Chương 177: Nic's vision
In the third week of screening of "Miscreant", maintaining its daily earnings at a commendable $14.23M, the film continued its reign atop the North American box office for yet another week. This marked its third consecutive week perched upon the zenith of cinematic glory.
One could only muse that during this particular juncture, there existed a dearth of robust adversaries in its sphere. The timing was undeniably conducive to the film's blossoming.
As June unfurled its wings, endeavors such as "Holes" and "Open Range", those nascent cinematic creations, bore titles that alone whispered their status as quintessential cinematic misfires.
However, the forthcoming week promised a less fortunate trajectory, as Walt Disney's latest creation, the computer-animated movie "Finding Nemo", was set to grace the silver screens.
This, without doubt, was an IP that reaped future riches, with each installment crowning Disney's coffers.
Speaking of which, the genius behind the production, Pixar Animation Studios, held a place of remarkable prominence.
They could be hailed as the driving force propelling the realm of 3D computer animation. Not only had they devised bespoke software but had also scripted an intricate system of effects, a testament to their prowess.
As for the studio's most significant stakeholder, a name not unfamiliar to many, it was none other than Steve Jobs, the Chief Executive Officer of the present-day Apple Inc.
Back in 1986, his acumen led him to acquire the computer animation division of Industrial Light & Magic, Pixar's predecessor, for a sum of $10M.
Then, in 1995, the world bore witness to the premiere of the first-ever fully computer-generated animated feature, "Toy Story", distributed by Disney. The final tally of $192M in box office revenue marked a watershed moment for American animation, amassing a global harvest of $360M.
As for the sequels, "Toy Story 2", "A Bug's LifeInsect Crisis", "Monsters, Inc."… each successive release danced to the tune of profitability, refraining from entering the realms of fiscal misfortune, all the while setting new standards in self-created box office history.
However, since its inception onto the screens, "Miscreant" had already accrued a revenue of $276M. Its North American screening, following the norm of gradually tapering with time, embarked on a trajectory deemed normal in the annals of release cycles, for indeed, not every film could stake a claim akin to "Titanic," growing more esteemed with each screening.
Carving its path amidst such a trajectory, and with the number of theaters dwindling, Paramount, riding this momentum, projected a crossing of the $300M mark by the time the film bid adieu to North American screens.
And as for the overseas market, profits flowed in ceaselessly, perhaps not scaling the same zenith as North America, yet with ticket sales amassed from numerous regions, the difference proved to be an inconsequential margin.
...
Within the expanse of Los Angeles, nestled within the opulent abode of Nicolas Cage, conversations of significance were afoot.
Lyman found himself engaged in discourse with Nicolas.
It was true, the box office receipts for "Miscreant" were faring quite well. Although the final curtain had yet to fall, discussions regarding profit-sharing had yet to surface. Yet, guided by estimations, Lyman's thoughts gravitated towards acquiring a piece of real estate in the United States - a foothold for future endeavors.
Thus, he sought the counsel of Nicolas.
Within the labyrinthine corridors of the American real estate market, one could easily become lost. Instead of navigating through unfamiliar terrain and seeking assistance from a real estate agency, Lyman opted for a more familiar route - reaching out to someone well-versed in this realm.
Coincidentally, during Nic's return journey to Los Angeles after the promotions, upon learning of Lyman's intent, he willingly extended an offer to lend his sagely expertise.
"Why did the thought of purchasing a house cross your mind at this juncture?" Within the confines of the living room, after the steward had presented them with coffee, Nicolas posed the question.
"Is it because you've amassed wealth, and now wish for a sense of security through acquiring a home?"
This was no jest on Lyman's part. In fact, he possessed an inherent sense of insecurity. Despite amassing a considerable sum from his film endeavors over the past two years, he had been hesitant to dip into his savings.
For, in his reckoning, the matter of purchasing a house could only be approached with a go-big-or-go-home mentality. If he were to engage in it, it ought to be a lavish venture, ensuring his personal comfort.
However, the overseas landscape differed greatly from the domestic one. Owning property wasn't a one-time deal; it involved annual maintenance costs and substantial value-added taxes.
To put it candidly, while the initial investment might be relatively modest, the ongoing annual payments to the tax authorities amounted to unintentional paternal support, further exasperated by a non-productive nature.
Moreover, the stringent inheritance laws surrounding American real estate made speculative property dealings an arduous pursuit.
And what if his filmmaking efforts were to incur losses? Wouldn't it be prudent to retain some funds to guard against such eventualities?
Hence, it was only now that he dared to entertain this thought.
"You've made the right choice in seeking my counsel. I own thirteen high-end properties, and truth be told, I can't possibly inhabit all of them. Tomorrow, I'll take you to view some properties. Once you've chosen, I'll offer you a discount," remarked Nicolas "Realestate" Cage.
"Thirteen? Why would you need so many houses?"
"For investment," said Nicolas, his pride evident. "Over the past decade and more, a substantial chunk of my movie earnings has been directed into these properties." He continued, aiming to enlighten Lyman further, "You've got a fair bit of capital as well, I suppose. Let me tell you, the past few years have witnessed considerable appreciation in the realm of high-end American real estate. While the market is hot, why not secure a few properties? Rent or sell, either way, you'll profit."
"Whose idea was this?" Lyman's expression bore an air of perplexity.
"Leaving money in the bank to collect interest is rather foolish, don't you think? Once I had the means, I consulted financial experts who suggested investing in high-quality stocks. But I find that avenue unreliable. After much deliberation, I concluded that real estate was a safer bet, a more grounded option."
"Isn't it still somewhat unprofitable? Considering the annual taxes."
"It does entail some hassle, but let me tell you, just two years ago, I sold one of Marbury's properties for over twenty million more than I'd bought it for. Compared to those earnings, the taxes are negligible. So, what do you say? Why not consider investing?"
Nicolas continued his persuasive pitch.
In Lyman's estimation, Nicolas was someone worth getting to know.
"Forget it, one property is sufficient for me."
Now he understood why Nicolas had become the "King of Box Office Flops" in future times. They said he invested poorly and accumulated a mountain of debts. To earn more, he dared to take on any film that came his way, regardless of quality.
But how could he not fail? Speculating in American real estate was a dangerous game. When the next financial crisis hit, he probably regretted not meeting his demise sooner.
During such times, the real estate market would face a severe downturn, properties would be difficult to sell, and taxes would continue to mount each year.
And he wasn't just supporting one project, but a dozen or more. Could he avoid going bankrupt?
"Here's a piece of advice: don't buy property. You're an actor, why not explore investment opportunities within the film industry?" Lyman kindly suggested.
"Film?" Nicolas shook his head. "That's even less reliable. Who can predict whether a film will be profitable or not? Real estate, on the other hand, is different. The prices remain stable year after year; it's a consistently profitable endeavor."
True enough, considering he wasn't from the future, how could he foresee the looming financial crisis? If not for that catastrophe, Nicolas would still be leading a prosperous life.
With this in mind, Lyman refrained from offering further advice.
He had originally contemplated taking advantage of Nic's property deals, but now it seemed like he was helping him instead.
Poor Nicky.
SUY NGHĨ CỦA NGƯỜI SÁNG TẠO 
Shallowman
Shallowman "Holes" - "Another Realm"
"Open Range" - "Boundless Skies"
"Finding Nemo" - "Underwater Symphony"
"A Bug's Life" - "Insect Crisis"
"Monsters, Inc." - "Monstrous Power Company"
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