บท 29: Disrespect
(Arthur's POV)
The day after the premiere, I find myself in a whirlwind of meetings. Unlike Louis Bell, the representatives from other electronics companies actually watched "The Demonfather" and aren't being stingy about royalties for our camera patents.
It's amazing what a little color and a lot of talent can do to change perspectives.
But the real frenzy is around the film itself. Major distributors are clamoring to acquire the license, having seen how "The Demonfather" is exploding in popularity. We're only on the second day of screenings, and tickets are selling out faster than hellfire spreads.
I can barely believe it when I see the numbers: 4,000 dollars from ticket sales already, and that's after the festival takes its cut.
Now, every major demon studio, especially Demon Pictures - the same ones who rejected me before - are falling over themselves to convince me to sell them the distribution rights for the Morningstar Kingdom.
The irony isn't lost on me, but I push my feelings aside. This isn't about revenge; it's about what's best for Hellfire Studios.
Demon Pictures is offering a 30% share of the box office and an upfront payment of 1 million dollars. It's tempting, incredibly so. My team is practically begging me to accept it. But I'm not ready to commit just yet.
Underground Films is on the table with a 40% box office share and a 600,000 dollar upfront payment. It's not bad, but something about it doesn't sit right with me.
There's more offers from various demon studios, then there's Lava Brothers.
Their offer catches my eye: 70% of the box office and a 300,000 dollar upfront payment. The initial payment is lower, but that percentage... it's hard to ignore.
As I mull over the offers, I can't help but focus on Lava Brothers.
They're not as influential as Demon Pictures that's in the Big Three, but they're among the Little Five in the Morningstar Kingdom.
Their offer is intriguing, and I find myself wondering if I could push them a bit further. If they'd raise the upfront payment or bump the box office share to 73 or even 75 percent, I'd be hard-pressed to refuse.
It's a risk, no doubt. I can't be certain "The Demonfather" will be an overwhelming success. But my gut tells me the chances are high.
If we hit even just 10 million at the box office in the Morningstar Kingdom... well, the math speaks for itself. The potential earnings from those shares are staggering.
But it's not just the demon studios that have caught my attention.
The offers from human, dwarf, and elven studios are equally compelling. Bryan Brothers, a major human studio, is offering 3 million upfront with a 10 percent box office share.
Then there's Science Pictures with 2 million and 8 percent. The options seem endless, each with its own pros and cons.
As I weigh these offers, I can't help but marvel at how far we've come. From scraping together a film with salvaged equipment to fielding offers from major studios across multiple races... it's almost surreal.
But I can't let myself get carried away. Each of these deals could make or break Hellfire Studios. I need to think not just about the immediate payoff, but about our long-term future. Which deal will give us the best platform to build on this success?
I remind myself that there's no need to rush into a decision. I've got time to weigh my options carefully. It's a luxury I never thought I'd have, but one I'm determined to use wisely.
The day has been a whirlwind of meetings - film studios, electronics companies, all clamoring for a piece of the Demonfather pie. It's exhausting, but exhilarating.
When Louis Bell finally walks in, I can't help but smile at the change in his demeanor. Gone is the condescending businessman from yesterday. In his place is a man who's seen the light - or in this case, the color.
"Mr. Morningstar," he begins, his voice noticeably more respectful, "I've reconsidered our previous discussion. Impact Electronics would like to offer you a 15% royalty on the colored camera patents."
I raise an eyebrow, remembering his initial lowball offer of 4%. "That's quite a change of heart, Mr. Bell."
He has the grace to look slightly embarrassed. "Yes, well... after seeing your film, I realized I may have underestimated the potential of this technology."
I nod, keeping my expression neutral despite the satisfaction I feel. "I appreciate your candor. And I accept your offer."
Louis visibly relaxes, but I'm not done yet. "However, you should know that while other companies have offered 15% or lower, but with milestone payments and minimum guarantees. I hope Impact is prepared to be competitive in those areas as well."
He nods quickly. "Of course, of course. We can certainly discuss those details."
After we hammer out the patent licensing deal, Louis surprises me with another proposal. "Mr. Morningstar, Impact would also like to discuss the possibility of product placement in 'The Demonfather'. We'd be willing to pay for our brand to be featured in the film."
I can't help but chuckle. "You're not the first to make such a proposal, Mr. Bell," I say, thinking of the other companies who've approached me with similar ideas. "But I'm certainly willing to discuss it."
As Louis leaves, looking far more satisfied than when he arrived, I feel a wave of exhaustion wash over me. It's been a long day of negotiations and decisions.
