Chapter 332: Confidence

Simon Westeros's afternoon was naturally not as leisurely as Terry Semel's. Since Semel hadn't left after lunch, Simon simply took him along to Culver City in eastern Santa Monica.

Gao Men Pictures' key project of the year, "Crossroads of Life," had already started shooting in Culver City.

During Simon's days back in Los Angeles, he had been relentlessly busy, and although there had been daily contacts, Terry Semel had never really found an opportunity to have a deep conversation with Simon—today seemed like a chance to clarify some matters.

The two of them rode in Simon's car to Culver City, and Simon was not secretive. He once again laid out many of his ideas about the DC cinematic universe, including Warner's "The Flash" and "Cyborg."

"To ensure the integrity of the DC cinematic universe and achieve a synergistic effect where the whole is greater than the sum of its parts, we must ensure that there is no dissenting voice during the execution of the plan. Terry, since Warner is reluctant to open investment for 'The Flash' and 'Cyborg' to Daenerys Entertainment, how about this: I will serve as the producer for these two films, and I will control the projects. Daenerys Entertainment will not share in the profits; I will only take my due fee, which your people can discuss with Amy. What do you think?"

Inside the car, upon hearing Simon's proposal, Terry Semel couldn't help but show a hint of joy.

This was exactly the solution Warner had hoped for internally.

However, because Simon's proposal for joint investment had been rejected, Terry was worried Simon might disengage from "The Flash" and "Cyborg."

Now, Terry was thoroughly convinced that Simon was indeed very committed to the DC cinematic universe plan.

Otherwise, even if Warner was willing to pay a generous fee, with Simon's current wealth and status, he would have no need to busy himself with unrelated projects for other companies.

"I'll go back and discuss this with Amy right away," Terry quickly agreed, then added after a moment's thought, "But Simon, for these two projects, do you still plan to use newcomers entirely?"

Simon didn't respond directly but instead asked, "How much money did Marlon Brando end up taking from that 'Superman' film back in the day?"

In the 1978 Christopher Reeve version of "Superman," Marlon Brando played Clark Kent's father and despite having less than 10 minutes of screen time, he walked away with a disproportionately large payment due to a pre-signed profit-sharing agreement.

Interestingly, if Simon hadn't intervened, Warner would have made the same mistake years later with Jack Nicholson in the first "Batman."

Terry paused, then said, "Around 20 million, I think."

"Do you think it was worth it?" Simon asked.

"No," Terry said, and immediately added, "But this time, we just need to avoid signing such profit-sharing deals again."

"Terry, you still don't understand. Batman, Superman, Wonder Woman—these superheroes are bigger stars than Hollywood actors; they draw crowds on their own. Our job is to make these films as good as possible."

Terry nodded as if he'd had an epiphany.

Simon continued, "On the other hand, from the ten DC cinematic universe films starting next year, let's take The Flash as an example. This superhero will appear in 'The Flash,' 'The Flash 2,' and 'Justice League.' If we sign top-tier actors, they certainly won't accept long-term contracts. By the time we get to 'Justice League,' their fees would be astronomical, and then there would be no 'after.' Now, by signing newcomers, like with the Batman series, Daenerys Entertainment holds five-picture deals, which perfectly covers the first phase."

Based on recent discussions, Daenerys Entertainment and Warner Bros would launch ten DC cinematic universe films over the next few years, including "Batman: The Dark Knight," "The Flash," "Wonder Woman," "Superman," "Batman: The Dark Knight Rises," "Suicide Squad: Secret Mission," "Batman vs. Superman," "The Flash 2," "Cyborg," and "Justice League."

Terry suddenly thought of a problem, "Simon, Adam Baldwin only has a five-picture deal. What about after the first phase?"

"Everything has an end," Simon replied. "Once the first phase is complete, 'Batman' will take a break for a few years, then we'll recast."

