I Am Hollywood

by Cui Shi yi

1 - 702

25. 767

I am Hollywood #Chapter 767: Chapter 768: The Meeting - Read I am Hollywood Chapter 767: Chapter 768: The Meeting Online - All Page - NOVEL NEXT

[Chapter 768: The Meeting]

"This is good. If we leak this information, it could upset Eric Williams," Ron Lather nodded and added, "But after the meeting tomorrow, regardless of the outcome, we can reach out to the media. That would definitely be beneficial for your career in this industry. By the way, have you finished reading the original of Casino Royale?"

Cate Blanchett pulled a book from her bag and said, "I finished it a while ago, along with those few pages of the script. Vesper Lynd should be considered the only true female character in the history of 007, rather than just another pretty face in revealing outfits. I find that I've really come to like this character."

"Of course, if Casino Royale continues with the same production standards as before, Eric Williams wouldn't be directing it himself. Based on the original work, I think Vesper Lynd might also be the only woman James Bond ever truly loved," Ron Lather obviously had done his homework. After he said that, he glanced at his watch and remarked, "It's about time; the meeting is set for tomorrow at noon. Our flight back to Sydney is at eight tonight, so we still have some time. Come with me downtown; you need to pick out a suitable outfit. Cate, now is not the time to save money; making a good impression on Eric Williams is the most important thing."

"Hold on, Ron," Cate Blanchett called out to her manager, "I actually think clothing isn't the most important factor. Look, the invitation came out of the blue; there's no normal invitation procedure here. We don't even know how Eric Williams found me. Besides, the meeting is scheduled during lunch, which means the other party's schedule is really tight. We might only have an hour or two to earn his approval. In that situation, what do you think Eric Williams wants to see most?"

Ron Lather, who was about to get up, sat back down. He looked at the Casino Royale book still sitting on the table and the few pages of the script that had been sent over, and suddenly understood, "You mean this is actually an audition?"

"Exactly," Cate Blanchett picked up the script she had in hand and said, "So what we should really do is not go buy clothes but instead brainstorm about this character together. I also hope you can help me go over my lines."

...

By January 22, Eric had already been in Sydney for ten days. Last night, the 53rd Golden Globe Awards took place at the Hollywood Hilton, and of course, Forrest Gump won Best Motion Picture Drama, Best Director, and Best Actor.

The post-production of The Matrix was running smoothly without any major issues. In just a week, Eric had roughly finalized the post-production and editing strategies with the creative team. Negotiations for acquiring the WIFI patent technology had already begun, which Eric assigned to the team responsible for the MP3 player development.

Eric's schedule was quite tight. After completing the meeting at noon, he was set to fly to Cairns in North Queensland in the afternoon. Thanks to last year's preparations, Kathryn Bigelow had started filming The Thin Red Line last year, having acquired the project from Terrence Malick. Since he was in Australia, he surely wanted to check on the production.

After bidding farewell to the Wachowski brothers and others, Eric left the four-story office building where Digital Domain was located, accompanied by his assistant.

Aside from the bustling areas along the banks of the Parramatta River, most of Sydney resembled an ordinary town with few tall buildings -- primarily due to Australia's low population. At that time, the entire country had just over 16 million people, and even though Sydney was the largest city in Australia, it had only about three million residents spread across over a thousand square kilometers. This population wasn't even close to the two-point-four million people Eric was accustomed to living in his previous metropolis.

While it was near Sydney University, logically, the area around the school should have been crowded. However, when Eric stepped out of the Digital Domain building and looked around, he noticed that only a sparse few pedestrians walked down the street. Just beyond the street's southern end lay the iron fence of Sydney University. Despite being someone who enjoyed a quiet environment, Eric found this emptiness a bit unsettling.

As the bodyguard brought the car over, Eric and his assistant got in and drove straight to a nearby restaurant where he had arranged to meet Cate Blanchett.

...

Though the script wasn't finalized yet, the 007 production team had already begun scouting for character leads. Pierce Brosnan was set to continue playing James Bond without question. Among the remaining roles, the most important was undoubtedly the new Bond girl, Vesper Lynd. The original actress who played Vesper Lynd, Eva Green, was only a sixteen-year-old girl, so she was naturally out of consideration.

As Eric pondered potential replacements, the first name that came to mind was Nicole.

Both in appearance and acting skills, Nicole could definitely embody the complex character of Vesper Lynd -- a girl who appeared strong but was actually sensitive inside.

Unfortunately, due to her skyrocketing fame in recent years, Nicole had already committed to three films last year, filling her schedule into the following year. Even if Nicole managed to squeeze some time, the preliminary budget meant the production couldn't afford her -- Nicole's going rate for commercial films was starting at ten million, while Pierce Brosnan's fee for the second film had only just reached seven million.

Aside from Nicole, most of the other recommended actresses didn't impress Eric. It was only when finalizing the Australian trip that he suddenly thought of Nicole's fellow countrywoman, Cate Blanchett.

Eric didn't consider Cate Blanchett to be overly beautiful, but in his original timeline, her acting was above reproach, and her versatility meant she could take on almost any film genre. This was evident from her various memorable characters she had portrayed, and for someone who loved films, watching Cate Blanchett perform was an absolute joy.

They chose a casual restaurant for the meeting.

...

Eric arrived fifteen minutes early, and as his assistant went down to fetch Cate, he sat alone at their reserved table, ordered a cup of coffee, and asked the waiter if there was today's newspaper.

Though Eric had already heard the general results of the Golden Globes, he still wanted to see the detailed reports.

The young waiter hesitated for a moment while staring at Eric, seemingly unsure of his identity. Eric's arrival in Sydney hadn't been widely reported, leaving ordinary people completely unaware. Upon hearing Eric's inquiry, the waiter realized he had been a bit rude, collected himself, and pointed to a makeshift bookshelf against the wall, saying, "Sir, it's over there. What paper do you need? I can fetch it for you."

"No need, I'll get it myself," Eric shook his head and walked over. He picked out a film-related weekly magazine. Just as he was about to return to his seat, a particular magazine caught his eye. It was a teen magazine called DOLLY, featuring a doll-faced girl in a pink skirt on the cover.

Easily retrieving the magazine, he returned to the table and opened it, discovering it was hosting a modeling competition for young girls. A thirteen-year-old named Miranda Kerr was announced as the latest winner.

"Wow, you wouldn't have guessed it; at thirteen, she already has some allure," Eric smirked, flipping through pages filled with youthful photos and recalling a ridiculous news story from his past life about two business tycoons brawling over Miranda Kerr.

Casually leafing through the magazine, Eric found himself struck with a mischievous idea.

In the original timeline, many of the major supermodels of the new century had just begun their careers. Perhaps he could seize this opportunity to plant a deeper easter egg in this 007 film.

The original Casino Royale conveniently featured another supermodel, Alessandra Ambrosio, in a cameo as a tennis girl.

So why not collect a group of rising stars for a similar cameo? A few years later, when these supermodels dazzled the fashion world, audiences might find it amusing that they all had once appeared together in Casino Royale.

Reflecting on this idea, besides Miranda Kerr and Alessandra Ambrosio, Gisele Bundchen definitely came to mind among the up-and-coming models, hmm, and Adriana Lima. The rest...

Eric shook his head, deciding not to dwell on it. He planned to shoot some emails to various agencies later that evening to request portfolios and select from there. By industry standards, most girls who made a name for themselves had already been scouted and signed by modeling agencies around the ages of thirteen or fourteen.

...

While mulling over this, he heard the sound of clicking high heels approaching and looked up.

Cate Blanchett, dressed in a white shirt and black pants with a large women's handbag slung over one shoulder, made her way toward him. Her outfit had a somewhat masculine feel, and while she hadn't tied her hair up, the purposely shortened blonde hair gave her a sharp, competent aura of a working woman.

Eric nodded with satisfaction, clearly, she had come prepared. Given Cate's current demeanor, he could even sense the essence of Vesper Lynd radiating from her.

He stood up to greet her with a handshake but noticed a hint of scrutiny and challenge in her eyes. Smiling slightly, he remained seated.

From Cate's gaze and body language, she already seemed to have immersed herself in the role.

As expected, Cate sat down across from Eric, tossed her handbag onto the empty chair beside her, and immediately stated, "I'm the money."

As the director, Eric didn't need to memorize lines, but that wasn't a challenge for him since he had the original film's complete imagery in his memory. Although the new version had a significant storyline adjustment, the iconic banter between Bond and Vesper during their first encounter was mostly retained.

Taking a keen interest, he assessed Cate from head to toe and nodded with satisfaction, saying, "Every penny of it."

Even though Cate had delved into her character, she still retained a part of her own awareness. Initially, she worried Eric might be difficult to work with, but hearing him follow along with the script, she quickly found her confidence and became more immersed in the long-prepared role.

Reaching into her bag, Cate produced a prepared card and handed it to Eric, continuing, "The Treasury has agreed to stake you in the game."

Eric glanced casually at the card, remarking, "'Vesper'? I hope you gave your parents hell for that."

Cate completely ignored Eric's teasing; absentmindedly flipping through the menu, she retorted sarcastically, "Your boss must have some influence. I've never seen so much go out the door so quickly."

Eric took a sip of his coffee, unbothered. "Or so stylishly."

Cate cast him a disdainful glance but didn't reply.

Waving away the waiter who had come nearby, Eric furthered the conversation, "May I ask where it is?"

"Ten million was wired to your account in Montenegro, with a contingency for five million more, if I deem it a prudent investment," Cate lifted her head from casually scanning the menu and added, "I suppose you've given some thought to the notion that if you lose, our government will have directly financed terrorism. So, can you be sure that you will win?"

Cate had made some slight adjustments to the script she received from Eric, but he was unfazed, easily replying, "Unless you can determine for certain that others will lose."

Eric also modified his lines, and Cate effortlessly responded, "So everything relies on chance; God knows, that's what concerns me the most."

Eric shrugged, saying, "You know the term. Then you may have also heard that in poker you don't play your hand, you play the man across from you."

With a distrustful look, Cate shot Eric a glance and replied, "And you're good at reading people."

"Exactly," Eric remarked, looking back at Cate who radiated confidence, "which is why I've been able to detect the undercurrent of sarcasm in your voice."

Cate leaned back in her chair, folding her arms. Although she wore a smile, the sharp mockery was all the more evident. "I am now assured our money is in good hands."

Eric originally intended to conclude the conversation there; he was already very satisfied with Cate Blanchett's brief performance over the past minute. However, perhaps having inadvertently been drawn into Cate's confident aura, he instinctively continued, "From which one might surmise you aren't overwhelmingly supportive of this plan of action."

"So there is a plan? Excellent. Somehow I got the impression we were risking ten million dollars and hundreds of people's lives on a game of luck," Cate asked, her tone sharp and quick, subtly laced with anger as she leaned forward to press further, "So tell me, Mr. Bond, What else can you surmise?"

https//Sayonara816.

[Chapter 769: Find Her]

"So there is a plan? Excellent. Somehow I got the impression we were risking ten million dollars and hundreds of people's lives on a game of luck," Cate Blanchett asked sharply, her voice quick and laced with a hint of anger. Leaning forward, she pressed, "So tell me, Mr. Bond, What else can you surmise?"

"About you?…. Miss Lynd," Eric Williams replied, scrutinizing Cate, "Well your beauty is a problem. You worry that you won't be taken seriously…."

"Which one can say of any attractive woman with half a brain."

"Tue, but this one overcompensates by wearing slightly masculine clothing and being more aggressive than her female colleagues, which gives her a somewhat prickly demeanor and, ironically, makes her less likely to be accepted and promoted by her male superiors, who mistake her insecurity for arrogance. I would normally have said only child, but by the way you ignored the quip about your name and your parents I would go with orphan?"

Cate leaned back in her chair, still exuding that proud demeanor. However, there were moments during her eye contact with Eric where her guard faltered, exposing the embarrassment of Vesper Lynd being unmasked. After a brief silence, she shot back, "All right, Mr. Bond, .by the cut of your suit you went to Oxford or wherever and actually think human beings dress like that. But you wear it with such disdain, that my guess is you didn't come from money and all your school chums rubbed that in your face every day, which means you were at that school by the grace of someone else's charity, hence the chip on your shoulder. And since your first thought about me ran to orphan, that what I'd say you are. sees a slight reaction. Oh you are. And it makes sense since MI6 looks for maladjusted young men who'd give little thought to sacrificing others in others to protect queen and country. You know former SAS types with easy smiles and expensive watches. Rolex?"

"Omega"

"Beautiful. Now having just met you I wouldn't g as far as calling you a cold hearted b-a-s-t-a-r-d."

"Of course not."

"But it wouldn't be a stretch to imagine that you think of women as disposable pleasures rather than meaningful pursuits, so as charming as you are, I will be keeping my eye on our government's money and off your perfectly formed arse."

"You noticed."

"Even accountants have imaginations. How was your lamb?"

"Skewered. One sympathizes."

Cate rose to her feet and gathered her bag, "Good evening Mr. Bond."

"Good evening Miss Lynd."

...

"OK, very good," Eric said, waving over a waiter, then looking back at Cate. "I dare say, Miss Blanchett, if you star in a pure green-screen effects movie in the future, you'll do remarkably well."

Eric dressed casually today, in a T-shirt and khaki pants, and had merely recited lines from memory. Yet, Cate managed to play her role flawlessly, treating him like a dapperly dressed James Bond, showcasing her undeniable acting skills.

Cate Blanchett composed herself. The essence of Vesper Lynd faded, revealing a charmingly shy side. She smiled and replied, "Thank you, Mr. Williams. So, does this mean I got the role?"

"Of course," Eric nodded, picking up the menu casually to order lunch, gesturing for Cate to do the same.

Suppressing her excitement, Cate flipped through the menu a few times, calming herself until she finally felt like she understood it well enough to order lunch, which she passed to the waiter. Upon lifting her gaze, she caught the man across from her smiling while observing her. Biting her lip, she couldn't help but ask a question that had puzzled her these past few days, "Mr. Williams, I've been really curious; why me? I mean, I don't think I'm anything special, and I'm not as beautiful as other Bond girls. I can't even wrap my head around how you found me."

"The casting for this 007 installment began last year when the project was initiated. The actress I wanted to play Vesper Lynd was someone with a classic elegance, someone who appeared proud but was deeply insecure inside, while also possessing outstanding acting skills," Eric explained half-seriously as he looked at Cate. "Most candidates before you didn't meet the mark. Coincidentally, I saw you in a mini-series on TV called Heartland, and I thought, maybe we could give you a shot."

Heartland was a mini-series Cate had just filmed last year, and she vividly remembered her lead role. Some aspects aligned with Eric's description, but she still found it hard to believe. "That's it?"

Eric chuckled, "If you want to dig deeper, I know more. For instance, you were quite the tomboy growing up, enjoyed wearing boy's clothes, and even had a shaved head at one point. After graduating high school, you studied drama for a bit at the Madame W. School, then enrolled in the University of Melbourne to study economics, dropped out after a year, and began traveling the world. Upon returning to Australia, you attended the National Institute of Dramatic Art, and subsequently began acting, winning the Sydney Theatre Critics Circle Best Newcomer award for your role in Kafka Dances. While performing in theater, you also started to land TV and film roles. However, I also know your first screen debut was in Egypt, during your world travels, where you acted as a spectator in a boxing match for a local television movie to earn fare money."

Cate started off with astonishment, which grew into disbelief as she listened, progressively becoming more speechless.

"So, Miss Blanchett, if you think my decision to find you and offer you the role of Vesper Lynd seems impulsive and sudden, you are utterly mistaken. I know you much better than you imagine. The films and TV shows you starred in are still in my office. So, do you have any more questions?"

"N-no, not really. However," her mind raced, and a slight blush crept up Cate's cheeks as she recalled some whispers about this man. She glanced at Eric, wanting to say something but unsure whether to broach the subject.

Eric's smile lingered as he teased, "Are you about to say you're a lesbian and that I shouldn't get any ideas?"

That touchy subject being exposed caused a flicker of panic on Cate's face. "Ah, you know about that?"

"I deduced from your profile. They aren't so bored as to investigate your sexual orientation, and rest assured, I wouldn't reveal that. Also, you're not really my type. My only concern is whether your performance will satisfy me," Eric said, leaning forward. "However, Cate, I can assure you, you're definitely not a lesbian. You're at most bisexual."

"Mr. Williams, let's not discuss this further."

Eric noticed the waiter approaching with their lunch, sitting up straight as he let the staff set their meal before him while smiling. "OK, back to business. The film is set to begin shooting around June; however, I hope you can arrive in Hollywood early to familiarize yourself with the environment and participate in some initial promotions for the movie. Is that a problem?"

Though Cate wasn't overly dominant in nature, she always preferred to be independent. Now, being in an environment where someone else held all the control made her uncomfortable.

Still, she wasn't one to seek the spotlight either, well aware of how rare this opportunity was. After all, she was still just an ordinary actress without the privileges afforded to the Hollywood stars. After a slight hesitation, she nodded. "No problem. The series I'm currently filming will finish up by the 10th of next month, so I can head over to Hollywood then."

Eric nodded, "Then it's settled."

Cate replied affirmatively, turning to glance at her manager, Ron Lather, sitting nearby. Gathering her courage, she turned back to Eric. "Mr. Williams, my manager is over there. Would you like to talk with him?"

"No need," Eric shook his head. "The details regarding payment and such will be handled by someone else. And when you get to Hollywood, if you're looking for a more professional agency, feel free to go to ICM and tell them it's on my recommendation; they'll set you up."

Cate softly chimed in, "I think Ron is just fine."

"I'm merely suggesting; you can definitely maintain your preferences," Eric smiled while lifting a glass of wine poured by the waiter. "So, here's to a pleasant collaboration, Cate."

"Pleasant collaboration, indeed, Eric." Upon hearing Eric use her first name, Cate cautiously adapted her address as she brought the wine glass to her lips.

...

After lunch, Cate Blanchett took her leave with her manager, while Eric didn't rush off. He ordered a cup of coffee, finished reading an article in the paper he had selected about the Golden Globes, and summoned his assistant, Peter Rich, who was standing nearby. He handed the magazine with a cover featuring a girl named Miranda Kerr to him, saying, "Find her."

Peter glanced at the cover of the magazine with the doll-faced girl, nodded. As a top graduate from Stanford, he certainly wouldn't be foolish enough to ask Eric how to find her; that would be seen as an inept performance. There was no one in Eric's assistant's office who would portray themselves incompetently.

After hesitating, Peter still asked, "Mr. Williams, what next?"

There had to be a reason behind it.

"Well, I plan to add a shot of a tennis girl crossing paths with Bond in the film."

Peter couldn't help but raise an eyebrow. While Eric stated it seriously, he still thought the reasoning sounded somewhat absurd. Boss, isn't this a rather blatant way to meet women?

Though he harbored some private thoughts, Peter showed no sign of it and respectfully noted down the task.

...

That afternoon, Eric's private jet took off from Sydney and landed three hours later in Cairns, located in northeast Queensland, Australia. However, the set for the The Thin Red Line film was still over 80 kilometers away.

A few crew members from the The Thin Red Line production team had come to greet him. Two SUVs carried them from Cairns northward. The advantages of a sparsely populated area were that cars could speed along the open roads, and in less than an hour and a half, they arrived at the destination.

The SUVs stopped at a coastal village outside the Daintree Rainforest National Park, where the crew resided, according to the crew members. The main filming locations were in the hilly areas along the Daintree River.

