Bab 220: Chapter 220: Settlement
Janet had to attend a fundraising cocktail party for the Malibu incorporation lobbying that evening, now being a member of the community committee. Simon wasn't interested in such socializing and arranged to have dinner with Kevin Costner and others after work, also to discuss the upcoming filming of "The Bodyguard".
"Batman" is scheduled to start filming in January next year. After New Year's Day, Simon will lead the crew to Australia, a departure that will require at least three months, during which he won't return to Los Angeles unless something very important comes up.
Both "The Bodyguard" and "The Sixth Sense" are among Daenerys Entertainment's major projects for the next year. To personally ensure that the shooting aligns with his vision and make timely adjustments before leaving Los Angeles, both movies are set to start filming in December.
Returning to Malibu by eight in the evening, with Janet not yet home, Simon sat alone on the living room sofa, flipping through scripts collected by Ella Deutschman, while occasionally glancing at the samples playing on the TV.
Based on his memory, Simon had already located the producers of "Sex, Lies, and Videotape", a film that had not been affected by the butterfly effect.
Although "Sex, Lies, and Videotape" was planned by a relatively unknown independent producer, Robert Newmeyer, its main investor was the MCA/Columbia Home Entertainment company, a joint venture between Universal and Columbia, holding a 50% stake each from the two studios, mainly focusing on acquiring film video rights for distribution worldwide.
After investing $500,000, the largest portion of the $1.2 million total budget, MCA/Columbia Home Entertainment secured the video rights for the film.
"Sex, Lies, and Videotape" had completed post-production and submitted an entry to the Sundance Film Festival. Simon got the sample quite 'legitimately' through the Sundance channel and had already handed it to Ella Deutschman.
From the batch of samples Ella provided, Simon didn't see any familiar movies but discovered an interesting script, "Short Cuts".
The multi-narrative style always tests a director's ability. "Short Cuts", a masterpiece of Hollywood multi-narrative, was adapted from a series of short stories by Raymond Carver and directed by Hollywood ensemble master Robert Altman, ingeniously intertwining eight sets of family characters, perfectly showcasing the lives of ordinary Los Angeles residents through a Ukiyo-e narrative style.
Upon release, some film festivals even created a 'Best Ensemble' award specifically for "Short Cuts". Paul Thomas Anderson's "Magnolia" was heavily influenced by "Short Cuts".
Despite Tom Cruise's participation making "Magnolia" more influential, Simon preferred the pure storytelling of "Short Cuts", without deliberately added so-called depth.
The original "Short Cuts" was released in 1993, so Simon wasn't surprised to get the script at this time.
According to Ella Deutschman's notes, Raymond Carver had just passed away this year, and Robert Altman, a huge fan of Carver's novels, had always wanted to bring his works to the big screen.
The reason "Short Cuts" was delayed until five years later in the original timeline was mainly because Robert Altman was in a slump. Despite his success in the '70s with classics like "MAS*H" and "Nashville" and two Oscar nominations for Best Director, he hadn't had a hit since the '80s, with recent films barely making a few hundred thousand dollars at the box office.
Hollywood is practical; regardless of past achievements, if you can't bring profit to the movie companies, you're bound to be abandoned. Moreover, "Short Cuts" had clear disadvantages, lacking commercial appeal and expected to run three hours, making investors hesitant.
However, having read only part of the script, Simon decided to green-light the project.
"Short Cuts" would undoubtedly become another classic by Robert Altman.
With the film's quality assured and the pinnacle of multi-narrative storytelling as a selling point, profitability seemed straightforward. Moreover, the film wasn't without elements 'pleasing to the audience'; Simon remembered Julianne Moore's nude scenes quite vividly.
Engrossed in the "Short Cuts" script, Simon was interrupted by noise from the living room. Before he could stand up, Janet, dressed in a black evening gown, floated in, obviously drunk, her cheeks flushed, giggling as she threw herself into Simon's arms.
Simon affectionately embraced her, nodding at Sophia Fessy, who followed in a women's trench coat, then carried Janet off to the bedroom for a bath, following her wishes.
After the bath and changing into pajamas, Janet was put to bed, and it was past ten o'clock.
Simon, not feeling sleepy, decided to finish reading the "Short Cuts" script.