"That's too bad," Terry said. "If everything goes well, after 'Justice League,' Batman's popularity will surely climb even higher, along with the other heroes. By then, producing a 'Justice League 2' would definitely be marketable."

"We'll see," Simon shrugged. "If Adam Baldwin is still willing to participate at that time and his salary demands are reasonable," Simon shrugged. "One thing is certain: Daenerys Entertainment won't work for the stars. I'll only offer what I consider a fair compensation."

Terry also remembered the recent attempts by the creators of the "Batman" series to renegotiate their contracts, which he had publicly addressed in the media at Amy's request.

Adam Baldwin was now bound by his contract and had to honor it.

However, securing his participation after fulfilling the contract without offering enough compensation would be impossible.

If it were Warner, Terry felt he would likely compromise.

Just like the upcoming "Lethal Weapon 3," due to the success of "Lethal Weapon 2," Mel Gibson's base fee for the third movie was a whopping 10 million dollars, plus he would take 20% of the film's profits across all channels.

And that was just Mel Gibson's compensation.

The film's director and producer, Richard Donner, as well as Gibson's co-stars Danny Glover and Joe Pesci, also signed on for profit-sharing deals for the third installment.

Because of these profit-sharing deals, the budget for "Lethal Weapon 3," projected at 35 million dollars, was not high compared to the second film. However, even if the box office for the third film surpassed that of the second, most of the profits would go to the main creators, leaving Warner with just a small profit.

This was indeed working for the stars.

However, Warner had few options as the "Lethal Weapon" series still guaranteed some profit, while investing in other films might lead to total losses.

Daenerys Entertainment, on the other hand, was starkly different from Warner in this regard.

"Flight Over Innocence," released during last year's Thanksgiving, had earned 156.26 million dollars by the end of the previous week.

With the current weekly revenue of two to three million dollars, it might earn another 10 million dollars before the next movie rotation. The film's box office was about 10 million dollars less than expected due to the impact of "Batman: The Battle Begins," but its expected domestic gross of over 160 million dollars was still much higher than "Lethal Weapon 2" during the summer.

According to the initial contract, once "Flight Over Innocence" reached a hundred million in box office, the sequel rights would return to Daenerys Entertainment.

However, regarding the sequel, Daenerys Entertainment only briefly probed Mel Gibson and other creators before dropping the subject.

"Flight Over Innocence" had already grossed over 200

 million dollars globally, and with upcoming international releases, surpassing 300 million dollars globally was almost certain.

A series with global receipts over 300 million dollars was something Daenerys Entertainment could afford to drop, and Simon's steadfastness and confidence in his film ventures were impressive. He clearly believed that Daenerys Entertainment's new projects would perform better than a sequel to "Flight Over Innocence."

Warner, on the other hand, lacked such confidence.

Perhaps this was also why this young man had risen so rapidly.

As they talked on the way, it took only twenty minutes to reach Carlson Park in southern Culver City, where "Crossroads of Life" was being shot.

Upon reaching the set, Terry Semel simply greeted Eira Doyle, president of Gao Men Pictures, who had also come to visit in the afternoon, then hurriedly left again. His car had been following Simon's all along. Since they had finalized these matters, there was no need for him to stay any longer.

As a scene was being filmed, Simon and Doyle did not interrupt, quietly watching Robert Altman direct.

The sequence involved the story of the Finnegan couple, one of eight subplots in the film.

Howard Finnegan was a TV host, Ann Finnegan a housewife, and they had a son, Casey, leading a very happy life until Casey was suddenly involved in a car accident.

Meanwhile, according to the film's setting, the Finnegan's neighbors happened to be a mother and daughter duo: Tess Trina, an aging jazz singer who performed daily at a jazz bar, and her daughter, Zoe Trina, a cellist.

From memory, Simon knew the actors playing everyone except Tess Trina: Bruce Davison, Andie MacDowell, and Laurie Singer were all well-known Hollywood actors. An interesting note was that Laurie Singer had a cousin named Bryan Singer.