In January, it was the height of summer in Australia, and the days were long. Though they had departed Sydney at two in the afternoon, it was now nearing seven in the evening, and the horizon was already tinged with fiery clouds, without any sign of the darkness closing in.

Upon getting out of the car, Eric surveyed the surroundings. Due to the lack of population, the town didn't even have decent lodgings. The hundreds of crew members could only stay in makeshift cabins. The surrounding houses appeared sparse, as if to highlight their abundance of space -- there was even considerable distance between each home.

Nick Cavill, the assistant producer, stood beside him and asked, "Mr. Williams, the crew should wrap up around seven-thirty. Would you like to wait here, or go take a look?"

Hearing the staff's inquiry, Eric looked towards the distant hills. "Let's go take a look."

"Alright, follow me," Nick nodded and led Eric towards a nearby low hill covered with green grass, explaining along the way, "The primary set is on the other side of this hill."

...

After a few minutes of climbing, they reached the top of the hill. Eric gazed out and saw a magnificent river shimmering with golden light in the sunset. The riverside was dotted with gentle slopes and dense thickets, farther in the distance lay impenetrable primeval forests.

Below the hill was the filming location for The Thin Red Line. It appeared that they were rehearsing for a crowd scene today; hundreds of actors scattered about, creating a somewhat disorganized appearance, with faint gunfire echoing in the air.

Despite the hundreds of people on the scene, Eric could easily spot Kathryn. The woman typically donned a white long-sleeve T-shirt and dark jeans, swinging two bulging tool bags at her waist and sporting a black baseball cap. Her tall stature, over six feet, made her stand out even among a group primarily composed of men.

Before they could make their way down the hillside, they caught the attention of the crew, and Kathryn welcomed them as they approached.

Eric greeted Kathryn and other key figures like Terrence Malick, then said, "I'm just here to take a look; you all can carry on."

"Today's about wrapped up. We're rehearsing an explosion scene, but actual shooting can wait until tomorrow," Kathryn explained softly while holding a thin script.

Though Kathryn was strong-willed, her soothing vocal tone was pleasant to hear. Eric thought to himself that he hadn't seen Kathryn in an argument yet.

"Oh, is there anything you need my help with?" Eric asked as he stood next to Kathryn, glancing at the script in her hand.

"Perfect timing; since you're here, could you check if this shot works?" Kathryn gestured around to several set pieces, as producer and screenwriter Terrence Malick, along with Sean Penn, Adrien Brody, and John Cusack, gathered around.

After over ten minutes of discussion, they roughly finalized the filming scheme. Kathryn declared the wrap, and most of the extras began to group up, crossing the hill back to town. Those crew members who remained simply covered most of the equipment with tarps to protect them from potential rain and carried the more expensive video equipment back to their base.

Eric looked curiously as people carelessly left large amounts of equipment in the wilderness, and then it dawned on him -- the town where the crew was stationed barely housed a few hundred residents, not even a number comparable to that of the crew. In the expanse of hundreds of square kilometers, scarcely anyone lived around, except for the tropical forest's wildlife; it was unlikely anyone would be interested in the crew's filming props.

https//Sayonara816.

[Chapter 770: Thud]

As the crew tidied up the set, the last batch of people began to head back to their accommodations.

Eric and Kathryn lingered at the back of the crowd. The others instinctively gave them space for a private chat, even Kathryn's assistant discreetly stepped away. Noticing this, Kathryn's face flushed slightly, but she still made an effort to discuss the film's progress with Eric.

"I plan to finish all the group scenes with Terrence in the next month, then we can take our time to polish the remaining shots. Based on our schedule, we'll be filming here until May. We've also been invited to the Venice Film Festival; the film will premiere there in September," she noted.

Eric replied, "The Venice Film Festival focuses more on art films. Given the material of this movie, it probably fits better with the Berlin Film Festival's political atmosphere, don't you think?"

"True," Kathryn nodded. "But the Berlin Film Festival happens every February. There's no way we'll make it this year. If you're willing to push the film's release back a year, we could submit it for next year's Berlin Film Festival."

"Well, that won't be necessary," Eric said with a smile and a shake of his head. "Our main goal is still the Oscars."

"Although we're exploring a completely different war theme, compared to last year's film, it is unlikely to show Hanks' breakthrough. The Oscar chances don't look great, so brace yourself," Kathryn teased Eric lightly but broke into laughter. "I almost forgot, you don't really care about the Oscars."

"You've got that wrong; I care about the Oscars," he corrected her.

Kathryn shot him a sidelong glance, "What you care about is the economic benefits the Oscars bring."

"Okay, I admit it," Eric said, raising his hands in mock surrender. "So, do you think I seem quite vulgar now, and want to distance yourself from me?"

Kathryn chuckled softly and asked, "I heard you almost got kidnapped in Mexico?"

"It wasn't that serious; they didn't even fire a shot. The media just exaggerated things for a story," he reassured her.

Kathryn nodded, seeming to want to ask something else but hesitating to speak. Eric could guess what was on her mind; she likely wanted to bring up Titanic.

Sensing her instinctive reluctance to mention Cameron in front of him, Eric smiled and said, "Titanic might also be pushed to a year end release now, so the situation might be just like the year before."

The year before, Kathryn's Saving Private Ryan faced off against Cameron's True Lies during the summer release, and due to Titanic's significant delays, that scenario was bound to repeat at the end of the year.

However, relative to the commercial-heavy Saving Private Ryan, although The Thin Red Line was a war film, it emphasized artistic presentation and risked being a bit dull. It probably wouldn't perform too well at the box office this year. Of course, if they managed to rekindle the rivalry between Kathryn and Cameron's new films, with enough buzz, The Thin Red Line's box office would surely surpass the original just by generating enough conversation.

"Leave the filming to me; I'll let you handle the rest," Kathryn said calmly, showing no disdain for the current situation.

Artists pursue cinematic art, but they couldn't let film companies go under. As a female director in Hollywood who hadn't always had it easy, Kathryn understood this very well.

...

Upon returning to the crew's accommodations, night had fallen. After a simple dinner, Kathryn and the others headed to a small post-production studio in the lodge to review the day's footage.

Eric helped tidy up, also checking on the progress the crew had made recently. Since he wasn't particularly skilled in artistic films, he didn't want to overstep; he patiently listened to Kathryn and Terrence Malick's explanations, occasionally chiming in with his own observations, not particularly concerned about whether they'd be accepted.

They worked until nearly ten o'clock. Upon leaving the studio, a gentle breeze drifted outside, where several crew members had gathered to drink, chat, and play cards. The aroma of barbecued meat wafted through the air.

Terrence Malick nodded to Eric and headed toward the crowd with two production assistants who had also emerged from the post-production studio.

Kathryn waved at them and turned to Eric, asking, "Are you going over?"

"What about you?" he retorted.

Kathryn shook her head. "I want to go back and rest."

"Oh, then I'll rest too. I'm exhausted from traveling all day," he replied.

Kathryn nodded, walking alongside Eric towards the temporary accommodations.

...

Arriving outside the wooden cabin where Kathryn was staying, she glanced at the man who showed no signs of leaving, her expression a mix of annoyance and a hint of shyness. "Aren't you going back?"

"Oh, I heard there are a lot of snakes in Australia. Should I help you check for them?" he joked.

Kathryn shook her head. "I'm not afraid of snakes."

Eric feigned disappointment, "How can that be? A woman shouldn't be unafraid of snakes."

Kathryn raised an eyebrow. "Why should a woman fear snakes?"

"What I mean is," Eric shrugged, "even if you genuinely aren't afraid of snakes, you should at least act scared in front of a man. It's just a normal social cue."

"You really have a lot of twisted logic," Kathryn remarked, rolling her eyes at him. She pulled out her keys, opened the door, and walked in without another word.

Eric chuckled; since she hadn't outright rejected him, he followed her inside.

The small room of about ten square meters was simply furnished with a folding bed, a set of tables and chairs, and two large suitcases tucked in a corner.

Seeing Eric enter uninvited, Kathryn just gave him a mild eye-roll, retrieving a bottle of water from a small box by the wall and handing it to him. "This is all I have; want it?"

"Thanks," Eric said as he accepted it, taking a seat to casually browse the director's script laying on the table.

Kathryn ignored him, freeing her ponytail as she arranged her brown hair and idly scrutinized her reflection in the wall mirror. Though she had been diligent about sun protection, her skin had still tanned a little over time.

Feeling the sudden surge of a strange thought, she shifted her gaze, took a few steps back, and sat down on the edge of the bed to untie the laces of her hiking boots.

Because the environmental protections were so effective, Australia did have a bit of a snake problem. To avoid a potential bite from accidentally stepping on one, she still wore high leather hiking boots, which were difficult to remove. As she untied her laces, memories of the little man stubbornly lingering in her room flooded her mind. She kicked her leg at the nearby chair. "Hey, could you help me take these off?"

Eric turned to her, chuckling as he stood up. "Happy to oblige, madam."

As Eric knelt down before her, Kathryn suddenly felt a twinge of regret, but he was already grabbing her calf, pulling at the boot with real effort. Once her boots were off and placed aside, she gazed longingly at the slippers by the door without knowing what to say.

To her surprise, she heard Eric wrinkle his nose and say, "What's that smell? It's pretty awful."

Not a single woman would appreciate a man commenting on her odor, and Kathryn instinctively kicked Eric. Then she halted, explaining, "I sprayed snake repellent on the boots; what, are you already grossed out?"

The last comment came with a hint of mournfulness, and Eric smiled slightly, grasping her leg where she had kicked him. "How about I give you a leg massage? After a long day, your legs must be sore, right?"

"No, no thanks," Kathryn quickly shook her head. But as Eric's strong hand found its way to her calf, a wave of unexpected excitement coursed through her, causing her to lose all resistance -- or maybe she hadn't been too resistant to begin with.

If one ignored the age difference, this man in front of her seemed like a perfect lover: gentle, caring, incredibly talented, and with vast wealth that others could only dream of. He lacked the arrogance typical of other wealthy types and even showed an endearing bit of mischief that was hard to find annoying.

Lost in her thoughts, Kathryn snapped back to reality only to find herself lying on the bed.

"Eric, you..."

She weakly pushed at him, feeling his kiss suddenly land on her sensitive neck, sending shivers racing down her spine. At that moment, she thought, maybe she should just let it happen.

The thought crossed her mind, and she shifted from resistance to wrapping her arms around his waist.

Encouraged by this silent approval, Eric grew bolder, slipping his hand beneath the hem of her thin T-shirt. Kathryn gradually began to respond in kind.

The flimsy steel folding bed creaked under their movements, which perhaps validated the saying about mischief often leading to sorrow. Or maybe they were just moving around too much.

In the blink of an eye, a sudden cracking sound reverberated from somewhere, followed by the metallic snap of a break. Eric and Kathryn both felt the small bed jerk backward at the same moment.

Thud--

Kathryn, who had been squinting her eyes shut, abruptly opened them wide, locking gazes with Eric's innocent expression.

Knowing that their plans for the night were likely dashed, Eric tried to lighten the mood. "So, I guess providing poor furniture for directors is grounds for termination, right?"

A burst of suppressed laughter escaped the next room before falling silent.

Kathryn, hearing her assistant's muffled giggle, covered her face with her hands, refusing to make another sound.

The awkwardness hung in the air for a moment. Eric carefully got up, adjusting Kathryn's shirt that had been lifted and softly said, "I'll go get someone to bring a new bed."

"No," Kathryn, still hiding her face, quickly responded, but her hands remained firmly in place.

"Then you get up, and I'll help you clean up. Maybe it could still be usable?"

"No."

"Then..." Eric thought for a moment, softly tapping the wall twice and calling out to the other side. "Hey, you didn't hear anything, did you?"

No answer.

Eric knocked two more times and repeated himself.

Still no answer.

He shrugged and turned back to the proclaiming ostrich-like Kathryn. "See? There's no one next door; it was just your imagination. Come on, get up, and I'll help you clean up."

Kathryn finally loosened one hand, groping for a pillow and tossing it at Eric. "Shut up, I can handle it myself."

He caught the pillow and placed it aside before leaning over to kiss the exposed part of her face, saying softly, "Alright then, I'll leave you to it. Goodnight."

"Get lost."

Eric chuckled and added quietly, "So, when we get back to L.A., how about dinner?"

Kathryn didn't feel like answering that right now, but after waiting for a while without seeing the little man budge, she finally nodded shyly.

...

Eric had initially planned to stay a few more days on set, but after the embarrassing moment last night, even though Kathryn's assistant was the only witness, she behaved very awkwardly around him the next day, leading to several small mishaps during filming.

Concerned that his prolonged presence would affect Kathryn's work or even raise suspicions among others, Eric decided to leave Dantree. On the third day, he returned to Cairns and boarded a flight back to Los Angeles.

...

As Eric departed Australia, a family of four in southern Queensland's Brisbane welcomed an unexpected visitor.

Peter Rich, one of the assistants who had traveled with Eric to Australia, didn't return to Los Angeles with him. Following Eric's instructions, he remained in Sydney that day, using connections through Firefly Group's Australian branch to contact the editor of DOLLY magazine. After obtaining Miranda Kerr's detailed contact information, he promptly made his way to her home in Brisbane.

It happened to be a Saturday, and in the affluent suburban area of northern Brisbane, the family welcomed this polite young man into their living room.

Miranda Kerr's father, John, sat on the couch, repeatedly examining the beautifully printed business card in his hands, which bore the almost surreal title of Assistant to the Chairman of Firefly Group.

While his daughter's appearance on the magazine cover had given their family a bit of local fame, John had never imagined that his daughter would catch the attention of a large multinational media company.

After taking a sip of coffee handed to him by John's wife, Therese, Peter Rich politely surveyed the young girl quietly sitting in the single armchair on his left. Although she was only thirteen, she already had an elegant appearance, though her skin was a bit darker, making her look less enchanting than in her photographs.

"So, Mr. Rich," John finally asked, "what brings you here?"

"Well," Peter Rich began, "Mr. Williams came across Miss Kerr's photo in DOLLY magazine. He thought she would be perfect for a role in the upcoming 007 film, Casino Royale, and sent me to gauge her interest in participating."

https//Sayonara816.

[Chapter 771: The Clever Girl]

John and his wife were just ordinary working-class folks, busy with their jobs and rarely paying attention to entertainment news. However, they were well aware of what Eric Williams' new movie represented.

Glancing at his eager-looking daughter, John asked, "Mr. Richie, can we ask what role it is?"

"It's a role of a tennis girl, not a lot of screen time," Peter Richie straightforwardly explained while looking at Miranda Kerr. He then inquired, "Miss Kerr, do you play tennis?"

Miranda paused for a moment, then shook her head and said, "No, but Mr. Richie, I can learn. I pick things up quickly."

Peter chuckled and turned his attention back to Miranda's parents.

John exchanged a glance with his wife and asked, "Mr. Richie, are you saying it's just a minor role with little screen time, right?"

"Yes," Peter nodded. "Although the role is small and has no lines, appearing in a globally influential film like 007 can greatly benefit Miss Kerr's future, provided, of course, that she intends to enter the modeling or acting industry."

Eric had simply tasked him with passing this opportunity to Miranda and her family, indifferent to the outcome, and hadn't asked Peter to embellish the significance of the minor role.

As an astute professional, Peter observed that this family was clearly not decisive, while their daughter, Miranda, appeared to be the clever one. She wanted to inject herself into the conversation but had held back during his discussion with her parents.

After hearing Peter's explanation, John and his wife hesitated. The Australian summer break lasted from December to February, and their daughter was about to start school. Both parents were busy with work and didn't want to derail Miranda's education or travel to Hollywood for such a minor role.

After a moment of hesitation, John looked at his daughter and asked, "Miranda, what do you think?"

The moment she realized her father had finally asked for her input, Miranda eagerly turned to Peter and said, "Mr. Richie, if I participate in this movie, will I get to meet Mr. Williams?"

"Of course," Peter nodded.

Miranda, feeling a burst of excitement, straightened up and bashfully asked, "Mr. Williams saw me in DOLLY magazine. What does he think about me?"

Peter raised an eyebrow and replied, "That's a question I can't answer. You'll have to ask the boss himself."

"And after participating in this movie, will I have a chance for other roles in the future?" Miranda asked.

Peter replied, "As long as you perform well, you'll definitely have plenty of opportunities."

Miranda blinked her beautiful eyes and asked, "If, um, if I want to move to New York or Los Angeles, can Mr. Williams help me?"

"That's also not something I can answer," Peter said, shaking his head. "But if you're serious about it, I can pass that message along to the boss."

Miranda realized that her questions had yielded somewhat vague answers, and she recognized that Peter didn't hold much sway in this matter. After a moment of thought, she said, "Since Mr. Williams saw me in DOLLY magazine, he must be in Australia now. Can I meet him?"

"The boss has already returned to the United States," Peter truthfully replied.

Miranda let out a small disappointed gasp.

She had already decided not to give up this chance but was wise enough to hold off on making a hasty agreement, stating that her family needed to discuss it first.

...

After sending Peter Richie on his way, Miranda's mother, Therese, who had been silent during the discussion, looked at her daughter eagerly clutching Peter's contact information and said, "Miranda, I think you're too young for this. It's best you don't..."

But Miranda interrupted her, raising her head, "No, Mom, I've made up my mind. I want to take this role."

John seemed exasperated by his daughter's precocity and resolve. "But this is not like being in a magazine. You still have to go to school."

"The point of school is to find a job later. Since I can already have a great job now, why should I wait?" Miranda quickly countered.

John felt silenced by his daughter's rebuttal and turned to his wife for support.

Therese was more attentive and said, "Acting isn't easy. You haven't even taken an acting class. Playing small roles is one thing, but becoming a professional actress is another."

"Hey, Mom," Miranda waved the card with the email and long-distance phone number, "Do you know who Eric Williams is? He's the owner of the largest media conglomerate in the world! As long as he helps me, I can land any role."

John frowned at his daughter's statement, adopting a purely male perspective. "And why do you think Eric Williams would want to help you?"

Cuddling a cushion on the couch, Miranda spun her eyes and giggled, saying, "What else? Just like the boys in my school who can't help but stare at me. Hmph, those kids are not worth my time."

Every father feels uneasy when hearing that someone might be interested in his daughter, and John immediately raised an eyebrow, saying, "Then I absolutely can't let you act in this movie. You're still just a kid."

"I'm not a kid!" Miranda straightened her back. "And I've made my decision. Even if you oppose me, I'm going."

Seeing his daughter talking back, John was even more irritated and raised his voice, "Without a guardian's consent, you're not going anywhere."

Miranda shrank back and realized the predicament, quickly looking to her mother. But Therese merely scooted closer to John.

"Then I'll just go to Grandma's house. She can be my guardian," Miranda suggested.

"Your grandma wouldn't agree either," John replied dismissively, walking away without further discussion.

Watching her father leave, a wave of grievance washed over Miranda, and she shouted, "Then I'll just go by myself! You can't keep me home!"

John only huffed and slammed the door behind him.

Therese, looking at her daughter's tear-filled eyes, felt her heart soften. She walked over, hugged her, and soothed, "Alright, sweetie, your dad is just looking out for you."

Originally not intending to cry, Miranda realized that her mother might be the key to this situation and started sobbing into Therese's arms. "But Mom, I don't want to give up this opportunity."

Therese gently patted her daughter's back, saying, "Don't cry, sweetheart. You're still so young. There will be plenty of opportunities in the future."

