruce could continue, Amy couldn't help interjecting, "Simon, this is a great idea. We should buy it, shouldn't we?"

Wes Craven also nodded in agreement, "Indeed, it's excellent. It's a pity I'm not skilled in that genre, otherwise I would definitely direct it myself."

Simon pondered for a moment, then said, "Actually, I also have a similar idea about a ghost," noticing Bruce's anxious expression, Simon smiled and continued, "It's just that while your ghost story revolves around romance, mine is about family. However, I think your story would also suit you well. So, Bruce, how about Daenerys Media signs a three-script deal with you? Two commissioned scripts and one original. How does that sound?"

Bruce Joel Rubin, surprised and excited to receive three contracts so suddenly, cautiously asked, "Simon, are you sure all three scripts will be produced?"

"Actually, you want to know if your script will be made, right?" Simon chuckled. "The answer is yes, definitely. But, you'll need some patience. Ha, I know it sounds like what every studio executive says. If you're worried, we can add some restrictive clauses to the contract. You'll need to discuss that with Amy."

Bruce nodded, still probing, "What about credit?"

"The credit for 'Scream' goes to you, the ghost movie credits go to me—oh, I mean my ghost movie. Your ghost movie, of course, the credit is yours," Simon explained, then asked, "Any other questions?"

Bruce shook his head.

"Then you can have your agent discuss the specific salary contract with Amy. Let's talk about 'Scream' now."

Simon planned for 'Scream' to be the first film produced and distributed by Daenerys Media for next year's Halloween season, so he was particularly attentive.

The scriptwriting meeting lasted until the end of the workday. During a break, Simon took a call from Terry Semel, the CEO of Warner Bros., who indeed invited him to a party tonight. Due to prior commitments, they agreed to meet the following evening.

Additionally, during the call, Terry Semel hinted that Simon should expect a surprise next Monday.

Although he didn't specify, Simon knew that next Monday was when the nominations for the Golden Globe Awards, a significant precursor to the Oscars, would be announced. With 'Run Lola Run' already sold, Simon had no interest in spending on awards campaigning; due to his young age, he was rather indifferent to the prospects.

However, both Orion and Warner, for their own benefits, spared no effort.

At five o'clock.

After Wes Craven and Bruce Joel Rubin left, Amy asked her assistant to clear the conference table and turned to Simon, who was browsing through the meeting notes, "Why haven't we seen Jennifer this afternoon?"

Simon, not looking up from the notes, explained, "Her parents came over from New York, and they're having dinner with me tonight. I sent her home early at noon."

Amy, recalling yesterday's gossip headline 'Simon Westeros Escorts Female Assistant Home, Pair Seen Intimate,' chuckled, "Did they come to seek retribution so quickly?"

Simon puzzled, "Huh?"

Amy teased, "You've run off with their daughter."

Simon didn't respond.

Amy didn't pursue the joke further and turned serious, "Simon, 'When Harry Met Sally,' 'Pulp Fiction,' and 'Basic Instinct' all have distributors confirmed. We plan to distribute 'Scream' ourselves, and that's fine, but what about 'Dead Poets Society' and 'Mulan'? What about all these rights you've recently acquired? I think we should sign a fixed distribution contract with one of the major studios before moving into production, otherwise, we'll be very passive later on."

Simon looked up from the notes, "Signing a distribution contract isn't hard, but we can't expect very favorable terms. Let's decide on the distribution for 'Dead Poets Society' and 'Mulan' based on the situation. I'd still prefer Daenerys Media to handle it ourselves. The production budgets for both films won't be very high, and a loss wouldn't be too bad."

Amy sighed, acknowledging the point, "But we have $100 million now. If you don't want to sign fixed distribution contracts with the majors, we simply can't produce too many films as you'd

 like without becoming overextended. The major studios would love to see us blow all that money."

Simon shook his head, "I never said all that money could only be invested in Daenerys Media's own films. There are many projects in Hollywood we could invest in. You might start letting people know that soon. With $100 million, we could finance seven or eight films. After 'Scream,' 'Dead Poets Society,' and 'Mulan,' I'll pick another project for the company, and the rest of the funds should be spread around. Many film companies are likely starting to run short of cash now."

Amy couldn't help but say, "That seems riskier."

Simon smiled, "So, the next step depends on your negotiating skills. Remember, you can get 5% of the profits, but nothing if we lose."

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