I make my way back to my "humble home" - the studio that's become so much more than just a workspace. As I settle into my makeshift bed, surrounded by the tools of our trade, I can't help but feel a sense of accomplishment.
We've come so far, so fast. From a laughingstock to the belle of the ball, all because we dared to dream in color.
As I drift off to sleep, my mind is still buzzing with possibilities. Tomorrow brings more decisions, more negotiations. But for now, I'll allow myself this moment of satisfaction.
***
(Richie Robbins' POV)
As a demon priest of the Solarus Church branch here in the Morningstar Kingdom, I'm no stranger to prejudice. It's not just me - all demon followers of Solarus face the same discrimination. But what of it? These close-minded demons who look down on us have no real power over the followers of Solarus.
Let them try to harm even one of our members. They'll face the fury of the Solarus Religion and our Lord Solarus himself. It's a comforting thought, even in the face of daily sneers and whispers.
Today started like any other, tending to my priestly duties. But then I overhear something... unusual. A group of our choir demon orphans are huddled together, whispering excitedly:
"Did you guys watch The Demonfather? It was so good!"
"Yeah, Michael is so cool."
"But is it really right to admire such a film? I mean, it kind of disrespects our religion-"
"Shh!! Don't talk about it!"
I frown, stepping closer. "Is there anything I should know about, children?"
The orphans scatter like startled imps, their faces a picture of panic. One of them stammers, "Umm... Priest Robbins. It was nothing."
I raise an eyebrow, trying to keep my voice gentle but firm. "Thou shall not lie, my child. What is it?"
They exchange nervous glances before one reluctantly hands me a newspaper.
"What could this be?" I mutter, unfolding it.
The headline screams at me: "First Ever Colored Film is a Demon Film! Yet it was not only colored, it was also the best film I've seen!"
Confused, I start reading. What does this colored film have to do with our religion?
But as I read on, my confusion turns to dismay. One line in particular catches my eye: "As a demon critic - the best scene for me is the baptism scene. I love every scene of it, every disrespect to Solarus was both funny and exciting. It was so bold for the exiled prince to even include it."
My frown deepens as I study the black-and-white photo of Arthur Morningstar in what appears to be a baptism scene. Wait a minute...
"Isn't this the exiled prince who shot a film in our church a few weeks ago?" I ask, more to myself than the anxious orphans.
The pieces start falling into place, and a cold dread settles in my stomach. We allowed a film to be shot in our sacred space, and this is how they've used it? To mock our faith?
บท 30: Analysis and Theories
(Vivienne Westwood's POV)
It's been a few days since "The Demonfather" premiered, and I still can't wrap my head around the buzz it's creating. A film made by that exiled prince, of all people, has the entire capital of the Morningstar Kingdom talking.
As the actress who played Apollonia, I'm suddenly finding myself recognized everywhere I go. It's... strange, to say the least.
Just this morning, my neighbors in the Center District apartment complex were practically falling over themselves to talk to me. And don't even get me started on my trip to the market.
"Apollonia! You're alive!" a group of teenagers shouted, their eyes wide with excitement.
Some idiot even yelled, "Please go see Michael!"
I appreciate the attention, really. It's gratifying to see my work recognized, to be part of something so well-received. But dealing with these people? It's exhausting.
Who would have thought a film by an exiled prince could generate this much admiration? It's almost unbelievable.
As I think about the film's success, I can't help but remember that scene... the kiss with Arthur. I quickly shake my head, trying to dislodge the memory.
I've found myself buying newspapers every day lately, something I never used to do. But "The Demonfather" is always featured, and I can't resist reading what they're saying about the film... and, if I'm honest, about my performance.
Though I've been a bit disappointed to find little mention of myself in the articles. Not that I mind too much. It's enough to be part of such a successful film.
Back in my apartment, I settle on my bed with my stack of newspapers. As I read through the articles, I can't help but chuckle at the praise for the baptism scene. I wonder how the Solarus church is reacting to that.
It's funny, really. When I first took this role, I never imagined it would lead to all this. Fame, controversy, endless newspaper articles... it's a whole new world.
Of course, not all the reviews are glowing. I can't help but smirk as I read some of the more critical pieces, especially those from newspapers clearly aligned with the Solarus faith. Most of these are from human countries, their outrage practically leaping off the page:
"A barbaric film. Uncivilized, and so violent. We must condemn this kind of cinema that disrespects faith so blatantly."