"No, there won't! You heard how indifferent Peter Richie sounded! They don't care if I accept this opportunity! They can find countless other candidates, but for me, this might be my only shot! If I miss this, how could someone as important as Eric Williams ever notice me again?"

Therese replied, "You just said yourself that Eric Williams might not have such pure intentions."

"I was just joking," Miranda quickly amended. "Mom, think about it! Eric Williams directed Jurassic Park, which made a billion dollars worldwide! How could such a super director be so unprofessional? He must think I'm right for this role to even extend the invitation!"

"But..."

Therese tried to say more but was interrupted by her daughter's voice. "Mom, if you're worried, you could come with me! Since I'm still a minor, they will definitely ask for a parent to accompany me."

Therese's tone started to soften. "Well, I think we should discuss it with your dad and if you're really going to go, it's more appropriate for him to take you."

Miranda had stopped crying and snuggled closer to her mother, saying, "No, I want Mom to go with me. I don't want to bring Dad."

Therese was nearly toppled by her daughter's little head leaning against her, completely swayed by her. "Okay, but your dad is really upset right now. I'll talk to him tonight, and you shouldn't argue with him anymore."

"Okay, I promise."

Miranda eagerly nodded, a smile blossoming on her face as two adorable dimples appeared.

Finally, she could leave Australia.

Heaven knows how boring this place is -- even in the city, there were more snakes than people.

As long as she could become famous, she would easily leave here. While she honestly believed she was more suited to modeling, any opportunity, whether acting or modeling, would lead to the same result.

Thinking about international metropolises like New York and Los Angeles sent her heart racing with excitement.

Putting on her best act, she cuddled with her mother for a bit longer before heading into her room to think about how to contact Eric Williams and hopefully negotiate something for herself.

Peter Richie had left a long-distance contact number that was expensive, and calling overseas was out of the question since they didn't have a computer at home.

But email was different.

Though it had only recently gained popularity and her family didn't have such a cutting-edge device, she had seen how to send an email at a friend's house. It was a simple process and very quick, allowing for a lot of information to be shared.

She quickly made the decision to craft a well-prepared email to send to Peter Rich, asking him to pass it along to Eric Williams.

Hmm, what should she write? What would capture the attention of such a big-shot?

This required careful consideration.

...

Eric boarded his Gulfstream private jet, leaving Australia, and refueled in Hawaii before heading straight to the East Coast in New York.

Aside from the myriadof Hollywood business affairs, Eric had two critical matters to keep an eye on in January: the Nokia stock would begin trading on the American stock market on January 22, and America Online would officially go public on the Nasdaq on January 29.

In 1995, Nokia achieved sales of seven million mobile phones and 600,000 mobile communication base stations, generating an annual revenue of $3.6 billion. Compared to 1994, Nokia reported an impressive 130% growth.

Even with most profits immediately reinvested into the company's expansion, Nokia still reported a net profit of $60 million in 1995.

Thus, Nokia's IPO was merely a means to allow their shares to circulate in the U.S. market to prepare for future financing without any current plans for new stock issuance.

Eric clearly remembered that although Nokia's cellphone sales were still in the millions a few years prior, mobile communication was set for explosive growth in the coming years due to rapid advancements and the democratization of communication costs. In the near future, by 1998, Nokia would not only surpass Motorola but would also achieve the landmark of producing its 100 millionth mobile phone.

Therefore, if Nokia needed to execute a financing plan, the best time would be after 1998.

Until then, Firefly Group could maintain its absolute controlling stake in Nokia and, with the company's stellar performance, would be in a strong position to issue new shares with low voting rights to prevent losing control.

While the Nokia listing was conducted very discreetly -- Eric had only made a handful of congratulatory calls while in Australia and hadn't attended in person -- the market still reacted enthusiastically to Nokia's listing in the U.S.

Thanks to high performance expectations from major investment firms for Nokia's 1996 results, on the first day of trading, Nokia's shares surged by 8.1%, giving it a market capitalization of $6.8 billion. This also meant that Eric's $420 million investment from three years prior had increased more than eightfold.

On the other hand, America Online was also a crucial piece in Eric's industry puzzle.

Though he hadn't attended the Nokia listing ceremony, with his early return from Australia, Eric went straight to New York to participate in America Online's IPO event.

https//Sayonara816.

[Chapter 772: Potential Benefits]

Since the launch of the alliance plan in 1993, nearly three years of close collaboration had established America Online as a leader among traditional telecom operators in providing high-speed ADSL broadband access to users. With competitive pricing and reliable network service, America Online's user base surged to 7.6 million over these three years, commanding nearly 30% of the U.S. internet access market. This robust expansion left slower traditional telecom operators struggling in its wake.

In contrast to Nokia's relatively low-profile IPO, America Online's public offering plan drew significant attention from the outset.

In recent days, besides Eric, Cisco's CEO John Chambers and Yahoo's CEO Ian Gurner, along with other executive allies from America Online, flocked to New York to support the stock issuance ceremony.

Thus, Eric found himself busy attending various social gatherings, leaving little time for anything else. This continued until January 29th.

From the previous evening, company executives, guests, and a horde of media reporters and stock traders packed the Nasdaq stock exchange, all participating in the America Online IPO bell-ringing ceremony.

America Online planned to issue 15 million new shares, representing 10% of the total stock, at an offering price of $33 per share, aiming to raise $495 million. However, due to the market's strong reaction, after six rounds of public inquiries, America Online's opening price skyrocketed to $42 per share, a 27% increase over the offering price, resulting in jubilation within the trading hall once the final price was confirmed.

...

"The opening price is $42, but the offering price was only $33. Doesn't that mean America Online lost... well, at least a hundred million dollars on these 15 million shares? Why didn't they set the price higher?" singer Cindy Crawford queried Eric at the post-IPO party.

Eric raised a glass in acknowledgment of Morgan Stanley's executives who greeted him. "At the current share price, America Online's market value is nearing $7 billion, so in relative terms, that hundred million dollar difference is negligible. Pricing the stock at $33 for investment banks and institutional investors gives them more incentive to facilitate America Online's listing. Plus, a strong opening day price can bolster investor confidence in America Online, laying a solid foundation for future financing. These potential benefits aren't worth just a hundred million."

Cindy nodded, somewhat understanding, and asked, "So do you think I should invest in some AOL shares? Will they appreciate?"

"Of course," Eric replied with a smile. "Your savings must be looking pretty fat these days. Invest in some tech stocks -- AOL, Microsoft, Cisco, Intel... Plunk down a million bucks now, and you might very well become a centi-millionaire in a few years."

"Sounds incredible," Cindy teased, raising an eyebrow. "But what if I end up losing money?"

Eric shrugged, "If you lose, you lose. You're capable enough not to starve."

"Oh, you horrible man! You're the one who suggested buying stocks, and you have no sense of responsibility," Cindy playfully pinched Eric at his waist, feigning annoyance. "I'm going to invest all my money in those stocks you mentioned. If I lose it all, I'll just have to crash at your mansion in L.A."

"If that's the case, if you profit, shouldn't you share a little with me?" Eric countered with a serious face.

"Sure! How much do you want?" Cindy replied without hesitation.

"Half. My financial advice is worth that much," he smirked.

"Humph," Cindy shot Eric a glare, then leaned closer and lowered her voice teasingly, "I heard you're looking for young girls recently?"

Eric shook his head and sighed, "Looks like I can't work with your agency anymore. They just spread rumors indiscriminately."

Knowing Eric was joking, Cindy explained, "I just went to the office the other day, and saw someone organizing documents. I asked John, and he said it was your doing. What are you planning?"

"I need a few girls for my movie," Eric replied candidly. "As it turns out, I've already picked three, but one is still undecided. The other two are in New York and Milan. Want to meet them tomorrow?"

"Why should I meet them?" Cindy asked casually.

"Because you're the veteran. Maybe you can guide them," he suggested.

"To have them steal my job?"

"Are you planning on working for another twenty years?"

Cindy didn't hide her thoughts, "As long as circumstances allow, of course! People who don't work age faster."

...

February in New York brought morning temperatures well below freezing. From the high-rise condominium overlooking Sixth Avenue, Central Park appeared desolate. Even with the heating blasting inside, one could still feel the chill outside.

Eric had just returned from summertime Australia, making the cold feel quite surreal.

Cindy, clad in a snug black sweater and jeans, emerged from the kitchen with breakfast for two, setting it on the round table beside the floor-to-ceiling windows. She looked at Eric, who was absorbed in his laptop screen, and asked curiously, "What are you looking at?"

"An interesting little gal," Eric grinned, turning the laptop toward Cindy. "Check her out. Another little beauty."

Cindy leaned in to see the screen; it was an email. She instinctively began reading aloud: "Dear Mr. Williams, I am Miranda Kerr. It's an honor to receive your invitation..."

After reading a few lines, Cindy lost interest, glancing at Eric as he enjoyed his breakfast. "Doesn't seem to be anything special?"

Eric took a sip of his hot milk and set the cup down. "Just wait until you finish."

Cindy shrugged and shifted her focus back to the email. Miranda had expressed her excitement and gratitude for Eric inviting her to the film and subtly mentioned her hope for more work opportunities to support her living and studying expenses in the U.S. After reading it, Cindy didn't find anything particularly noteworthy. She figured she would have said the same if it were her.

Suddenly, Cindy realized something and asked Eric, "So, how old is this girl?"

"Thirteen."

Cindy burst into laughter; at thirteen, this girl could craft such polished correspondence -- surely a real charmer. If she secured this collaboration, she would be connected to Eric's powerful network.

"Ha, if you agree to work with her, she might just be glued to you for good."

Eric shrugged, "For men, that should be a happy problem."

"Hmm, you mentioned meeting two more girls today. Is it the same situation?"

"I haven't met them yet; we'll see once we do," Eric replied. "But you know my taste. The ones I choose never disappoint."

Cindy said, "I'm suddenly quite curious."

"I've invited them over for lunch at noon, so come home afterward."

"Sounds good," Cindy nodded.

She was currently busy producing the second season of America's Next Top Model, but since shooting took place in Manhattan, it was close enough to Eric's place.

...

After breakfast, Eric saw Cindy off and while he read Miranda's email once more, he thought carefully and replied, consenting to Miranda's request. He was curious to see how this little beauty would develop in her career.

After days of busyness, Eric finally had some free time. He spent the entire morning at home reviewing the finalized screenplay for Rush Hour. Though Rumble in the Bronx had yet to release, Rush Hour was formally in development with a budget of $30 million, having already signed Jackie Chan and Chris Tucker as the two leads.

The premise of Rush Hour was straightforward, but its main selling point was the strong personalities of the two leads, which explained their sky-high salaries in the original timeline and the delays in subsequent sequels. To avoid a repeat of such issues, Eric also arranged to secure options for three sequels with New Line, specifying compensation standards to maintain the company's negotiating power in future discussions.

After finishing the script, he sent his revisions back to Los Angeles via email. Before he knew it, it had reached noon.

...

Eric didn't feel like cooking lunch himself and was about to call a nearby restaurant when the doorbell rang.

Looking at his watch, he realized it was only 11:30, with half an hour left until the scheduled appointment. He thought it might be Cindy returning early, so he opened the intercom and cheerfully asked, "You back so soon?"

After a moment of hesitation, a young girl's somewhat hoarse voice nervously replied, "Is this... Mr. Williams?"

"Uh-huh?"

"We're Gisele Bundchen and Alessandra Ambrosio."

After a brief silence, Eric opened the door, feeling somewhat resigned as he looked at the two fresh-faced girls outside.

From the list of newcomers sent over by major modeling agencies, Eric had only recognized Gisele Bundchen and Alessandra Ambrosio, and not the iconic Adriana Lima from the original timeline. Thus, he only selected these two girls.

However, he originally intended to meet both girls alongside their agents, but it was clear the agency had just dropped these two off.

Sigh -- was he really being too nice?

Eric pondered, stepping aside and gesturing for the two girls to enter.

The girls walked in quietly, much like obedient kittens. They gazed at the pristine living room but hesitated to proceed further.

Eric closed the door, saying, "You don't have to change your shoes."

Only then did they enter the living room, sitting together on the sofa after Eric indicated it was okay.

He poured two glasses of juice and handed them to the girls while assessing them again.

Though they were made up, it couldn't hide their youthfulness. However, both girls already possessed tall figures, especially Gisele. With her high-heeled boots, she nearly matched Eric's height.

Despite the frigid climate outside, the room was comfortably warm. The beauty-conscious girls wouldn't dress too heavily, but it was clear the two in their short coats were already starting to sweat lightly on their foreheads.

Eric pointed to the coat rack by the entryway, "If you're hot, feel free to take off your coats and hang them up there."

The two girls nodded in unison, stood up, removed their coats, hung them up, then quietly returned to their seats.

Eric found the scene nearly comical.

In the original timeline, Gisele Bundchen and Alessandra Ambrosio achieved vastly superior success in the fashion industry compared to Miranda Kerr.

However, juxtaposed with Miranda's savvy email from that morning, Eric felt like he was now facing two frightened little quails.

"Where's your agent?" Eric casually asked, settling down onto a nearby armchair, searching for conversation despite his disappointment.

Noticing the letdown on Eric's face, both girls exchanged glances of uncertainty. Although Gisele and Alessandra were selected by IMG and Elite respectively, they had received similar instructions from their bosses before coming. This meeting was a potential ticket to stardom, or they would end up like many newcomers -- continuously waiting for their opportunities.

Each major international modeling agency scouted thousands of newcomers globally every year, and only a handful ever made it big.

Coming from Brazil, considered the most competitive nation in the modeling industry, the girls knew only too well that for them, success meant breaking out of Latin America. Many famous models might claim they were discovered while shopping one day; that was mostly nonsense.

Both girls, although total strangers until now, followed the same trajectory as most aspiring Brazilian models. They began professional training around ten, started submitting photos to agencies and entered various competitions by age thirteen or fourteen. The few fortunate ones who got signed were an extremely rare group, and those aiming for the top tier -- supermodels -- had even slimmer odds.

That's why they were being so cautious in front of Eric.

Unlike Eric, who could glimpse the future, they didn't have a clue where they would end up in this industry. At that moment, they were just two inexperienced girls from Brazil, suddenly faced with a massive opportunity, understandably anxious and cautious.

https//Sayonara816.

[Chapter 773: A Step to the Top]

"The agent said, we, we can come by ourselves," Gisele Bundchen explained quietly after a moment of silence. The girl knew her voice sounded hoarse, and to avoid drawing attention to this flaw, she deliberately kept her voice low.

Beside her, Alessandra Ambrosio nodded in agreement.

The slight length of the sentence made Eric Williams realize Gisele's thick accent. Recalling that the official language in Brazil was Portuguese, and noting that the information received from their agency indicated both girls had been out of Brazil for less than six months, with Gisele spending most of that time in Milan, he could only imagine their English skills.

Eric couldn't help but think, as he silently criticized IMG and Elite for sending these two girls, who barely spoke English, all alone. He soon understood; they might have just thought it didn't matter if they could speak English or not, as long as they were willing to do what needed to be done.

These modeling agencies really were cold-hearted. Perhaps, as long as their models became stars and brought in lucrative commissions, everything else was of no concern to them.

Feeling Eric's scrutinizing gaze again, Gisele and Alessandra, although their expressions turned slightly tense, subtly shifted their bodies and posed with a hint of charm.

Eric chuckled to himself, feeling he ought to do something. He pointed to the kitchen and asked, "Can you cook?"

"Uh?"

"Ah?"

Both girls showed a look of puzzled confusion.

Eric continued, "I was planning on ordering from out, but since there are only four of us for lunch, how about you two take care of it? Just go and make something."

Given the time situation, both girls' English was a bit shaky, but they understood Eric mentioned that there were four people at lunch.

It seemed there were only three people here.

Although puzzled, they didn't express it. Instead, they obediently stood up and walked to the kitchen, both silently thinking this must be some sort of test.

This thought crossed their minds as Gisele and Alessandra exchanged glances, unconsciously mulling over what would happen if this was indeed a test and whether they would win or lose.

Neither of them wanted to be the one that lost.

Since receiving the notice, they had been meticulously preparing for this event under their agency's arrangements. Although they were new to the industry, they knew well what Eric Williams represented. Even without mentioning Hollywood, just in the fashion world, his hand-crafted Victoria's Secret Fashion Show had become a training ground for supermodels.

With the marketing strategies focused around the Victoria's Secret annual show, this event had pushed models who were once distant from ordinary people into the limelight. Models whose names were once limited to fashion circles saw their value skyrocket, with the top Victoria's Secret models earning more than many A-list Hollywood actresses in recent years.

If they could win the favor of such a big figure, as their agency boss had explained, they would have taken a giant leap forward.

While the two companies had communicated after the selection, the girls had just met and, despite being fellow Brazilians, didn't share a deep bond. As they entered the kitchen, they approached the fridge, quietly picking out the ingredients they knew how to work with, showing no intentions of collaboration or assistance.

...

As noon passed, Cindy returned from the set of America's Next Top Model. Seeing only Eric in the living room, she asked, "Where is everyone?"

Eric pointed toward the kitchen.

Curious, Cindy peeked in at the two girls busying themselves and wore a strange smile. Turning back to Eric, she said, "Your taste is quite odd."

Seeing Cindy look at him, Eric shrugged helplessly. "Am I really that lustful in your eyes? Besides, it's still daytime."

Cindy's expression changed to one of mock sorrow. "Oh, looks like I'm going to be kicked out tonight."

"Not at all. Considering your baseless questioning of my character, I've decided I'll take good care of you tonight."

Gisele and Alessandra quickly finished preparing lunch. Eric and Cindy walked into the dining area together.

The two girls had just heard Cindy's voice and, upon seeing her in person, their expressions were notably more enthusiastic than when they saw Eric. After all, Cindy could be considered the ultimate goal for their future aspirations.

Based on his memories, Eric felt that among the two girls, Gisele's style was more akin to Linda Evangelista. Both were the kind of professional models with strong personal styles but were not necessarily striking on the surface. Alessandra, on the other hand, resembled Cindy more, as her sweet and charming face brought out a star quality that surpassed that of many supermodels.

Eric was never overly picky about food. Satisfied with his lunch, he didn't shy away from the two girls and asked Cindy, "What do you think of them?"

Just like cats pausing mid-bite, Gisele and Alessandra stopped simultaneously, looking at Cindy with hopeful expressions.

While she wasn't about to lead these newcomers personally as Eric mentioned earlier, as a seasoned woman with high emotional intelligence, Cindy certainly wouldn't say anything offensive. After sizing the girls up, she told Eric, "They have excellent foundations. If you want, they could easily hit the Victoria's Secret runway as soon as they're of age."

With that, Cindy glanced at Gisele. As a veteran model with over ten years' experience, she could immediately see that while Alessandra had a beautiful face, her body proportions were less than ideal -- her legs appeared a bit short. Without her stunning looks making up for these shortcomings, it would be challenging to go very far in this industry. However, Gisele's qualifications were remarkable: "You're Gisele Bundchen, right? How has your agency planned for you?"

Gisele appeared somewhat surprised. "The agency originally intended for me to compete in the Miss Spain pageant."

Cindy nodded. "Sounds like they take you seriously. If you place at the pageant, they have plenty of buzz to work with for your branding. With your looks, you'd certainly be in high demand in the fast-fashion circles."

Excited by Cindy's praise, Gisele nonetheless turned to Eric, gathering her courage to say, "But the agent told me this morning that I should follow Mr. Williams' arrangements."