In the living room, he found Sophia sitting in his original spot, now in a very homely loose sweater and casual pants, barefoot, lazily curled up on the sofa with a script in hand, a different sample playing on the TV.
Sophia seemed surprised to see Simon again and tried to get up, but Simon gestured for her to continue, saying he was just there to grab a script.
Sophia relaxed again, subtly changing her posture.
The coffee table, previously cluttered with scripts and videotapes, had been tidied up. Simon rummaged through a cardboard box and, not finding the script, looked at Sophia holding "Short Cuts".
Sophia nodded in confirmation.
Simon approached, gesturing for the script.
Sophia, instead of handing it over, hugged it closer, looking up at Simon and asking, "Boss, do you dislike me staying at your house?"
Simon, admiring the mature, intelligent aura of the woman on the sofa, stepped forward, lifted her chin as if appreciating fine porcelain, and said, "I'm just afraid I can't resist. I think I could easily become indulgent."
Sophia didn't expect Simon's gesture. If it were another man, she might have slapped him, but looking up at his handsome face, remembering his wealth and power, she couldn't resist, feeling weak.
After a moment, Sophia gathered her strength, feeling Simon's fingers still caressing her face, and whispered, "You shouldn't do this."
Simon withdrew his hand, took the script, and said, "Go to bed early."
Sophia was surprised by Simon's decisiveness, feeling a bit disappointed. As he walked towards the door, she bit her lip, calling out, "I have something I'd like to discuss with you."
Simon stopped, turned around, and listened.
Sophia hesitated before saying, "I'll manage your European properties well. But beyond that, I hope to do more."
Simon, leaning against the door frame, suggested discussing it with Janet.
Sophia insisted, saying it would be more convenient to discuss with Simon.
Curious, Simon asked, "What do you want to do?"
Sophia mentioned studying Bernard Arnault's recently consolidated LVMH group and expressed interest in starting with wine.
Simon appreciated ambitious women but questioned the realism of targeting LVMH as a goal.
Despite LVMH's recent formation and not being as powerful as decades later, it was still a formidable entity, with Arnault frequently ranking high on the Forbes billionaire list.
Sophia, undeterred, challenged Simon to let her try.
Simon asked about the possibility of failure.
Sophia confidently replied she would continue as his housekeeper if she failed.
Simon inquired about his generosity towards women.
Sophia believed Simon was indulgent towards his women and promised to prove her worth.
Without asking for shares, options, or salary, Sophia was willing to risk everything, showing her commitment.
Simon acknowledged her ambition, mentioning $26.73 million left from a loan after expenses, offering it as startup capital for Sophia to prove herself, with the possibility of additional support based on her performance.
Simon left the living room without further questions.
December 1988 arrived swiftly.
On Friday, December 2nd, "Magnolia" maintained its box office hold, with a slight drop of about 5%, earning $12.15 million in its second week of wide release, remaining at the top.
In two weeks, including previews, "Magnolia" amassed $28.82 million in total box office.
Following "Magnolia", "Scream", in its fifth week, experienced a significant drop of 27%, earning $8.76 million but still ranked second due to no strong new releases.
"Scream" reached a cumulative box office of $73.37 million in five weeks, expecting to break $100 million in North America soon, with an estimated total domestic gross between $120 million to $130 million.
The highlight was Daenerys Entertainment receiving its first profit share from "Scream".
Unlike contracts with the major studios, where profits were settled after the film's theatrical run, "Scream", being self-distributed, allowed for monthly settlements.
In the first four weeks, "Scream" grossed $60.51 million, with Daenerys Entertainment securing a share equivalent to 71% of the total box office, amounting to $46.15 million, marking over 100% profit from the project. This settlement signified Daenerys Entertainment's cash flow entering a healthy state.
Previously, the company relied on various funding sources, including a $100 million loan, buyout shares from movies, advance payments from reality shows, and cash infusions from Westeros Corporation.
Though not short on funds, the company's financial management often seemed precarious.
With "Scream"'s settlement, Daenerys Entertainment looked forward to a harvest season in December, expecting settlements from "Basic Instinct" and "Pulp Fiction", payments from reality shows, and video release profits from "When Harry Met Sally", ensuring continuous cash flow.
This financial turnaround marked Daenerys Entertainment's operations finally on a sustainable and healthy track.
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