I roll my eyes. As if their 'civilized' world is free from violence.
Another paper takes a different tack: "How can this film receive such praise? It clearly romanticizes criminal families. These are real problems in many countries, and they certainly don't adhere to any moral code like the Corleones."
I snort. Clearly, they missed the point entirely.
But the one that really gets me is from BM News, owned by Arthur's brother, Bobby Morningstar. Their 'review' is laughably brief: "This film is nothing but trash. Anyone liking it is equally trashy."
"Real professional journalism there, Bobby," I mutter, shaking my head. It's painfully obvious that Arthur and his brother aren't on the best terms.
Thankfully, not all the coverage is so negative. I eagerly turn to the Ferland Daily, which has been singing "The Demonfather's" praises for days now.
But what really catches my eye is a series of articles by a journalist named Donald Freezon.
This guy... he's something else. He's been watching the film consecutively for days, analyzing every detail. His dedication is impressive, to say the least.
I lean in, engrossed in his latest piece: "I've watched The Demonfather 10 times now. Each day, I've tried to buy tickets for all three screenings, though sometimes I've been unlucky. After all this viewing, here's what I've discovered..."
I dive into Donald's latest analysis, my eyes widening with each paragraph:
"In the scene where Michael meets Sollozzo, pay attention to the painting in the background. It's a subtle nod to the fall of the demon family, foreshadowing Michael's own journey. And did you notice the way the light shifts during Don Corleone's office scenes? It's a brilliant representation of his waning power..."
"Unbelievable," I mutter, shaking my head in amazement. It's become my mantra while reading Donald's pieces. Every single time, he uncovers something new, something I never noticed despite being right there on set.
I find myself wondering: is the film really this deep, or is Donald reading too much into it? But then again, does it matter? The analysis is fascinating either way, and it's making people engage with the film on a whole new level.
As I reach the end of the article, Donald's conclusion hits me like a ton of bricks:
"The Demonfather isn't just the best film I've ever seen - it's also the most intricate and complex. It's a film that reveals new secrets with each viewing. The details, whether hidden in the background or subtly conveyed through the actors' performances, create a rich tapestry that rewards close attention and repeated watching."
I lean back, my mind reeling. I knew we were making something special, but this... this is beyond anything I could have imagined.
A part of me wants to laugh. If only Donald knew how many of those 'brilliant details' were happy accidents or last-minute improvisations. But another part of me is in awe. Did Arthur really plan all of this? Was there more to our exiled prince director than any of us realized?
I find myself itching to watch the film again, to see if I can spot some of these details Donald's talking about. It's strange, being both insider and outsider - I was there when we filmed these scenes, but now I'm discovering them anew through the eyes of our audience.
I shake my head, setting aside Donald's analysis, and reach for another newspaper. This one's from a human publisher, featuring a theory article by Jordan Lamb. As I start reading, I can feel my eyebrows climbing higher and higher:
"The Demonfather Theory today: I believe Arthur named Apollonia in the film after his sister, Princess Apollonia. From what I've uncovered, Arthur has a good relationship with his sister. Could the Corleone family be a mirror of the Morningstar family?"
I lean in closer, my interest piqued. This is getting into some dangerous territory.
"It seems Arthur specifically named Michael's love interest Apollonia... Michael is the youngest of the Corleones, just as Arthur is the youngest Morningstar. What could this mean? Is it possible that Arthur is secretly the king's chosen heir, but this is being kept under wraps to protect Arthur from political conflict? And could Apollonia, his sister, be in danger? Is the film Arthur's way of warning her about a threat to her life?"
I pause, a chill running down my spine. Of course, I'm curious - Apollonia was my role, after all. But this theory... it's treading into murky waters.
"Hellfire," I mutter. "What have we gotten myself into?"
I'd always assumed Arthur chose the name Apollonia simply because it sounded exotic, mysterious. But if there's any truth to this theory...
My mind races back to our time on set. Did Arthur ever give any hints about this? Was there anything in his direction that might support this wild theory?
I shake my head, trying to clear it. This is crazy. It's just a film, right? I'm not actually caught up in some royal intrigue... am I?
But a nagging voice in the back of my mind won't let it go. The intensity Arthur brought to certain scenes, the way he insisted on specific details that seemed arbitrary at the time...
"Damn it, Arthur," I mutter. "What kind of mess have you dragged me into?"
I let out a frustrated sigh and flop back onto my bed. This is not what I signed up for when I took this role. I wanted to be an actress, not a pawn in some elaborate political chess game.
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