If Eric were willing to personally intervene, her initial career plans would certainly be reconsidered.

With the media resources at his disposal, it would be a piece of cake to mold them into top models. Just look at Diane Kruger, who had risen to the status of a top supermodel, even though she was just an ordinary model two years prior.

Thinking of Diane Kruger, Gisele's eyes showed more eagerness as she looked at Eric. Even Alessandra, who seemed to have had the same thought, exhibited a similar enthusiasm.

Upon hearing Gisele's comment, Cindy recalled the email from earlier that day and shot a knowing smile Eric's way, as if to say another girl planned on latching onto him.

Eric ignored Cindy's teasing look and shook his head, stating, "I won't arrange things for you. Where you go from here will depend on your own efforts."

Despite Eric's words, Gisele and Alessandra showed no signs of disappointment.

While they had momentarily stumbled due to nerves in Eric's presence, their intelligence was undeniable. Without some savvy brains, they wouldn't have achieved such huge success in the fashion world. Both girls understood that even a little resource shared by such big figures could be a monumental help for those just starting out.

Chit-chatting casually, they finished lunch and, feeling a bit more familiar with Eric's character, Gisele and Alessandra relaxed their initial awkwardness. After all, while Eric held an impressive aura, he ultimately was just a young man in his twenties.

...

Cindy rushed back to the America's Next Top Model set after lunch, without feeling let down or surprised by the girls.

The second season of this reality show was set to return in early March, and unlike the more flexible shooting schedule of Sex and the City, reality TV had to finish entirely before airing, making her schedule quite tight.

Gisele and Alessandra promptly washed the dishes and returned to the living room, where Eric sat by the glass window tapping on his laptop.

After a moment's hesitation, Gisele gathered her courage and approached Eric. "Mr. Williams, can I help you make some coffee?"

"No, thanks," Eric instinctively shook his head, then realized and looked up at the girls, gesturing for them to sit down across from him. "The shooting schedule for the movie hasn't been set yet, so you can continue doing your own thing for now. I'll have someone notify your agency when it's time."

"Ah, does this mean we got the roles?" Gisele's face lit up with joy.

Eric smiled and nodded. "Of course, but just remember they are smaller, fleeting roles, so don't get your hopes up too high."

Alessandra jumped in first this time, complimenting him, "That's alright! As long as we can participate in Mr. Williams' movie, it's an honor."

Eric smiled, "Such flattery! However, it will likely be filmed in Panama, where the scenery is lovely. You'll have a few days to explore -- think of it as a vacation."

Alessandra quickly responded, "Thank you! Uh, can we call you Eric?"

"Of course," Eric nodded, then suddenly noticed how Alessandra had unconsciously scooted her chair a bit closer to him. He observed her soft form leaning on the round table, propping her chin with one hand, and asked with a smile, "What are your plans for this afternoon?"

Alessandra tentatively stretched her hand out like a cat, but mid-way lost her courage and merely picked up a pencil to fiddle with. "We're not sure what to do."

While Eric found humor in their clumsy attempts to flirt, he had no ulterior motives. At his current status, there was no shortage of women around him, and there was no need to deliberately push the envelope. If one couldn't maintain enough self-discipline, it would be all too easy to spiral out of control.

"Let's do this," Eric closed his laptop. "How about I take you out for some fun?"

"Ah?" Both girls looked momentarily stunned.

"I mean go shopping and stuff. Manhattan has plenty of fun spots, like..." Eric trailed off, struggling to recall what interesting places Manhattan had to offer. Finally, he said, "Forget it. It seems I'm not too familiar with Manhattan either. Maybe I should find a local."

Gisele and Alessandra pretended not to notice Eric's brief moment of awkwardness and instead showed excited expressions simultaneously.

Eric soon thought of a woman who knew Manhattan inside and out. He pulled out his phone, browsed through his contacts, dialed a number, exchanged a few words, then stood up and said, "Let's go."

...

He took both girls for a drive around Manhattan, finally stopping his vehicle at Rockefeller Center in Midtown.

Not far down the street, the Sex and the City crew was shooting exterior scenes.

If anyone knew Manhattan's nightlife and hangouts, among Eric's acquaintances, the first person that came to mind was Candace Bushnell, the beautiful author of Sex and the City.

The main reason Sex and the City became the fashion bible of Manhattan was due to its pervasive depiction and introduction of a series of well-known restaurants, bars, galleries, and nightclubs in Manhattan. No ordinary person could craft such clever commentary unless they were highly familiar with these places.

Yet, because of this, in Eric's original timeline, Sex and the City faced heavy criticism from many reviewers for promoting hedonism excessively.

Noticing Eric's figure, the tall Candace Bushnell walked past with a middle-aged man.

After exchanging friendly hugs and greetings with Candace, Eric then turned to the middle-aged man.

The man extended his hand to Eric respectfully, introducing himself. "Hello, Mr. Williams, I'm Terry Patrick, one of the producers of Sex and the City. Would you like to take a look?"

"Not necessary, I'm just here to pick up Candace. By the way, she doesn't have any work scheduled for the time being, does she?"

"Of course not," Terry Patrick shook his head. "Ms. Bushnell is just here to check in on the shoot."

"That's good," Eric nodded. "Well, you all can continue working."

Terry bid farewell and left, realizing to give them some space.

Eric then introduced the two girls to Candace. "I happen to have the day off and wanted to stroll around Manhattan. Would you be our guide?"

"Of course, no problem," Candace quickly diverted her gaze from the two fresh-faced girls, not probing further, and smiled, "But I can't guarantee you'll like the places I take you."

Eric held the car door open for Candace, smiling, "Get in. If we don't like it, we can always change plans. After all, Manhattan is huge."

https//Sayonara816.

[Chapter 774: IMAX]

Candace Bushnell was undoubtedly the woman who knew Manhattan like the back of her hand.

Instead of heading to the popular tourist spots, she took Eric and the others through several key areas of Manhattan all afternoon. They visited the quaint galleries in SoHo, the craft shops in Greenwich Village, the small bars where underground rock bands played in downtown, among other places.

Of course, they also stopped by some of the countless luxury brand stores scattered throughout Manhattan. While these high-end items may have seemed outrageously expensive to the average person, to Eric, they were equivalent to the price of a few lollipops. Thankfully, the three women were smart enough to just look and not buy. Eric, however, voluntarily purchased a few bottles of perfume at a Dior store for the three women, knowing that when a woman wore perfume, it was often for a man's enjoyment.

In the end, Candace Bushnell even mysteriously led them to an old apartment building in the Upper West Hydee, where they were supposedly visiting a famous psychic from Manhattan.

Eric wasn't exactly an atheist; he believed that there were too many unknowns in the world. However, he also had no desire to engage with those unknowns. So, he stayed in the car instead of entering the apartment with the three women.

After waiting for over twenty minutes, the three women finally walked out. Candace had her usual demeanor, but the two young ladies shot Eric some strange looks.

Once they all got back in the car, Eric asked, "What did the psychic tell you?"

Candace shrugged, laughing, "I didn't ask anything at all. I just brought Gisele and Alessandra along to have a look. What they asked, I don't know."

Eric turned to Gisele and Alessandra, but both girls shook their heads simultaneously.

"Well, then I won't pry," Eric replied, not wanting to pressure them. He then asked Candace, "Where to next?"

It was still before five in the afternoon, but with shorter days in winter, it was already getting close to evening.

Candace pointed to the street on the left, "That way is Central Park. We don't have too much time left today, so let's go take a quick stroll."

Eric nodded and signaled the driver to proceed east along 82nd Street until they reached Park Avenue on the outskirts of Central Park.

...

After getting out of the car, while they debated whether to go boating in the park, Alessandra tugged on Eric's sleeve, pointing excitedly toward a nearby building with a statue outside. "I know that place! It's from Night at the Museum, um, you know, the stuff inside."

Eric looked over, realizing it was the American Museum of Natural History, and laughed, "If you're curious, let's go take a look. It shouldn't be closing soon, right?"

Candace replied, "Nope, we still have about an hour."

The four of them arrived outside the museum and were about to head up the steps when Eric's attention was caught by a poster hanging outside. It advertised "Amazon Adventure: An IMAX Sensory Experience."

Seeing Eric suddenly stop, Candace looked in the direction of his gaze and said, "This is a documentary currently showing in the IMAX theater. I came to see it with some friends before, and it's incredible; the screen is huge -- about five stories tall! But unfortunately, I heard this technology can only show educational documentaries of up to forty minutes. If it could show films, it would definitely feel more shocking."

Eric nodded, "Let's check this out."

"Alright, but let's hurry," she replied.

The four of them bought tickets and entered the museum, quickly finding the IMAX theater. They were just in time for the last showing of the day.

As it was nearing closing time, there weren't many visitors, and they easily found great seats in the center.

Once the lights dimmed and the screen lit up, a sweeping aerial view appeared, showcasing the vast Amazon rainforest as if it were right in front of them, invoking an immersive sense of awe.

Eric had experienced this feeling more than once, and Candace wasn't overly surprised either. However, Gisele and Alessandra, who were seeing this kind of stunning visual scene for the first time, both let out soft gasps of amazement.

Gisele had just claimed a spot next to Eric and leaned in slightly, seemingly regretful as she said, "I didn't expect the Amazon rainforest to be so beautiful. It's a pity I live in southern Brazil and have never been there."

Eric caught a pleasant whiff of her perfume, which was leftover from their earlier stop at the Dior store, and replied, "The most beautiful places are often the most dangerous. I just went to the tropical rainforest in northern Australia recently, where they say there are hundreds of deadly snakes. One slip could cost you your life. The Amazon rainforest is definitely more perilous than the Australian tropics."

Although Gisele was captivated by the IMAX visuals, she wanted to chat with Eric more. She casually asked, "Australia, huh? That's just like my hometown; it should be summer there now. Eric, why did you go to such a dangerous place in the Australian rainforest?"

"I was visiting a film shoot," Eric said while absorbing the IMAX imagery, yet still managing to chat with Gisele. "I'm quite curious about Brazil too, but I don't dare go."

Gisele replied skeptically, "You, Eric? Is there anywhere you're afraid to go?"

"Sure, I went to Mexico a while back and don't plan on going back anytime soon."

Gisele had been following the news about the troublesome events in Mexico, remarking, "I think my hometown must be safer."

Yet as she spoke, her voice dropped slightly, revealing her lack of confidence. She recalled leaving her small town in southern Brazil over half a year ago, arriving in Rio de Janeiro, where her mere fifty dollars were stolen the very same day.

Noting her expression, Eric asked, "Did something unpleasant cross your mind?"

"Yeah," Gisele nodded, recalling her experience, "That was all the money I had. I felt like the sky was falling. I cried for a long time on the street, then I begged a passerby for some change to call home, only to be scolded by Dad for being so careless."

Eric quietly listened, feeling a sense of sympathy. Few successes were achieved easily. Those who faced hardships yearned for success even more. Without their struggles, there wouldn't be a 'Gisele,' who long held the title of supermodel.

"Speaking of which, these experiences might not be bad for you. When you achieve success in the future, these chapters will surely make for good material in your biography," he encouraged.

Upon hearing Eric's words, Gisele recalled what the psychic had told her just half an hour earlier.

At that time, the somewhat witch-like woman had asked what she wanted to know.

Naturally, Gisele's main concern was her career; having worked hard to leave Brazil, she never intended to return defeated.

The psychic had murmured to a crystal ball for a moment, then told her that she recently met someone who would disrupt her life's path, leaving her future uncertain.

Gisele had sincerely pressed to know what to do, but the psychic could only shake her head, claiming it was too taxing to see.

Always a smart and decisive girl, Gisele had immediately handed over the last few hundred dollars in her wallet, which was the budget her agency had advanced her for clothes to meet Eric. She had only been in the industry for six months, had hardly landed any jobs, and relied on her agency for living expenses.

The psychic was clearly thrilled to see cash, and after more murmuring into the crystal ball, she told Gisele that she saw two people, but everything else remained a blur.

Two people?

Now, in the IMAX theater of the American Museum of Natural History, Gisele leaned forward, glancing past Eric and Candace at Alessandra.

Since Eric had recently found them both, it must be her.

Alessandra Ambrosio had been subtly watching the situation between Eric and Gisele, seething with a sprinkle of jealousy and disappointment. As Gisele looked over, she was about to shift subtly when she remembered something and nodded slightly back at Gisele.

...

After their documentary viewing, it was nearly closing time for the museum. The four of them quickly left, following Candace's suggestion to eat dinner at a nearby restaurant. Eric first dropped Candace at her nearby residence, then got directions from the two girls to their apartment, before instructing the driver to head downtown.

Gisele and Alessandra's apartments, arranged by their agencies, were in the East Village downtown. After their car arrived at their destination, Eric noticed the area was filled with old, closely packed red-brick apartment buildings. The vehicle halted outside an apartment, which was Alessandra's place, while Gisele's was conveniently nearby.

Once the car stopped, Gisele and Alessandra exited, and Eric stepped out as well, curiously scanning the dimly lit street. Even though it had grown dark, he could spot the difference between this street and others in New York.

A notable characteristic of America is the abundance of cars. In Manhattan, most streets were lined with various vehicles. However, this rundown street appeared eerily empty at a glance, seemingly inhabited by a low-income population who couldn't even afford a car, which usually meant the area was quite chaotic.

Watching the figures swaying in the shadows of the dim streetlights, Eric asked, "Are you safe living here?"

Having anticipated that Eric might ask, Gisele and Alessandra hadn't expected him to escort them home.

Throughout the day, Eric's mature and steady demeanor, combined with his gentle and considerate nature, had unknowingly earned the girls' affection. Instead of feeling tense or anxious, they felt faintly excited about something.

Standing on the now-familiar street corner, both girls were slightly dazed, simultaneously sensing something was missing.

Hearing Eric's question snapped them back. Alessandra looked around in the direction of Eric's gaze and reassured, "It's alright. The agency told us not to go out at night, but..." Hesitating for a moment, she gathered courage, "Eric, would you like to come upstairs?"

Eric replied, "You must have other roommates, right?"

"Yeah, we all live together, but it's fine, they'll definitely welcome you."

"Let's skip it," Eric smiled. "I wouldn't want to intrude on you girls. Just head on up."

Alessandra nodded in disappointment and reluctantly walked toward the apartment. Eric watched her go inside before turning to Gisele. "Let's get back in the car."

Gisele pointed toward the intersection ahead. "It's just down that street; we can walk there."

Eric had two bodyguards in the car, so he wasn't worried about encountering any trouble. He nodded, "Alright."

The two of them walked side by side, and Gisele moved a bit closer to Eric. After a moment of hesitation, she cautiously slipped her hand around his arm, relieved when he merely smiled at her. "Eric, I'm alone in my apartment tonight."

Eric chuckled, "Your agency is pretty generous to give you a place all to yourself."

"That's not it; my roommates are... in Milan," Gisele explained.

Eric realized it was nearly February, prime time for fashion weeks. Due to different legal regulations, New York wouldn't hire models under sixteen, but in the more open European fashion scene, models as young as fourteen could walk. This was why many famous models began their careers in Europe.

If he guessed correctly, Milan Fashion Week would likely be Gisele's debut stage. Unfortunately, she was suddenly called back to the States.

"I just wanted to meet you two; I didn't mean to interfere with your work. Um, Milan Fashion Week hasn't started yet, so flying back tomorrow wouldn't be too late, right?"

"It's fine," Gisele shook her head. "I want to stay in America, focusing on the film."

"Ha, your role doesn't really need much prep work," Eric countered, shaking his head. "So just go to Milan. If anything comes up, I can talk to the higher-ups at your agency."

Gisele seemed like she wanted to say something but eventually nodded obediently.

They reached the intersection, turned a corner, and soon arrived outside Gisele's apartment building.

"Eric," Gisele began to speak but remembered how he'd turned down Alessandra's invitation a moment ago. Hesitating, she leaned in closer to him and whispered, "You could stay over tonight, and I, well, actually..."

At that point, she suddenly stumbled over her words.

Embarrassed, she realized she didn't even know how to say a particular English word.

In Portuguese, he probably wouldn't understand.

Eric sensed what Gisele was trying to say and, seeing her stumble, quickly understood. A smile crept across his face as he gently lifted her chin and leaned in to give her a soft kiss. "Let's save that for another time, but since we're on this subject, keep it in mind for later."

https//Sayonara816.

[Chapter 775: Spring TV Lineup]

In comparison to the bustling Golden Globe Awards in January, Eric's main focus was on the Sundance Film Festival, which had been gaining momentum over the past few years.

David Fincher's movie, Se7en, made its first public appearance at Sundance, kicking off the promotional work for the film ahead of its Easter release. Brad Pitt was continuing his role as Agent Mulder in The X-Files, with the film's leading man being the rising star Matthew McConaughey. Eric was not a big fan of McConaughey, always finding his looks a bit too frivolous. However, it turned out that this image suited the character of David Smith, who was characterized as young, impetuous, and hot-headed. In the end, McConaughey was confirmed for the role. Aside from Matthew McConaughey and Diane Kruger, whom Eric had cast in the lead role, the other two supporting roles were unchanged, featuring Morgan Freeman and Kevin Spacey.

Se7en elevated the crime genre to unprecedented heights with its intricately shocking plot, unlike the slasher films that had been saturating the market and wearing out audiences. The different temperaments of the three male characters -- impatient, steady, and unhinged -- left a deep impression on the media and critics. After its Sundance debut, the film sparked strong reactions.

...

"Most serial killer films end up resorting to the cliche of a Holmes-like character solving everything. Se7en, with its premise of having the criminals reveal themselves and continue their madness, is undoubtedly groundbreaking. The film's conclusion is shocking, set in a perpetually rainy, gloomy city that conveys a gothic, dark religious atmosphere that subtly echoes the theme of the 'seven deadly sins.'"

"Compared to the disjointed and mediocre Alien 3, Se7en is unequivocally a transformative work for director David Fincher."

"Kevin Spacey delivers a phenomenal performance in his brief screen time, portraying a genius, cold, and mad killer so convincingly that it inevitably recalls Anthony Hopkins' role in The Silence of the Lambs. Matthew McConaughey and Morgan Freeman also contributed remarkable performances. Furthermore, while many criticized the frequent invasions of Hollywood by Victoria's Secret supermodels, Diane Kruger managed to achieve a passing grade with her performance. After all, we can't expect too much from these stunning beauties with their perfect figures, can we?"

...

Despite some critical voices, the acclaim for Se7en far outweighed the few negative reviews in the media, with discussions surrounding the film quickly spreading throughout North America after its release.

Although the Sundance Film Festival promoted independent films, over years of development, it had begun to compromise with major Hollywood studios for better survival.

Amidst the chaotic field of 17 nominated films for the jury prize, more than a third came from the seven major studios or their subsidiaries. Se7en unsurprisingly landed a nomination and, with New Line's support, successfully secured the jury prize, marking a strong start for its promotional efforts.

...

As January faded away and the holiday spirit gradually dissipated, life returned to a normal pace, and the film market entered a quiet spring season. The total box office in Hollywood dropped from a New Year high of $170 million to around $60 million. Consequently, by February, the spring TV lineup began to unfold.

With Se7en's strong showing at Sundance kicking things off, New Line's other action film, Rumble in the Bronx, also began its promotional push for the April Easter release. Meanwhile, Firefly Group's ABC, AE, Disney Channel, and ESPN started to roll out their brand new spring programming.

Among them, ESPN, which had just signed a $9 billion broadcasting rights deal with the NFL, was one of the most watched entities, along with Lifetime, a channel under AE, which focused on urban elite fashion women.