Combining the original cast information, Simon realized that the original "Crossroads of Life" project was likely a packaged deal from one of Hollywood's three major talent agencies, ICM, with actors like Tim Robbins, Robert Downey Jr., Andie MacDowell, and Julianne Moore all currently under ICM.

Now, the project was essentially a WMA package, except for Aunt Moore, whom Simon had personally inserted into the project for his own mischievous reasons, most were no longer the original actors.

In the scene being filmed, the actors for both neighboring families had been entirely replaced.

The role originally meant for Laurie Singer had been given by Simon to his designated Wonder Woman actress, Famke Janssen. Since the character was a cellist, Famke had even taken several months of cello lessons. Post-production dubbing was inevitable, but there wouldn't be many mistakes in the shots.

Amy had told Simon after his return to Los Angeles about Jonathan trying to get Daenerys Entertainment to renegotiate with Adam Baldwin and others. Although this hadn't caused much of a stir, both parties probably understood that due to differing stances, Simon and Jonathan couldn't be as close as before.

However, Simon had no intention of deliberately distancing himself from Jonathan.

The relationship between film studios and talent agencies has always been one of mutual dependence and opposition. Disney CEO Michael Eisner and CAA President Michael Ovitz were known as close friends in Hollywood, and their companies were even neighbors.

Likewise, Jonathan had been a great help to Simon initially, and as long as there weren't too sharp conflicts, it was certainly possible for them to get along well.

At heart, Simon was someone who disliked conflict. However, as Simon's business empire continued to expand, conflicts of interest were inevitably becoming more frequent.

Today's shoot involved only the Finnegan couple, without the Trina mother and daughter.

Simon and Doyle discussed some recent matters while the shoot inside quickly wrapped up.

The disheveled, overweight Robert Altman finally had a moment to come over and greet Simon. After a brief period of success in the 70s, Altman had nearly fallen into obscurity in the early 80s due to several film failures. The success or failure of "Crossroads of Life" was crucial for him.

After chatting with Simon and Doyle for a while, Altman went to prepare the next shots.

The actors playing the Finnegan couple also approached to chat with Simon.

Simon was very familiar with both actors under the WMA banner.

Howard Finnegan was played by Sam Neill, another casting pushed by Simon.

Ann Finnegan's actress, Sheila Ward, was a very elegant woman, known in the original timeline for her roles in movies like "Far and Away" and "Independence Day," and the famous TV series "CSI."

Those who make it in Hollywood usually have a keen sense of timing.

Noticing Simon's interest in Sheila Ward, Eira Doyle and Sam Neill subtly moved aside, as if they had some important matters to discuss.

Eira Doyle was all too clear about her boss's preferences.

Standing beside the makeup trailer on set, Sheila Ward chatted with the legendary young man until another shot began, and no one came to call her. She then realized something was amiss.

Subconsciously brushing her hair from her forehead, Sheila Ward clasped her hands in front of her and took a small step back, "Simon, I think I should get back to work."

Simon nodded, "I should be leaving soon too."

Sheila paused, surprised by his response and momentarily unsure of how to react.

Just as she was about to speak again, she heard the young man opposite her say, "Are you free tonight? Would you like to have dinner together?"

That sounded normal enough.

For some reason, Sheila Ward felt a sigh of relief, trying to relax a bit as she looked at the young man opposite her, "Just dinner?"

Simon nodded earnestly, "Of course."

Sheila Ward couldn't help but roll her eyes, remembering something, "You... can you have dinner with other women?"

Simon spread his hands, "So, to avoid becoming tomorrow's gossip headline, we'll have to quietly dine at my villa."

Sheila Ward gave Simon a sharp look, "Mr. Westeros, can I refuse?"

"Of course."

"And then I don't need to come back to the set tomorrow, right?"

"Of course, tomorrow is Saturday."

"I meant, next week."

"Next week's matters can be discussed next week," Simon checked his watch and said to her, "Well, that's settled then. I'll have someone pick you up after work."

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