Before last winter's hiatus, Lifetime's reality shows, America's Next Top Model and Project Runway, achieved astounding viewership numbers in their final episodes, surpassing 6 million viewers each. The first season's finale of America's Next Top Model even reached an impressive 6.8 million viewers, with ratings nearing 4.0. Compared to most cable channels, these figures were truly remarkable.

With the phenomenal ratings brought on by these two reality shows, Lifetime's subscriber numbers surged from just over 3 million at the beginning of 1995 to around 76 million currently. Major cable operators were preparing for Lifetime's upcoming contract negotiations in April and May, where price increases were expected.

Industry forecasts predicted that as long as Lifetime's spring programming maintained the average quality of the previous fall season, they could negotiate average subscriber fees of over 25 cents. This alone would generate more than $200 million in subscription revenue for Lifetime each year, surpassing the previous year's industry valuation of under $150 million. Additionally, with the popularity of Lifetime's programming, the revenues from advertising, syndication of hit shows, and DVD sales were expected to far exceed the straightforward subscription revenue. Analysts on Wall Street had already raised their valuation of Lifetime to $1.1 billion.

While Lifetime's viewers may not be preoccupied with industry data, their interest in the channel's two flagship reality shows remained strong.

The second season of America's Next Top Model wouldn't premiere until early March, and the new drama, Sex and the City, would also not air until the end of February.

However, with New York Fashion Week approaching, the first season finale of Project Runway didn't conclude entirely; instead, the finals were to be held during Fashion Week in New York.

After the winter hiatus, the three finalists, emerging from the intense eliminations, showcased their final pieces at Bryant Park in Manhattan, all under the watchful eyes of the public.

To garner even more attention before the finals aired, Project Runway produced two special episodes, airing two weeks before and after Fashion Week. Though there were no competition segments as in previous episodes, the return of all the popular reality contestants focused more on reflecting on last year's show and contestant interviews. Nevertheless, the two special episodes still garnered over 500,000 viewers, reinforcing Project Runway's immense popularity to the media and the industry.

Though Linda invited Eric to appear as a special guest during the final taping of Project Runway, Eric had to rush back to Los Angeles after America Online's IPO.

...

The preliminary budget for Casino Royale had already been drafted, and the film's international locations and casting calls for key supporting roles were underway, all requiring Eric's involvement.

Simultaneously, Firefly, MGM, and Fox began negotiating the creation of a paid cable channel.

In the original timeline, HBO dominated over 90% of the cable market, sometimes reporting profits nearing $2 billion. Such profitable figures could have secured it a spot among the Fortune 500 even many years later. While various media companies had tried multiple times to catch up with HBO's market position, HBO's monopolistic hold on the market persisted due to its excellent operational strategies.

Eric recalled that 20th Century Fox even attempted to acquire HBO at one point but ultimately failed.

However, the American cable television market was just beginning to burst into the mainstream, having long simmered since the 1980s. HBO, having gained some scale, was still far from its later glowing status, which presented opportunities for other cable channels to emerge.

...

On a fresh weekday morning, Eric made his way to Playa Vista, meeting at a cafe within the studio with Katzenberg for breakfast, discussing the current work progress.

"We've roughly singled out a few targets, the most suitable being a cable channel owned by Tele-Communications, which currently has about 1.5 million users and primarily airs classic films. Although the subscriber count is low, with Tele-Communications's 40 million user base, as long as we can provide enough quality film content, subscriber growth should be rapid."

Katzenberg reported on the cable channel details, sipping his coffee before continuing, "However, Tele-Communications is reluctant to let go of full control of the channel. They wish to retain 20% ownership. I believe if we finalize the acquisition, we should be able to negotiate down to 10%. After all, without our content, Tele-Communications' cable channel wouldn't thrive."

Tele-Communications, Comcast, and Time Warner were considered the three giants of traditional cable television. Beyond that, there were many smaller cable operators and emerging satellite TV providers in North America. Even News Corporation had cable operations, though mainly focused in Europe and Australia.

In the early 80s, to address antitrust concerns, cable operators were forbidden from owning television networks. But as media regulations relaxed, these restrictions were progressively lifted. After Barry Diller left Fox, he operated the QVC shopping channel, which was jointly funded by Tele-Communications and Comcast.

Post-millennium, the leading cable operator switched from Tele-Communications to Comcast, though Eric was unsure of the reasons, he could guess that Tele-Communications either went bankrupt after the internet bubble burst like many tech companies, or it had been acquired. If it were the latter, Comcast would logically be the buyer.

"Let's aim to push it down to below 10%, and at the same time, we should negotiate for additional favorable channel resources from Tele-Communications," Eric suggested after contemplating.

From the outset, he never intended to exclusively control the channel. Maintaining a stake with the operator would enable them to provide more resources and convenience for the channel's expansion. Additionally, although Katzenberg suggested excluding Fox from the partnership, Eric chose not to follow this advice.

If it was purely about North America, there was indeed no need to include Fox. Firefly and MGM could already provide sufficient programming for the channel.

However, looking long-term, the international media resources held by News Corporation could facilitate the cable channel's easier entry into international markets. Just as Firefly's partnership with the Disney Channel allowed them to smoothly penetrate the European and Australian television markets using Sky Media's resources.

By the end of last year, following the breakout success of America's Next Top Model and Project Runway, Firefly had also initiated collaboration discussions with News Corporation about bringing the Lifetime channel to overseas markets. News Corporation's Australian channel had even bought the production rights for the Australian version of America's Next Top Model.

Even disregarding Eric's relationship with Elisabeth, including Fox in this collaboration would undoubtedly be more beneficial than detrimental.

After discussing the cable channel matters, the two finished their breakfasts leisurely. Eric handed a prepared document to Katzenberg, saying, "This is some information I've recently had Kelly gather on IMAX and 3D film technologies. Take a look at it and feel free to share it with Frank and the others."

Katzenberg was somewhat unfamiliar with the concept of IMAX but understood the basics of 3D technology. He accepted the material and remarked, "Eric, do you plan to produce a 3D film?"

Eric shook his head, responding, "Not at the moment. Please check the material first. According to Firefly's future production strategy, we aim to follow a high-quality route for big productions. Most of these effects-driven films focus heavily on visual experiences; just imagine how we could enhance our competitiveness by incorporating 3D technology. This could allow us to increase ticket prices on top of the 2D experience. The audience has grown in recent years, and the global film market has expanded, but saturation is inevitable. At that point, 3D technology might be a crucial gateway for maintaining continuous growth. IMAX technology is similarly significant; I'm not sure if there are any IMAX theaters in Los Angeles, but you can look into that and experience it first-hand."

Katzenberg listened carefully and earnestly nodded, declaring, "I'll review the material as soon as possible and have the strategic planning department conduct an assessment."

https//Sayonara816.

[Chapter 776: Breaking Out]

According to the preliminary plan for MGM's Spy Movie Universe, the entire series would involve brands like 007, Charlie's Angels, Mission: Impossible, and The Bourne Identity, with potential expansions into more spy film franchises in the future.

The first phase of the Spy Movie Universe would primarily focus on three developed series. This phase was set to include at least ten films. In order to keep audiences engaged and interested, the crossover of storylines among the three film series would be deliberate and gradual, ultimately assembling in a manner reminiscent of Marvel's Avengers in the original timeline.

Following MGM's established movie schedule, Charlie's Angels 2 was set to debut in the summer. Since Charlie's Angels worked under Charlie's detective agency, which was not a government organization, the film would maintain its standalone narrative for the time being. However, it would feature Easter eggs connected to the Impossible Mission Force (IMF) plots involving Ethan Hunt.

The release of Mission: Impossible 2 at the end of the year would officially mark the beginning of the entire Spy Movie Universe plan. In the currently filming Mission: Impossible 2, Ethan Hunt would aim to dismantle a criminal plot operated by a rogue faction of Spectre organization and thus discover the larger hidden global organization behind it. The U.S. government, having gained this intelligence, recognized the terroristic threat this organization posed to global security and shared the intel with allied nations' security agencies, hoping to unite efforts to combat the Spectre group's worldwide influence.

As such, an Easter egg in Mission: Impossible 2 would feature M introducing James Bond to information regarding the Spectre organization sourced from the CIA.

The plot of Casino Royale was both connected to Mission: Impossible 2 and provided a fresh starting point.

With the collapse of the Soviet Union, James Bond found himself without his longtime nemesis after decades of conflict. Furthermore, after the betrayal of his former ally, 006, in the last film, Bond grew disheartened and even entertained thoughts of retirement. M, of course, refused to let her best agent walk away and instead sent Bond off to the Panama Islands for a vacation.

In Panama, Bond's notorious charm got the better of him once again as he unexpectedly attracted the attention of a married woman. Unbeknownst to him, her husband was a minor member of the Spectre organization. When Bond inadvertently interfered, the small-time crook's operation failed, and the all-powerful Spectre organization quickly identified 007's involvement, leading to the brutal execution of the couple under the mistaken belief that they had betrayed their group.

The tragic death of his temporary romantic interest stirred Bond into action. He resolved to dig deeper into the matter just as MI6 received intel about the Spectre organization that Ethan Hunt had uncovered in Mission: Impossible 2. During his undercover investigation, Bond's unauthorized use of MI6 channels drew M's attention, revealing that his experiences were also connected to the shadowy Spectre organization.

M summoned Bond back and showed him all the gathered intel about the Spectre organization. Based on leads MI6 had obtained, M determined that a major gambling scene in a royal casino in Montenegro was likely related to the Spectre organization. As a result, Bond was dispatched to Montenegro to participate in the high-stakes gamble.

The new 007 film could be regarded as a fresh start. Additionally, this sequel would serve as James Bond's rebirth, as he would embark on his journey anew after experiencing profound love and rediscovering a fighting purpose.

...

The scouting for locations was chiefly managed by the Broccoli siblings, while Eric focused his main efforts in Los Angeles on casting for the new Bond film.

Although the lead roles had already been confirmed, Casino Royale still had many supporting roles that required Eric's personal oversight.

"Thank you for coming in for the audition today, Mickey. I'll have someone notify you of the results soon," Eric said as he stood and shook hands with the man in front of him, who appeared to be in his forties.

This middle-aged man, who seemed to always carry a smirk, was Mickey Rourke. He had once been a leading man in Hollywood during the 1980s and shot to fame with the 1986 film 9 1/2 Weeks.

Unfortunately, Mickey Rourke's career had faltered since then. Although he was handsome, his looks lent themselves more to villainous roles, thus making it difficult for him to land leading parts in major studio films. Eric's memory of Mickey primarily involved his performance as Whiplash in Iron Man 2.

Today's audition coincidentally featured a role akin to the character Chip from the original Casino Royale. Although there had been significant plot changes, Chip's role was standout in the original, leading Eric to retain the essential aspects of this character.

Mickey Rourke released Eric's hand, saying, "I'm honored to be part of this audition, Eric. I'm really looking forward to working with you."

After seeing Mickey out, Eric returned to his seat and asked his production assistant, "Is there anyone else lined up after this?"

The production assistant shook his head, responding, "Mr. Williams, it's already 5:30. Mickey Rourke is our last audition for the day."

Eric glanced at his watch and nodded. "In that case, let's call it a day and continue tomorrow."

The auditions hadn't yielded many suitable candidates today. While Mickey Rourke was perfectly able and visually fit the villainous role, Eric needed someone whose demeanor was solely brooding, not merely someone who appeared sinister.

The original actor for Chip, Mads Mikkelsen, was just starting his career and wasn't even thirty yet, making him similarly unsuitable for the role.

...

Upon exiting the audition room, Eric climbed into his car and left the studio, heading back to Malibu.

He had another engagement -- though, technically, it wasn't quite a date.

When his assistant had forwarded Miranda Kerr's email to him, Eric hadn't thought much of it and simply replied to the girl from his personal email. This had led to frequent communication from the crafty young lady, who sent him messages every other day. Eric hadn't blocked her, treating their occasional conversations as a break amidst his work.

Recently, Miranda Kerr had arrived in the U.S. with her mother, Therese, and Eric had agreed to their visit, which was today.

By the time Eric arrived at Liberty City Manor, night had already fallen.

As his car reached the estate's entrance, he spotted two women -- one older and one younger -- standing by the side of the road.

He instructed the driver to stop, then stepped out to greet them.

Miranda Kerr ran over excitedly upon seeing Eric.

"Didn't we say seven o'clock? Why are you here so early?" Eric lightly embraced the girl and smiled.

After hugging Eric, Miranda linked her arm through his, speaking affectionately. "My mom and I were worried about being late, so we came early. Oh, Eric, this is my mom."

"Hello, Ms. Kerr," Eric said as he shook hands with the older woman.

Watching her daughter cling to Eric, Therese raised an eyebrow, wanting to pull Miranda over but ultimately refraining, recalling Eric's status. She maintained a smile as she shook Eric's hand, saying, "Hello, Mr. Williams."

"Just call me Eric," he replied. "Shall we head inside? Let's get in the car first."

As he spoke, Eric politely opened the car door for Therese, a small gesture that pleased her and sparked a touch of vanity given Eric's stature as a global billionaire.

Miranda didn't need Eric to say much; she hopped into the car the moment her mother was seated. The car was spacious enough that having three people in the back didn't feel cramped.

As the estate gates opened and they drove in, Miranda took in the grandeur of the famous manor while inquiring curiously about some details.

"Eric, this place is so big! Do you live here all alone?"

Eric shook his head. "Well, it's not just me. Drew comes by occasionally."

At the mention of Drew's name, Miranda's eyes lit up with excitement as she exclaimed, "I'd love to meet Ms. Barrymore! I'm a huge fan of hers; I've seen E.T.!"

Eric chuckled. "She'll definitely like you too."

When they arrived at the seafront villa, Eric got out and instructed the estate's chef to prepare dinner while leading the mother-daughter duo into the villa.

"Wow, it's huge! It's like a museum!" Miranda exclaimed as she stepped inside, her eyes wide as she admired the art pieces adorning the walls.

Eric merely smiled and guided them to the lounge near the glass wall. "Have a seat. I'll go make some coffee."

Therese, feeling a bit reserved, watched her daughter's exuberance, wanting to scold her but fearing a breach of decorum in front of Eric. The opulence of the estate weighed heavily on her.

...

As Eric turned to leave, Miranda sprung up from her seat. "Eric, can I help you?"

"Of course," Eric replied with a smile, leading her to the small bar in the corner. "If you don't like coffee, there should be other drinks in the fridge."

Miranda pointed to a bottle of red wine on the shelf and eagerly asked, "Can I try some of that wine?"

Eric shook his head with a laugh. "No way, your mom is here."

Miranda Kerr snatched the coffee pot from Eric, playfully asking, "Does that mean I can have some when my mom isn't around?"

Eric replied, "If your mom isn't here, I wouldn't dare let you have wine."

"Why not?"

Eric joked, "Women after drinking tend to go crazy. I'm afraid you might take advantage of me."

"Ha! I wouldn't!" Miranda giggled, twisting her slim waist in her snug sweater, playfully throwing Eric a coy glance. Changing the conversation, she asked, "Eric, how's the movie coming along?"

Understanding that Miranda was primarily concerned about the role, Eric replied, "We're still casting, so you'll definitely have to wait a few months."

"I'm not in a hurry," she shrugged, not showing any signs of disappointment over such a minor role.

After all, he had promised her more roles in the future, but she understood there was no need to press it urgently.

There would be plenty of time ahead.

They both completed the coffee and returned to the sofa.

...

Eric allowed Miranda to serve them, and as they settled back on the couch, he initiated small talk. "How was the drive, Mrs. Kerr?"

"Very good," Therese responded, accepting the coffee cup from her daughter. "We didn't expect the weather in Los Angeles to be this cold. Miranda and I almost caught colds."

"Ah, it's actually much better now. If you were in New York, you'd feel even worse; it seems like it's snowing there again," Eric commented.

Miranda made herself a cup of coffee and snuggled up next to Eric, saying, "It's kind of funny, isn't it? Australia is so hot right now, but New York is getting snow."

"You'd find it less amusing if you went to experience it yourself," Eric chuckled.

After some casual conversation, Therese realized that it wasn't the right time to discuss business during dinner, so she took the initiative. "Eric, Miranda has mentioned a few things to us -- about becoming a contracted actor at Disney. I'd like to confirm that with you in person."

Eric briefly paused, taken aback. He had initially only agreed to help follow up on a few job opportunities for her, but he had never promised Miranda that she was going to become a contracted actor at Disney.

Moreover, the girl before him, who looked to be at least sixteen, didn't align with the majority of Disney's actor criteria. Disney generally favored petite and adorable talents, much like Britney Spears or Christina Aguilera, both of whom stood around five feet tall even as adults. While Miranda fit the cute category, she was simply too tall.

Glancing over at Miranda, who was blinking her big eyes up at him with a pitiful expression, Eric suddenly understood. She likely wanted to associate herself with Disney in order to dodge her parents' worries about her maturity. After all, most people associate Disney with children. Plus, while the girl may have already blossomed, partnering with Disney at her current age would make the most sense.

After realizing all this, Eric subtly turned to Therese. "Aside from the small role in Casino Royale, I think Miranda is well-suited for a role in a television project that Disney Channel is set to film soon."

Although it was a bit of a stretch, Eric wasn't worried about his fabrication unraveling. Disney Channel produced numerous teen dramas and telefilms every year; if necessary, they could easily slot Miranda into any of those productions.

https//Sayonara816.

[Chapter 777: Night...]

Therese, although she was just an ordinary housewife without much opinion, was not naive. From Eric's brief exchange of glances with her daughter, she sensed something was up. However, since Eric had promised her face-to-face, she figured someone of his stature -- though he seemed a bit young -- wouldn't have lied to them, right?

Since Eric agreed to let Miranda sign with the Disney Channel, Therese decided to address her top concern.

"So, Eric, what about Miranda staying in America?" she asked.

Eric replied, "Mrs. Kerr, if you're worried, you can absolutely stay in the U.S. to care for Miranda."

Therese shook her head. "That won't work. I have my job in Brisbane, and my husband and son need me. John and I hope that Miranda can attend a full-time boarding school. She can stay there as long as she's not filming."

"Mom, I don't want to go to boarding school," Miranda chimed in before Eric could respond, having no prior discussion with her parents about this. Plus, she thought it felt like being sentenced to prison.

Therese didn't lose her temper at her daughter's resistance; instead, she spoke gently, "Sweetheart, you're still a minor. Your father and I just can't leave you here alone in America without some supervision."

"Can't you get a temporary guardian? Then I could just go to a regular school," Miranda suggested, looking over at Eric.

Noticing Miranda's gaze, Therese quickly shook her head.

"No way," Therese said, her voice rising slightly, realizing it sounded a bit disrespectful, implying she didn't trust Eric -- though, to be fair, that was the truth.

After a pause, she added, "You're lucky to get this acting job. We can't trouble Eric any further."

Eric nodded in agreement. "According to federal regulations, I probably don't meet the qualifications to be your temporary guardian; I'm a single man after all."

Hearing Eric's refusal, Therese felt relieved and turned to her daughter. "See? You heard him."

"But I still don't want to go to boarding school! If I have to, I'd rather... I'd rather..." Miranda stammered, unable to vocalize her wish to return to Australia. Instead, she turned back to Eric. "Eric, even if you can't be my temporary guardian, you can help me find a suitable host family, right?"

Eric shrugged slightly. "That can be arranged, but it must have your parents' approval."

Miranda immediately stood up, walked over to Therese, and pouted, "Mom..."

Seeing the resigned look on Therese's face, Eric stood up. "I'll go check if dinner's ready. You two can talk it over."

...

It was unclear how the mother-daughter duo communicated, but during dinner, while Therese maintained that she needed her husband's approval, her attitude had softened significantly.

Miranda appeared ecstatic, like a little magpie having her wish granted. She chatted animatedly with Eric about everything under the sun, from falling off a horse at her grandmother's farm years ago to her recent experiences shooting for the cover of DOLLY magazine. Despite her young age, Miranda showed a knack for reading the room far better than her mother, sensing that Eric didn't mind her lively personality -- instead, he seemed quite intrigued.

Eric had seen many cases of the strong overshadowing the weak, notably the Murdoch family. This was the first time he observed a situation where a young girl like Miranda was far more assertive than her meek mother, Therese. It struck him as amusing.

After dinner, having heard Eric mention the private screening room in the villa, Miranda began pestering him for a look. After Eric agreed, she ditched her mother in the small living room to watch TV and dragged Eric out of the room.

After watching a movie, they discovered it was already past ten at night. The hotel where the mother and daughter were staying was in Burbank, near the Firefly Group headquarters, and was over forty kilometers away from the mansion. Though they wouldn't run into traffic at this hour, it would still take over an hour to return.

Despite how inappropriate it felt, Therese didn't insist when Eric offered to let them stay.

...

After arranging separate guest rooms for them, Eric retreated to his bedroom, showered, and leaned against the headboard, reading the latest project proposal for the premium cable channels he had picked up from the studio.

The cable channels partnering up were temporarily named FFM, which stood for Firefly-Fox-MGM, the initials of the three companies. If they didn't come up with a better name later, it would remain as is.

At that time, HBO's subscription count was nearing ten million. Even if it hadn't reached the peak of over forty million that Eric remembered, HBO still boasted a yearly revenue of over a billion dollars at the current subscription rate of $9.99 a month. This financial confidence was what allowed HBO in the original timeline to invest heavily in producing a wealth of quality original programming in the upcoming years, gradually solidifying its dominant position in the industry.

Given this reality, time was not on FFM's side in chasing HBO. Initially, Eric's plan was to mimic the "burning cash" strategy of new internet companies by investing heavily in high-impact, buzz-worthy original content while aggressively marketing it. The goal was to sacrifice profit in the early stages to rapidly accumulate a user base to compete with HBO.

However, as executives from the three companies discussed this plan, its shortcomings became evident. The cable channel they had planned to acquire under the Tele-Communications company had only 1.5 million subscribers -- about one-seventh of HBO's audience. With such a pitiful base, even an outstanding program couldn't create significant buzz in the short term.

Unlike basic cable channels, premium channels faced different circumstances. For example, Lifetime TV had dismal ratings initially, often attracting only a hundred thousand to a million viewers per show, yet it maintained a total user base of thirty to forty million. When breakthrough programs like America's Next Top Model and Project Runway aired, viewers could quickly change channels to watch, leading to an immediate bump in ratings.

Premium channels like HBO typically had only a few million subscribers. Even HBO, at that time, was still under the ten million mark. Due to high subscription fees and hardware limitations, audience numbers didn't rise easily; a long accumulation process was necessary -- this nearing ten million subscribers was a result of over twenty years of operation.

Since FFM's first goal was to increase its user base rapidly, the experienced Murdoch soon proposed a straightforward but effective suggestion: acquisition.

The Fox network, which had extended its reach across America, was the result of several frenzied acquisitions by News Corp in the 1980s.

Aside from HBO, many smaller premium cable channels aired similar content throughout North America.

These second and third-tier premium channels were primarily subsidiaries of cable operators. Thanks to their parent companies' resource advantages, these channels could attract their share of the pay-TV market with relatively low subscription prices.

Even at lower prices, these channels commanded a solid base of paying users. Acquiring and merging a few channels would significantly accelerate user accumulation compared to Eric's initial proposal.

As Eric read through the materials, he grabbed the remote and turned on the wall-mounted TV across from his bed, wanting to see what the premium channel, The Movie Channel, was like. Cablevision had shown interest in selling this cable channel, which had 900,000 users, but the asking price was a staggering $315 million -- negotiations would surely be a long and complicated process.

Finding The Movie Channel, Eric briefly glanced at a film that was playing. Disinterested, he shook his head after spotting two not-so-attractive blondes in revealing clothing dramatically running away from a killer. It was clearly a super low-budget horror flick, and he could guess it was modeled after the Scream franchise just from a glance.

The proportion of bad movies in Hollywood was indeed high. Given the vast market, independent production companies would invest tens or hundreds of thousands of dollars to produce films that, even if they never made it to theaters, could initially be released on VHS and then sold for airing rights to channels like The Movie Channel. Selling foreign rights could also recover some funds. When all the numbers were crunched, profits were often still quite good.

...

Losing interest, Eric was about to change the channel when he heard a noise.

Knock knock knock--

Eric paused, realizing this wasn't just his imagination after he heard it again.

He glanced at the clock and found it was already half-past eleven.

Finding a pair of beach shorts in a nearby drawer, Eric headed to the door, opening it to find Miranda, who was standing in the hallway, shyly fiddling with her fingers.

Taking in his casual attire, the girl blushed but didn't back away. Gathering her courage, she said, "Eric, I can't sleep. Can I chat with you for a bit?"

Eric chuckled, "If your mom finds out you sneaked here in the middle of the night to 'chat' with me, she's going to go nuts."

"My mom usually sleeps deeply, she won't know," Miranda said, leaning forward. Eric had to step back to let her pass, and she entered without hesitation.

As soon as Miranda stepped into the bedroom, she noticed the screams coming from the TV. Taking a few glances, she turned back to Eric, a playful glint in her eyes. "So, Eric, you like watching this kind of movie, huh?"

Eric was too lazy to explain, casually shutting the door and walking to the bedside, placing the materials he had just read into the locked drawer. While he enjoyed the company of various women, he wasn't foolish enough to let his guard down completely.

Locking the drawer, Eric picked up a Stephen King horror novel from the bedside table and leaned against the headboard, glancing over at the girl curiously exploring his room.

Miranda was barefoot, not even wearing socks. She moved with the grace of a cat, still clad in her light sweater and jeans.

After peering at the twinkling lights of Malibu outside the north window for a moment, she made an impressed sound before turning back to Eric and casually asking, "Eric, why is this bed so big?"

Eric glanced up and joked, "So I can sleep with a lot of women."

Miranda laughed and boldly climbed onto the bed, leaning beside him and looking up. "Are you trying to kick me out?"

Eric didn't bother lifting his head this time. Flipping a page in his book, he asked, "Why would you say that?"

"Come on, you know why," she teased.

Eric replied, "If I really wanted to, you would already be out the door."

Another laugh escaped Miranda. After a moment, she added, "Eric, I want to take a shower."

Eric was curious about what she was planning, nodding. "Sure, the bathroom is right over there."

"But I don't have pajamas," she replied.

"You can wear mine," he suggested.

"But you're not wearing pajamas either!" Miranda countered, poking his chest playfully with her cool fingertip.

Eric grabbed his white shirt he had worn during the day. "Here, wear this."

Miranda took it, swaying it lightly in her hands. She looked up at Eric and, seeing his nonchalant attitude, wrinkled her nose slightly before hopping off the bed and heading to the bathroom.

Hearing the door close behind her, Eric shrugged.

Having dealt with many women over the years, their various attitudes didn't surprise him much anymore. Miranda's behavior reminded him of that one little minx who relentlessly pursued him back in the day.

Thinking about Drew, he found himself reminiscing about the experiences of these past years.

Step by step, he had already lost count of how many women had been in and out of his life. His mindset had also evolved -- from initially being brimming with youthful exuberance to a more laid-back approach to life.

Previously, he had always wished to gather every woman he liked around him, but that desire was slowly fading.

Eric realized that he wasn't suited to the life envisioned by Playboy founder Hugh Hefner, where one was eternally surrounded by women. Deep down, he was a more solitary person who favored peace. He didn't need many women around -- one or two were sufficient. Once affection faded, parting ways was the natural order.

Maybe Drew had been the one who truly understood him; while she would have preferred to be by his side always, she had never insisted on it. Instead, she had been like a little housekeeper, managing all the essentials of his daily life.

https//Sayonara816.

[Chapter 778: I Have a Cleanliness Obsession]

The soundproofing in the master bedroom of the villa was excellent, so no water noises could be heard.

Eric picked up the remote control and changed the TV channel, keeping his horror novel in hand, occasionally glancing at the screen, effortlessly multitasking.

About half an hour later, the bedroom door opened, and Miranda Kerr emerged, wearing only a shirt that barely covered her thighs. Her long, tanned legs exuded a healthy glow. Her damp brown hair fell loosely, with a few dyed blonde strands framing her face, giving her a unique look.

The girl nimbly jumped onto the big bed and crawled next to Eric, looking up at him and asking, "Eric, am I pretty?"

Eric shrugged and nonchalantly replied, "I prefer girls with fair skin; you're too dark."

Miranda argued back, "No way! This is healthy. A lot of my classmates envy me," she said, rolling up her sleeve and extending her arm in front of Eric. "Feel it! My skin is better than that of many girls."

Eric wasn't interested in debating such trivial matters. He took a glance and shrugged it off, muttering, "Yeah, sure."

Seeing that Eric seemed uninterested, Miranda rested her chin on her hand and smiled at him, saying, "You can touch other places, just no other things."

Eric ignored her, put down his book, grabbed the remote, and turned off the TV. "Well, we've chatted and you've taken a bath. It's time for you to go to sleep."

Miranda snatched the remote away and turned the TV back on. "Just let me stay a little longer. I won't bite."

He noticed Miranda was channel surfing and had unknowingly landed on HBO's sub-channel Max After Dark, which made him roll his eyes. "Do you know what channel this is?"

"Of course, I'm not a kid," Miranda huffed, adopting a mature posture. However, when inappropriate scenes flashed on the screen, her cheeks immediately flushed red. She quickly changed the channel to the Disney Channel instead.

The TV aired a children's sitcom developed by Disney the previous year. Although it was aimed at children ages six to twelve, Miranda found it engaging and watched a brief twenty-minute episode. When the next program was a cartoon, seeing that Eric really wasn't making any advances, Miranda felt a bit disappointed. Was her appeal not enough?

"Eric, you're not at all what I expected."

Eric mumbled, "Hmm?"

"You don't feel like the rich guy I imagined."

Eric asked, "What do you imagine I should be like?"

Miranda hesitated, unable to answer that question.

Eric smiled; ordinary people always imagined the lifestyles of the wealthy as extravagant and mysterious, but in reality, it wasn't that high-key. He recalled a phone conversation he had with Chris a few days earlier, where they discussed Warren Buffett.

After a few parties last year, Chris had gotten to know Buffett better, who had taken a liking to this young investor. Their casual interactions had turned into an unlikely friendship.

Chris recounted his first visit to Omaha to see Buffett last month. Although Buffett's frugal lifestyle was well known, Chris found it astonishing firsthand.

Buffett's home was a modest apartment, no different from those of most middle-class Americans, with an old mini-truck parked outside that cost less than twenty thousand dollars. The lunch invitation with Buffett took place at a regular steakhouse; they spent a total of sixteen dollars, including tip. Berkshire Hathaway's office in Omaha also looked rather humble, with fewer than ten employees including Buffett himself. It didn't seem like a company valued in the tens of billions.

Though Buffett's example might be extreme, Eric had observed over his years that aside from a few wealthy individuals who loved extravagant lifestyles, most rich people's lives were not as ostentatious as the public imagined.

...

Next morning, after washing up, Miranda followed Eric for a jog around the estate and then helped him prepare breakfast.

Terese woke up just before seven-thirty. When she saw that both Eric and their daughter were up, she felt a bit apologetic. It seems she didn't notice her daughter sneaking out and sneaking back in last night.

After breakfast, Eric obviously wouldn't leave the little rascal to cause trouble at the estate. He took both mother and daughter to the Burbank headquarters, instructing an assistant to handle arrangements for Miranda's host family and school while he returned to his regular work.

During the intense casting process for Casino Royale, Lifetime's first season of Project Runway finally reached its conclusion at the end of February. Although the last episode didn't surpass the ratings of last year's finale of America's Next Top Model, it still drew an audience of 6.5 million viewers, prompting AE Networks to host a celebratory gathering.

At the same time, the first episode of Sex and the City aired, Project Runway serving as a lead-in for it.

...

Even before its premiere, thanks to its positive buzz during the pilot, Lifetime had conducted a two-month promotional campaign. The original novel, which had seen modest popularity, even rocketed to the top twenty on the New York Times bestseller list.

While Lifetime was a basic cable network, even if it aired daring TV programs, the FCC usually didn't intervene unless something was outrageously scandalous. However, basic cable still aimed at all ages, so to avoid backlash from parents leading to cancellations, their programming was relatively restrained.

The original version of Sex and the City, which had previously aired on HBO, featured many explicit scenes. Yet, due to the constraints of basic cable's unspoken rules, the new version could not just replicate that. The show's real draw was never about nudity; instead, it centered around urban women's analysis and reflections on life, sex, fashion, and love.

Indeed, female viewers continued showing great enthusiasm for the new version of Sex and the City. Riding the popularity from the finale of Project Runway, the premiere episode of the new show garnered an audience of 3.9 million -- much better than those of both America's Next Top Model and Project Runway's launches.

After the first episode aired, most media outlets praised this bold, edgy series that had a smart yet slightly coy tone. As its popularity spread, the second episode's viewership quickly surpassed 4.3 million.

Once the tone for the excellent series Sex and the City was set, Lifetime, in collaboration with Hearst magazines, the entertainment and fashion section of Yahoo, and relevant programs on ABC, quietly launched the second phase of its viral marketing.

Unbeknownst to many, urban women interested in fashion began to frequently notice the name Sex and the City. Whether through famous fashion magazines like ELLE and HARPER'S BAZAAR under Hearst or fashion segments on Yahoo or fashionable talk shows on ABC, countless analyses and discussions arose about the wardrobes, accessories, makeup, and shoes of the four female leads. The tones used in most articles were filled with admiration, filling it with a sense that the style of these characters had become synonymous with fashion.

There's a well-known saying in the fashion world that if a respected fashion media outlet randomly picks a piece of clothing from a rack, whether it's a vintage style from decades ago or a surprisingly Bohemian piece, and if they stand firm in declaring it as the upcoming season's must-have item to a million people, it will indeed become the season's trending attire.

While they understood this rule, the producers of Sex and the City weren't about to take such a straightforward and crude approach.

During production, they brought in well-known fashion consultants specifically to guide the leads on style. With combined efforts of relentless viral marketing, the four main actresses of Sex and the City quickly became trendsetters in urban fashion, rapidly amassing a large female fan base.

Previously, Sex and the City, at its peak, had attracted over 40% of its audience from women, highlighting its powerful influence among them. Lifetime's barrier to entry was much lower than expensive HBO, and with the show's soaring popularity, when the fourth episode aired, ratings had already surpassed 5 million.

...

Simultaneously, Cindy Crawford's season two of America's Next Top Model made a strong return the same week that Sex and the City's fourth episode aired. While the first episode didn't break the record set by last year's finale, which drew 6.8 million viewers, its premiere of 6.5 million was still commendable.

In reality, competition-based reality shows often see record-breaking viewership during finales, much like Survivor's miraculous finale of 56 million viewers. As such, America's Next Top Model's first season averaged 4.96 million viewers, narrowly missing the 5 million mark, but the strong premiere of 6.5 million indicated that this popular model reality show's second season would likely maintain an average viewership of over 6 million. In the current landscape, where the four major broadcast networks dominated most viewers, only a handful of cable shows across North America could boast consistent viewership above 6 million.

https//Sayonara816.

[Chapter 779: Report Card]

With the viewership surge from the releases of Sex and the City and the second season of America's Next Top Model, Lifetime Television seized the opportunity to launch several other original series.

Although these new shows did not match the ratings of the frontrunners, they filled the evening slots effectively, avoiding the previous fall's awkward silence when Project Runway and America's Next Top Model had galloped ahead while other time slots remained desolate.

As Lifetime began negotiating new revenue-sharing contracts with cable operators with renewed confidence, other media groups closely monitoring Lifetime initiated their own analyses of the network's rise. Sure enough, they planned to follow suit. This trend was not only visible in the film industry but also among the three Firefly companies that were gearing up for the FFM cable channel, which was also looking to follow the HBO model.

However, despite the booming cable television industry at that time, Eric did not worry about these latecomers. But, where capital firmly controlled every industry, there were not many willing to invest decisively while the situation remained uncertain. By the time they caught on, Lifetime would already have solidified its position in the industry.

...

The early months of the year were when major corporate giants presented their "report cards" to investors, media, and the public.

Having implemented a successful "blockbuster strategy" last year, and backed by the robust recovery of the U.S. economy, Time Warner's total revenue reached $11 billion in 1995. However, out of the 25 films released that year, only Batman Forever turned a profit, with a $100 million investment, grossing $330 million globally, along with substantial merchandise profits. Unfortunately, several big-budget projects costing over $50 million ended poorly.

Most notably, Waterworld, with a staggering $175 million production cost, barely earned over $80 million at the North American box office. Although it grossed $260 million worldwide, due to the generally low take and high taxes in international markets, Warner Bros. recouped just over $90 million from its global box office share, resulting in a loss exceeding $100 million for the studio on this project alone.

While the Turner Broadcasting System and HBO under Time Warner were highly profitable, they could not compensate for significant losses in the film division. Ultimately, the entire group saw losses of $280 million for the year, more than triple that of the previous year. When the financial report was released, turmoil erupted again within Time Warner. Ted Turner, founder of Turner Broadcasting and major stakeholder in Time Warner, even suggested splitting the company during a board meeting -- a remarkable turn given the recent trend of resource consolidation that some board members supported.

Viacom, firmly controlled by Sumner Redstone, also reported revenue exceeding $10 billion for the year, largely thanks to Blockbuster's strong rental and retail performance. Their revenue reached $10.7 billion, making them second only to Time Warner. However, unlike Time Warner's substantial losses, Paramount managed to achieve a net profit of $760 million for the year.

If we are to discuss comprehensive strength, the News Corporation, which encompassed a vast operational reach across the Western world, was comparable to Time Warner. However, the complexity of its financial and equity systems -- the businesses in various countries often operated independently -- made it difficult to consolidate. Thus, the subsidiary handling domestic film and television business, 20th Century Fox, effectively represented the corporation. This led to a similar standing between 20th Century Fox and Universal controlled by Seagram and Columbia controlled by Sony, not to mention the rapidly recovering MGM.

In early months, American media gradually recapped the performances of the six Hollywood giants but waited anxiously for the annual report from Firefly Group.

...

Despite the media's anticipation, which almost turned desperate, after several discreet board meetings and negotiations with main creditors, upper management ultimately decided not to release Firefly Group's financial report.

For a non-public company, releasing financial data usually had clear objectives. Last year, Firefly had published its financial data due to issuing an enormous $8 billion bond as it was not yet fully integrated after acquiring ABC Group, alongside Ron Perelman's purchase of Firefly bonds. These measures aimed to prevent unnecessary speculation and concern from the capital markets.

This year, however, everything within the group had returned to normal, free from internal and external troubles, thus there was no need to indulge the curiosity of the capital market or the media by engaging in such superfluous acts.

Of course, Eric's desire to remain discreet was another significant reason.

After months of financial calculations, Firefly Group's annual revenue ultimately stood at $23.9 billion, achieving an operational net profit of $2.57 billion. When considering subsequent payments from the sale of ABC's print media assets and Disney's animated studio, totaling $1.25 billion, Firefly's net annual profit reached $3.82 billion. This figure alone was enough for Firefly to boast to the other six, saying, "Come at me."

In comparison, Ford Motor Company -- the highest profit generator among American enterprises in 1995 -- reported a revenue of $128.4 billion with only $5.3 billion in net profit. Even without including Firefly's $1.25 billion non-operating revenue, its $2.57 billion net income comfortably placed them among the top ten American corporate profit rankings.

The detailed annual financial data was known only to Firefly Group's board and core executives, and even key creditors had a general understanding but wouldn't disclose anything to the media.

Thus, relying on publicly available data from box office earnings, television ratings, and other measures, the media and analysis agencies could predict that Firefly Group's earnings would be staggering. Yet, lacking specific data meant they could only estimate based on what was known.

Without Firefly's official endorsements, even if these media predictions were close to reality, they wouldn't gain widespread acceptance. Some members of the public, upon seeing the staggering financial figures attributed to Firefly in financial magazines, instinctively questioned the accuracy of those numbers. After all, if nearly $4 billion in annual profit was genuine, Firefly's earnings alone could rival those of the other six combined. Achieving such a feat would have never happened in Hollywood history, single-handedly capturing 50% of the entire industry's profits.

...

Amid this uproar, the release of Forbes magazine's 1996 Billionaires List sent shockwaves through the media.

After the launch of Windows 95, buoyed by Microsoft's dominance in the operating system arena, Bill Gates, who owned 40% of Microsoft, saw his net worth soar from $12.9 billion last year to $18.5 billion. Following him were Warren Buffett and three other billionaires who also crossed the $10 billion threshold.

However, the standout figure on this list was that remarkable $67.7 billion -- Eric's wealth had skyrocketed by $21.2 billion in just one year, up from $46.5 billion last year.

Upon the list's release, Forbes president Steve Forbes penned in the magazine, "If six years ago Eric Williams had risked his entire net worth on the Kuwait War, it would have been regarded as a reckless gamble. However, Eric has proven over the years that not only does he possess remarkable talent in film and media, but as an investor -- he has exhibited an exceptional insight that is hard to match.

Since investing in Yahoo in 1991, Eric has steadily allocated nearly $5 billion to emerging technologies and high-tech industries over five years. Today, those investments have quadrupled, now valued at over $20 billion.

While Eric Williams' investments in high-tech sectors appear very successful, it's undeniable that the increasingly formidable Firefly Group remains his true foundation. Over the years, the consistent and significant profits from Firefly have empowered Eric to exercise his prowess in the investment world.

Unlike publicly held corporations like Time Warner and Viacom, Firefly Group did not release its 1995 annual financial data. However, based on accessible public information, Firefly's total revenue for 1995 should be around $24 billion -- surpassing the combined annual revenue of Time Warner and Viacom.

As for profitability, Firefly Group's earnings capability is even more astonishing. Compared to Time Warner's $280 million loss and Viacom's $760 million net profit, Firefly's operational net profit for 1995 should fall between $2.3 billion and $2.6 billion, which is equivalent to four times that of Viacom and nearing the total profits of Time Warner, Viacom, 20th Century Fox, Sony Pictures, Universal, and MGM combined.

This astonishing profit capacity makes one wonder if the IRS might really consider imposing a 'space immigrant management tax' on someone. Just kidding."

...

With the new Forbes Billionaires List going public, the media could not help but engage in discussions. The most immediate impact occurred on the day of the latest issue's release when the magazine detailed Eric's investments in high-tech industries and their returns -- the NASDAQ index reacted quickly, surging 5% that day, with many tech stock stars including Cisco, AOL, and Microsoft even rising over 10%.

Forbes magazine maintained high credibility, and compared to other financial publications' exaggerated or conservative estimates of Firefly Group's earnings, the data published by Forbes gained significantly more acceptance.

The ongoing explosion of the global film market and Hollywood's territorial expansion were almost common knowledge, yet seeing the terrifying profitability of Firefly Group only left many investors undeterred by Warner Bros. and Sony Pictures' losses, and they still flocked towards Hollywood.

...

Amid this atmosphere, the 68th Academy Awards took place on March 25 at the Shrine Auditorium in Los Angeles, just as expected.

Although Eric received his usual invitation, he opted to stay absent. After all, sitting still for three hours at the Oscars was hardly enjoyable, especially since Firefly only garnered a few peripheral nominations this year, rendering his attendance unnecessary.

Drew, who had already started looking for a gown, also declined her invitation upon hearing Eric's decision. The two chose to snuggle up at Drew's luxurious Beverly Hills home and watch the live broadcast.

The script for The Shawshank Redemption remained untouched in the corner, and thankfully, there were no Oscar snubs this year.

Aside from the favorite, Forrest Gump, the other nominated films such as Apollo 13 and Babe did not show the same heat or impact to rival it.

Ultimately, Forrest Gump, with 13 nominations, swept Best Picture, Best Director, and four other awards. Tom Hanks successfully defended his title as Best Actor, creating a new milestone in Oscar history.

...

Though not present at the ceremony, celebrations were certainly on the agenda.

Since Firefly and MGM had collectively received major nominations primarily for Forrest Gump, it seemed unnecessary to hold a separate celebration. Moreover, after receiving a personal call from Tina Brown, the former editor-in-chief of Vanity Fair, Eric decided to hold tonight's celebration at the Oscar party hosted by Vanity Fair.

The party was set in an arts center below Beverly Hills, just under five miles from Drew's estate in Trousdale Estates. Eric and Drew were in no rush; they finished watching the awards live broadcast before heading to the party.

Shortly after 9 PM Pacific Time, the car pulled into the parking lot outside the arts center. As soon as Eric and Drew stepped out, the media reporters lurking outside surged forward, their bright flashbulbs going off in a frenzy.

Interviews inside the Vanity Fair party were strictly off-limits to the press, but outside, the organizers had no control.

"Eric, do you think the numbers released by Forbes are accurate?"

"Mr. Williams, what's your take on Tom Hanks winning the Oscar for Best Actor again?"

"Was there any PR involved in that?"

"Eric, how is your new film coming along?"

"Drew, do you and Eric have any plans to get married?"

"When are you planning to have kids?"

"..."

Eric and Drew merely smiled at the cameras amidst the cacophony of questions. A cluster of bodyguards and the event's security swiftly gathered around to escort the pair into the party venue.

https//Sayonara816.

[Chapter 780: The Gatecrasher]

Standing by the photo wall and posing for a while, Eric and Drew followed the staff down a long corridor toward the party venue.

Looking around at a few people nearby, Drew suddenly leaned towards Eric and whispered, "Eric, some guy just asked us when we plan to have a baby."

A few people chatting by the corridor's glass window noticed Eric and Drew arriving and politely greeted them. Eric nodded in response, equally puzzled, and whispered back, "Huh?"

Drew seemed to perk up suddenly. "What do you think about having a little baby?"

Eric didn't oppose the idea. Although he wasn't yet twenty-six, he already felt mature enough not to shy away from the thought of children anymore.

In fact, while in New York, he had even sensed that Cindy wanted to get pregnant to secure her place in his life. After all the signs, especially with Linda stirring the pot, he could hardly claim to be clueless about her intentions.

Though he hadn't actively sought to facilitate such a thing, he also hadn't kept his distance. If a child did come along, he could certainly afford it. With a considerable fortune at his disposal, the thought of family expansion was inevitable. More kids would mean some could inherit the family legacy, and those who didn't excel would still have a trust to rely on.

However, listening to Drew, Eric asked, "So, are you ready to be a mom? Taking care of a baby can be a handful."

Drew tilted her head slightly. "I have Natasha to help me out. And, um, if all else fails, I could always send the baby to New York to have Joan look after it."

Eric chuckled, saying, "Come on now, you're already thinking of throwing in the towel when the kid doesn't even exist yet. Let's talk about this again once you're ready to be a mom."

Although Drew had already celebrated her twentieth birthday the previous year and had begun managing MGM, perhaps due to lingering effects from a troubled childhood, she still had a playful side. This was part of why Eric still saw her as the same baby-faced girl he'd known all those years.

Drew realized she was just being whimsical. Hearing Eric's remarks, she quickly dismissed the thought. "Alright, let's just wait a few years then."

...

As they entered the party hall, members of the Forrest Gump crew had already come up to greet them.

"Congratulations, everyone," Eric warmly embraced Robert Zemeckis, Tom Hanks, and others, and finally turned to Hanks, asking, "Tom, how does it feel to win again?"

"It's fantastic, Eric. Thanks a lot," Hanks replied, his excitement evident in his genuine smile. He knew full well that without Eric's arrangements for two consecutive years, he wouldn't have made such Oscar history.

After weathering the typical pleasantries, they all settled at a round table in the hall to continue the conversation.

The nature of the Vanity Fair party leaned more toward a formal dinner. The guests, who had just been exhilarated for three hours at the awards ceremony, certainly hoped for a relatively quiet environment -- soothing music, dim lighting, and small groups gathering to reflect on the year's triumphs or disappointments, all while seeking opportunities for next year.

After discussing Forrest Gump, Drew casually asked Zemeckis, "Bob, I know it might be a bit early to ask, but do you have any projects that interest you? I'm really looking forward to our next collaboration!"

From the start of his career, Robert Zemeckis had been the kind of director who not only pursued commercial success but also demonstrated incredible innovation. Since his first comedy, Used Cars, in 1980, every film Zemeckis directed had been a commercial hit. His well-known sci-fi series, Back to the Future, and the animated-live-action hybrid, Who Framed Roger Rabbit?, achieved remarkable box office success. Thus, it was hardly surprising that Drew wanted to ride the momentum of Forrest Gump's success to solidify their collaboration. If they weren't in the middle of a conversation, many at the party might have already approached him to discuss potential projects.

In this situation, most people, even if they had no intention of continuing to work together, would typically find a smooth way to stall the discussion.

However, Robert Zemeckis's expression showed a brief hesitation. He recalled a recent chat with Steven Spielberg about another matter, paused for a moment, and then said, "Of course, Drew, we'll definitely work together when the opportunity arises."

Noticing the change in Zemeckis's expression, Drew cleverly chose not to press the issue and naturally shifted the topic.

While they were chatting, everyone felt a stir coming from the party entrance, and curiosity had them turning to look.

"Godfather has arrived," Drew exclaimed, having a clear view from her seat next to Eric. Then, after a pause, she added, "And there's David Geffen and... hmm, Bill Gates. What are they doing together?"

Initially, Eric wasn't too interested, but upon hearing Drew mention Bill Gates, he turned to look, just in time to lock eyes with Gates.

They exchanged nods, and Gates leaned in to say something quietly to Spielberg before walking over with his wife, Melinda Gates.

Sensing something, Eric didn't find it too strange. Since they were approaching, he stood up and went over to greet them with Drew.

...

"Hey, Bill, I didn't expect you to show up," Eric said, shaking hands with Gates before giving Melinda a gentle hug, complimenting, "Melinda, you look absolutely stunning tonight."

"Thank you, Eric," Melinda replied, smiling politely. She then turned to Drew and said, "Drew looks lovely too. This is my first time here, so I hope you can show me around a bit?"

With an enthusiastic grin, Drew said, "Of course! Follow me. I need to say hi to godfather first, and then I'll take you to meet some interesting folks. How does that sound?"

"Sounds good," the two women said, exchanging knowing glances with their respective partners before leaving arm in arm.

"Let's grab a drink at the bar," Eric nonchalantly suggested. Although he had a good idea why Gates was there, he wasn't bothered by it. If Gates was going to cling to Microsoft's power without budging, Eric couldn't do much about it. Since Gates took the initiative to step into his territory, he might as well give him a warm welcome.

Without a doubt, Gates was likely spurred by all the recent media hype surrounding Eric, eager to join the Hollywood scene.

In the original timeline, when Spielberg, Geffen, and Katzenberg founded DreamWorks, Gates and Microsoft co-founder Paul Allen had even invested in the studio. Over the years, Microsoft had shown a keen interest in breaking into Hollywood, often leading to rumors about impending acquisitions of media companies. However, most of the time, it didn't materialize.

But now, history had taken a different course, and the terrifying profitability of the Firefly Group clearly prompted many to step into Hollywood boldly. Gates was likely among them.

However, the major film studios had been split up in recent years, so if Gates wanted to make a mark, he would have to start from scratch. In those past two years, whispers of Spielberg and Geffen wanting to establish their own major film studio made them the optimal collaborators for Microsoft.

https//Sayonara816.

[Chapter 781: Get Your Spirits Up]

Microsoft never lacked ambition for expansion.

Beyond operating systems, Microsoft had ambitiously dabbled in the MSN portal business, Xbox gaming, Bing search engine, and more. However, their efforts were always hindered by a notorious 'catching-up' syndrome, which meant that none of these projects succeeded.

The online service centered around MSN suffered losses of $13 billion before it quietly faded away. The Xbox gaming console incurred a $3 billion loss over a decade, barely churning out a gaming ecosystem while still trailing far behind PlayStation. The Bing search engine racked up cumulative losses of $10 billion, leaving it with no presence against the powerhouse that was Google. Other failures in mobile, tablet, and social networking applications were evident. At one point, when the portal business was declining, Microsoft even attempted to acquire Yahoo for a whopping $46 billion. Fortunately for them, another equally misguided player declined the deal, allowing Microsoft to sidestep disaster.

At the time, at a celebrity party, Eric overheard Bill Gates' colleague discussing Microsoft's plans to invade Hollywood. To Eric, it was just a little entertainment -- although he thought to himself, "Well, we shouldn't underestimate them. What if they accidentally succeed?"

On the surface, Eric feigned concern, frowning slightly as he said, "Bill, shouldn't Microsoft's business focus be on IT? I don't really think making movies is a good choice."

"What's the harm in trying?" Bill Gates replied confidently, "Besides, Firefly is also straddling both IT and media, isn't it?"

Eric shook his head, acknowledging that Bill was referring to the expansive Firefly business empire. "That's not the same! Firefly Group and Firefly Investments have always been separate."

Bill smiled and took a sip of champagne from the glass in front of him, unconvinced by Eric's argument.

Gates entering Hollywood was far from a whimsical decision -- it was a result of careful assessment of the trajectory of Firefly Investments and its high-tech companies.

Take Yahoo, for instance. Without the relentless backing from the expansive Firefly Group in terms of content and marketing resources, the company wouldn't have achieved such rapid growth. Yahoo's product placement in the first Charlie's Angels film had already become a successful marketing case study for many companies.

Statistics showed that brands such as Yahoo, AOL, Cisco, and Nokia, not counting direct advertisements, were mentioned over 300 times monthly within the vast media network owned by Firefly. This subtle way of integrating these brands into the lives of consumers was the most formidable marketing tactic of all.

On the other hand, although last year Microsoft recruited one of Yahoo's top executives, Jeff Locke, to oversee its portal operations, the MSN portal, while showing some progress over the year, soon exhibited glaring weaknesses in content. Firefly and its allies were unlikely to support Microsoft with any content. While they could partner with Time Warner and others, ultimately, they would be limited. Thus, taking advantage of Microsoft's stronghold in operating systems, establishing a foothold in Hollywood by entering the media business seemed like a viable choice.

Microsoft's investment in studios led by Spielberg was merely their first step into the media industry.

From the time Jeff Locke left Yahoo, it marked the beginning of a subtle rift between the two, although they maintained a facade of friendliness.

After some polite exchanges, Bill Gates got up and walked away.

...

Eric signaled to the waiter for a refill and found himself pondering the possible ramifications of Microsoft's incursion into Hollywood. While he didn't foresee a bright future for Microsoft's foray into media, he wouldn't underestimate them either. With Microsoft's strength, if Bill was determined to dive into the media realm, it could impact Eric's own strategies for the future.

Given the current state of the media industry, aside from teaming up with Spielberg and others to create a new major studio, Microsoft had two unstable potential targets to absorb: Columbia Pictures, currently under Sony, and CBS, one of the four major broadcast networks.

Eric had been keeping a close eye on Sony's production of the Godzilla project. Although filming hadn't officially commenced, the established design of Godzilla was strikingly reminiscent of a certain underwhelming Tyrannosaurus. If Godzilla were to face failure like before next year, it would deal another blow to Sony's confidence in Columbia, thus creating an opportunity for others to take over Columbia Pictures.

Originally, Eric intended this opportunity for MGM, but with Microsoft's meddling, there was a chance they would interfere as well.

The other unstable target was CBS. After Viacom's failed bid to acquire Paramount, Barry Diller made another move to purchase CBS last year, but just when he seemed close to striking a deal with CBS's management and major shareholders, Comcast quickly halted the project, causing Diller's return to the media industry to falter once again. Hence, CBS was once more on the sales block.

Clearly, if Microsoft were to move forward after forming a major studio with Spielberg and others, Columbia Pictures and CBS would undoubtedly be prime targets, making a clash inevitable.

...

While Eric mulled over strategies to counter these moves, Elisabeth and Julia came over, hand in hand. The two women wore identical spaghetti strap dresses, albeit in contrasting black and white, giving them an odd couples look.

Approaching Eric, Julia looked at him with wide eyes, eager to lean in, but Elisabeth yanked her back. "Hey, you're my girlfriend now! Don't be getting too close to other guys -- I'll lose respect!"

Eric chuckled, recognizing that Elisabeth was publicly presenting a half-hearted 'coming out' status. Everyone knew about her relationship with him, yet Elisabeth often flaunted her closeness to Julia. Moreover, she had pulled Julia into Fox, where she was currently filming Miramax's Shakespearian romance story.

Rupert Murdoch had even called Eric to inquire about the situation, leaving him unsure of how to explain, resorting instead to vague reassurances. Murdoch was worried -- not just about this daughter, but because his eldest son, Lachlan, was also showing ambiguous signs regarding his sexuality. At twenty-five, he still didn't have a girlfriend and preferred to hang out with a bunch of 'beautiful' male models. This, in fact, was part of the reason Lachlan had been dispatched back to Australia by dear old Murdoch last year.

Patting the space to his left, Eric gestured to Julia, saying, "Don't mind her. Come sit here."

Julia shrugged off Elisabeth and sat on Eric's left, while Elisabeth shot them a disapproving look but took the seat on Eric's right.

Eric waved for the waiter to get drinks for both women, but Julia inconsiderately leaned in closer, waving her left hand at Eric. "Look, Eric, isn't it pretty?"

Eric glanced at the rose gold ring shaped like a heart. He hadn't expected Julia to show it off so publicly. The ring had the 'Williams' crest engraved on it.

Eric had commissioned a full set designed after playing cards, but he only had Virginia, Joanna, Julia, Elisabeth, Drew, Nicole, and Famke among the women still close to him. Others either faded away over time due to lack of interest from Eric or because the relationships naturally cooled off, leaving the remaining thirty-seven rings quietly nestled in a safe at Liberty City Manor.

With the wild exuberance of earlier years behind him, Eric preferred to give women a bank card instead of easily handing out rings. After all, those seven women were still the only ones to possess this set.

Admiring Julia's small hand for a moment, Eric smiled and nodded, "Very pretty." He then asked Elisabeth, "What about yours?"

Elisabeth raised her hand and indicated, "This is my couple ring with Julia, and it has nothing to do with you. Hehe, Demi Moore just asked me where I bought it!"

Eric asked in confusion, "Demi Moore?"

Elisabeth thought Eric didn't know who Demi was and explained, "Bruce Willis's wife. She's a really smart woman."

"Oh," Eric replied nonchalantly, shifting the topic. "Aren't you working on the prequels of Star Wars? How's that going?"

The buzz about the Star Wars prequels had never ceased. As a cultural touchstone for a generation, every bit of news about the films could stir discussions. Although Eric wasn't particularly invested in the Star Wars series, he still caught details through endless chatter.

When Elisabeth heard Eric mention it, her expression soured instantly. "Don't even get me started! George Lucas suddenly told us last week that shooting might get pushed back six months. He also hinted at wanting to renegotiate the distribution deal."

Eric's thoughts immediately drifted back to Bill, who had just left. The timing felt too coincidental.

"Do you know why?"

Elisabeth scanned the hall for a moment. When she didn't spot anyone, she turned back and said, "Weren't you just chatting with Bill Gates? That's your reason right there."

"Are you suggesting Spielberg is trying to pull George Lucas into that upcoming studio?"

Elisabeth, clearly aware of rumors, nodded, "Yeah, I suspect their target is Industrial Light Magic. The film was originally going to collaborate with Digital Domain on special effects. I even had another producer talk with Stan about it, but last week when Lucas informed me about the potential delay, he also canceled any partnership with Digital Domain."

Eric sipped his drink and frowned slightly.

Though ILM had fallen behind Digital Domain in recent years, that studio was backed by a rich legacy of special effects. The reason for their decline stemmed from major blockbusters opting for Digital Domain to handle their effects, leading to a lack of projects to research and develop technology. It was almost inevitable for ILM to be sidelined.

However, just as The Lord of the Rings trilogy once supported Weta Digital, if ILM were to carry the special effects workload for the Star Wars prequels, the production process might be rocky and the costs would soar, but thanks to their experience with three major blockbusters, ILM's standards would quickly catch up. This would not bode well for Digital Domain.

What was even more frustrating was that such situations were difficult to prevent. With Hollywood's increasing appetite for special effects, no matter how large Digital Domain became, it couldn't absorb all the special effects business.

Even without Katzenberg's involvement, Spielberg, David Geffen, and George Lucas, paired with Microsoft's robust technical and financial backing, combined to create a formidable new studio. It seemed clear that Firefly needed to step up to the challenge.

"Eric, how's Titanic going? I heard it just wrapped up and the production cost has already hit $120 million?" Elisabeth asked about the happenings at Firefly, her tone laced with genuine concern as well as a touch of gleeful schadenfreude.

"Probably, to finish post-production, it'll require $200 million," Eric shrugged. At least after securing ample financial support, Cameron finally avoided any delays and wrapped filming recently, with post-production quickly underway.

"$200 million? Wow! Adding marketing and publicity costs, it's going to need at least $700 million at the box office just to break even!" Elisabeth shook her head, adding, "Cameron's films usually only pull in about $500 to $600 million at the box office."

"Yeah, I'm worried too," Eric chuckled, looking at Elisabeth, "How about Fox helps me cover some of the costs? Our production budget was originally $150 million. Could you pitch in an additional $50 million?"

Elisabeth paused, glancing at Eric, noticing his odd expression -- part joking, part serious.

After a moment, she replied, "I, um, if you really need it, I wouldn't mind investing. But you know Dad definitely won't approve."

A mischievous thought crossed Eric's mind as he said, "Why don't you talk to your dad about it tomorrow and see if he's interested?"

"My dad wouldn't agree! The chances of this project turning a profit are practically zero," Elisabeth said, feeling Eric's teasing vibe, and instinctively gave him a playful shove. "If you want to negotiate, you do it yourself!"

https//Sayonara816.

[Chapter 782: The Best Platform]

Elisabeth stood just one step away from becoming the president of Fox, equipped with significant power due to her father, Rupert Murdoch's, unique status. However, any major project requiring an investment of over $50 million still needed board approval. As expected, her father was the chairman of Fox.

Eric proposed that Fox participate in a portion of the investment for Titanic, which was essentially a way to probe Murdoch, all while secretly helping Elisabeth gain more influence. He understood that as a typical businessman, Murdoch would never agree to throw money into a bottomless pit like Titanic. In Eric's past life, Fox's cautious nature had led them to sell the North American distribution rights to Paramount for a mere $60 million, avoiding risks. Unfortunately for them, Titanic went on to gross $600 million in North America, causing Fox considerable regret.

This time, if Titanic did not achieve significant success, it would be fine. However, should the film explode at the box office like its predecessor, Murdoch would surely pay more attention to Elisabeth's recommendations in the future, granting her greater decision-making power within the company.

The next day, Eric received a call from Elisabeth in his office, and the outcome was entirely as he had anticipated.

...

Following the Oscars, Forrest Gump had snagged six major awards out of thirteen nominations, including Best Picture and Best Director. Tom Hanks's consecutive win became a hot topic for the media. The film's box office, which was still showing in hundreds of theaters across North America nine months after its release, saw a remarkable resurgence, raking in over $3 million in a single week. Firefly, having secured not only the North American rights but also other distribution rights to Forrest Gump, began planning the next phase of its release strategy.

...

At Firefly Pictures on Friday, after some time researching, Katzenberg presented the assessment plan for 3D and IMAX technologies.

"According to the detailed research from the strategic planning department, it seems that while there may still be potential for promoting 3D technology, IMAX simply isn't feasible at this time. The limitations on this technology are too restrictive, making large-scale rollout impossible."

The two were sitting in a cafe within the studio. Eric pushed his coffee aside, flipped through the materials organized by Katzenberg, and asked, "What are the primary reasons?"

Between 3D and IMAX, Eric actually favored the latter a bit more, perhaps due to the overabundance of poorly executed 3D films in his previous life.

"The main issue is cost," Katzenberg stated, clearly well-prepared. Without even needing to look at the research, he replied, "When it comes to theater upgrades, most cinemas only need to replace their projection systems for 3D. The most advanced polarized 3D projectors cost around $100,000. Including 3D glasses and other hardware, the total upgrade cost wouldn't exceed $150,000. However, IMAX is different. The smallest IMAX screens are four or five stories high. Over 99% of cinemas in the U.S. and Europe won't meet the upgrading requirements. To build an IMAX theater, you have to start from scratch. Construction and projection equipment costs around $1.5 million, which is ten times the cost of upgrading to a 3D cinema."

Listening to Katzenberg's explanation, Eric suddenly comprehended why, in his past life, China had become the fastest-growing region for IMAX technology. There, the proliferation of IMAX cinemas had almost coincided with the explosive growth of the film industry, allowing many new theaters to be built to IMAX specifications from the get-go. North America and Europe, however, were different. These regions had long-standing film industries, and their existing theaters were already established, meaning most wouldn't meet the IMAX retrofit standards. Given the high costs of IMAX theaters, traditional chains would have little incentive to rebuild their facilities.

After scanning through the materials, Eric realized that aside from the theater upgrade costs, the entire process from shooting a film to transferring it to IMAX prints came with exorbitant cost demands.

In comparison, the challenges of popularizing 3D technology were far lower. At that moment, IMAX couldn't yet support a full 90-minute film, whereas 3D technology was already reasonably developed. Its primary hurdle was the lack of 3D film sources and 3D cinemas. Furthermore, 3D technology had a somewhat tarnished reputation, mainly showing quirky films that were deemed gimmicky.

Eric wasn't a blind idealist and understood that many ventures needed to progress step by step. After a moment of thought, he said, "I noticed that IMAX is recently developing DMR technology to convert regular film into IMAX prints. You might want to keep an eye on their financial situation; it doesn't seem very promising. We could invest a little money as angel investors. Additionally, we should set up a dedicated 3D technology research department on our side. Once I finish Casino Royale, we might consider experimenting with 3D for my next project."

Katzenberg nodded, as he had already considered most of Eric's suggestions. However, as soon as Eric finished speaking, Katzenberg added, "Eric, I also believe that 3D technology is certainly a new development field for the film industry in the coming years. So, don't you think it's a perfect opportunity for us to enter the theater business?"

"Theater business?" Eric raised an eyebrow in surprise; he hadn't thought about that angle.

During the Reagan administration in the 1980s, federal restrictions on the entertainment industry were loosened gradually. The Paramount Decree, which separated film companies from theater chains, had become nearly obsolete. Viacom, Time Warner, and Universal all owned their own theatre chains, with Viacom holding the largest chain of over 3,000 screens across America.

However, Firefly had emerged later and had not yet ventured into the theater business, still shackled by the deep-rooted notions of the Paramount Decree. Eric hadn't instinctively considered this matter until now.

With Katzenberg's reminder, Eric realized that the recent years were indeed the best timing for Firefly to enter the theater business.

Though many believed Avatar marked the dawn of 3D cinema, the truth was that 3D films had already existed in the years around the turn of the century. Well-known titles from his past life, like Spider-Man and Harry Potter, had 3D versions, but various limiting factors prevented them from achieving the influence of Avatar.

Both 3D technology and IMAX had been around for over 30 years, so promoting these technologies was not technically the challenge; the difficulty lay in the absence of a strong institution to drive them forward. Thus, it might not be a bad choice for Firefly to take the lead in this venture.

After all, according to historical patterns, the North American film market would begin to saturate around the year 2000. The subsequent growth in the following decade occurred primarily through ticket price increases. If 3D and IMAX could be widely promoted, it would inevitably circumvent the limitations of market saturation and lead to further industry growth.

After considering it for a while, Eric set down his empty coffee cup and said, "Jeffrey, we can incorporate this into Firefly's next development plan, but I hope you proceed with extreme caution. I've always envisioned Firefly growing even stronger, but I also fear that blind expansion could weigh it down and make it sluggish. Do you understand?"

"Of course, I won't undertake this lightly without 100% certainty," Katzenberg affirmed.

Eric nodded, poured himself another cup of coffee, and added, "Do you know what Steven and the others are working on?"

"David did mention to me that he hoped I could help out, but I turned him down," Katzenberg replied candidly. "They will likely make an official announcement next month, but I don't know the details."

Eric was aware that David Geffen and Katzenberg had always been good friends. However, friendship alone wouldn't drive a determined business elite to switch allegiances. Katzenberg, being previously without options, now understood that Firefly was the best platform for him to showcase his talents.

https//Sayonara816.

[Chapter 783: Easy to Guess]

Eric and Jeffrey Katzenberg chatted until close to quitting time. With the weekend approaching, Katzenberg mentioned he had promised to take his family out for dinner and made an early exit.

Eric continued to sit in the cafe, waiting for the progress report from Firefly Electronics on their recent projects. The hardware projects for the MP3 player and the e-book reader had been underway for a year. However, due to various technical difficulties, like operating system development and processor chip design, progress on the e-book reader was slow.

In contrast, the development of the MP3 player was going much smoother. By the end of last year, Eric had obtained a prototype MP3 player from Firefly Electronics, which used a Toshiba 1.8-inch hard drive. It was a bit larger than a cigarette pack, with 270MB of memory, capable of storing about 50 songs. While the prototype's design and storage capacity were somewhat lacking, Eric was pleased that Firefly Electronics had registered the full set of patent technologies for the MP3 player. This ensured there wouldn't be any unclear ownership of MP3 player patents in the future. Even if the MP3 player were to be completely phased out, any future electronic devices, like mobile phones that utilized MP3-related music playback technology, would still have to pay patent fees to Firefly Electronics.

...

After flipping through the latest evening newspaper and patiently waiting for over half an hour, the cafe door swung open, and three women walked in, chatted and laughing.

Eric looked up to see it was Caroline, Melanie Gleason, and Rachel Weisz. All three were dressed casually in jeans and carrying bags, embodying a relaxed vibe as if they were heading out for a shopping spree. Rachel had just wrapped filming Titanic but needed to stay in Los Angeles to assist with some voiceover work, so it made sense she was out with Caroline and Melanie. Eric wasn't surprised to see them together.

Caroline spotted Eric looking their way first, smiled shyly, and the three women greeted him as they walked over.

Eric asked the waiter to bring a fresh pot of coffee and pour it for the girls. He then inquired to Caroline, who had taken a seat across from him, "So, are you all going shopping?"

Caroline rummaged through her bag for a folder. Upon hearing Eric's question, she nodded and replied, "Yeah, we don't have to get up early for work tomorrow, so we're planning to catch a movie tonight."

Eric responded, "Oh, I don't have any plans tonight; how about you bring me along?"

Before Caroline could respond, Melanie and Rachel chimed in unison, "No way."

Caroline blinked her innocent big eyes, looking left and right, uncertain of how to reply. She understood her friends' intentions -- they didn't want her to get too close to Eric, the notorious flirt. But it seemed obvious Eric was just joking around, so she wondered why they were reacting so strongly.

Eric shrugged and chuckled, "Alright, but does anyone else feel like I suddenly have two rivals for affection?"

At the mention of "rivals," Caroline's cheeks turned bright red.

Rachel, being a bit more bold and less intimidated by Eric due to their limited interactions, hugged Caroline and playfully pecked her on the cheek, stating, "Eric, Caroline's already mine; you can't just ruin someone else's love life."

"Rachel, let go of me; it's not like that!" Caroline, aware they were all joking, still shyly pushed Rachel away while adding an explanation.

Taking the folder that Caroline handed over, Eric waved his hand, saying, "Just deliver the report; you girls can head off now. I won't interrupt your girls' night out."

Caroline pulled on Rachel, who was about to get up, and reached into her bag to pull out a small box the size of a palm. "Eric, there's also this. It just got sent over from San Francisco this morning."

Eric took the box and glanced at the Seagate logo on it, guessing its contents. He opened it to find a postage stamp-sized micro hard drive inside.

As Eric examined the micro hard drive, Caroline explained, "This is a sample developed by Seagate with a capacity of 256MB. Their attached materials say they'll have a new 512MB product by the end of the year. Our electronics company has already started designing control chips based on the samples provided by Seagate. We expect to have a finished product by the second half of the year, and Yahoo's music store has also started its internal testing phase. Mr. Victor McNally, who oversees the electronics department, mentioned in a memo that the company can start considering the next phase of product release and promotion."

After playing with it for a moment, Eric returned the micro hard drive to the box and stated, "There's no rush on this. Let's wait for a more stable 512MB product before we think about the next steps. I'll look through this material over the weekend and will call Victor to discuss it."

With the player's storage reaching 512MB, it would hold enough for about ten albums, making it a clear step above traditional players. Any smaller capacity would not draw enough consumer interest.

After Eric's remarks, he noticed Caroline nodding, her big eyes shining as she looked at him, seemingly waiting for him to say something else. "Is there anything else?"

"Nope," Caroline instinctively shook her head.

Eric couldn't help but chuckle at the thought that with just one silly hairpin on her head, Caroline would fit right into a cartoon world. He teased, "Then you can head off. Or do you really want me to join you for the movie tonight?"

As those words left his mouth, Rachel and Melanie giggled and got up, their cheeks flushed, pulling Caroline with them as they said their goodbyes and left the cafe.

...

Mission: Impossible 2 was also confirmed to be filmed in Australia, and Drew had recently gone there with Amy Pascal for a site visit. After the Oscars, Julia Roberts returned to the UK to continue filming Shakespeare in Love, with Elisabeth following her. Nicole and Famke Janssen were also nowhere to be found in Los Angeles. Once Caroline and the others left, Eric realized he was going to have to spend another weekend alone.

The pre-production preparations for Casino Royale were almost complete. According to the schedule, Eric would have to leave Los Angeles next month to personally visit the confirmed main filming locations before the movie began shooting. Shooting a Bond film always required traveling to various places around the world, and this time was no different. The planned filming locations included the UK, Italy, the Czech Republic, and the Bahamas. Eric's past films, even Jurassic Park, had concentrated filming locations, so this movie presented a challenge for him.

As April got busy, Eric anticipated that he wouldn't have another break until the end of the year when Casino Royale wrapped up. He was contemplating how to spend the last free weekend he had, when his phone on the table buzzed.

...

A few minutes later, Eric's ride pulled up alongside the studio, and the door opened from the inside. He waved over to the two tall girls standing by the street, "Hop in."

Gisele Bundchen and Alessandra Ambrosio entered the car one after the other. Alessandra pulled the door shut with a hint of frustration as she glanced at Gisele, who was leaning in to hug Eric.

Patting Gisele on her soft waist, Eric let her go and then smiled at Alessandra, asking, "What brings you both to Los Angeles?"

Eric was actually more curious about how the two girls managed to have Kepler contact him, as he wasn't one to easily share his contact information with just anyone; Gisele and Alessandra did not have his phone number.

However, thinking it over, this matter was likely pushed by their respective agencies. Most famous models held separate acting contracts with Hollywood talent agencies, and the connection between modeling and acting agencies remained tight. Kepler probably just did a favor for someone.

"Our company set us up for two weeks of short-term acting training right here in Santa Monica; we've already been here for five days," Gisele mentioned, her voice still carrying a slight rasp, hinting at her excitement and a touch of longing to see Eric again.

She and Alessandra had come to Los Angeles hoping to see Eric easily but soon realized just how far he really was from them.

They could see his name in countless newspapers and magazines, hear people discussing him everywhere, and feel his influence permeating the city, but actually meeting him was a completely different story. Just days ago, they had secretly approached Malibu to catch a glimpse of that infamous mansion that so many dreamt about. They had contemplated knocking on the door but ultimately lacked the courage, fearing they'd appear too forward and put Eric off.

Eventually, it was the high-level representatives from both agencies who initiated this discussion that led to the arrangement.

Noticing the slight disappointment in Gisele's tone, Eric chuckled lightly, choosing not to say much. While the girls' roles in Casino Royale would merely be fleeting, he certainly wouldn't oppose anyone treating this matter with seriousness.

Checking his watch, Eric instructed the driver to head for Venice Beach, telling the girls, "It just so happens to be dinner time, so let's grab a bite, and maybe we could invite Miranda to join us so you can all meet."

Eric hadn't mentioned anything about Miranda Kerr, and this seemingly trivial arrangement hadn't been on Gisele and Alessandra's agency's radar.

Seeing the puzzled expression on the two girls' faces, Eric clarified, "Her name is Miranda Kerr; she'll be joining us for the shoot."

Alessandra couldn't help but express her disappointment, "Three of us?"

It wasn't because they worried about sharing attention during a minor scene; to them, that moment symbolized so much more. Bringing in another person meant an additional contender for future opportunities.

According to information from their agency, after completing a five-year contract, Cindy Crawford and Linda Evangelista, the original supermodels, would not be renewing their contracts with Victoria's Secret. Aside from age considerations, it mostly was due to their commitment to their respective reality shows. At that point, Gisele and Alessandra would each have the chance to compete for a spot, making this unexpected appearance of someone named Miranda Kerr raise some alarm bells for them.

However, Eric's next comment had the girls feeling even more uneasy.

"It's not three; it's four."

"Ah..."

Even Gisele, the ever-composed one, found herself a bit rattled and gasped in surprise.

Eric enjoyed teasing the two stunning models a bit and opted not to elaborate further.

Once the car reached Venice Beach, Eric chose a cozy restaurant with good privacy and then instructed the driver to go pick up Miranda Kerr.

...

Miranda had been staying with a mid-level Firefly manager's family residing in Santa Monica, and she had already joined the local high school. After several auditions, she landed a recurring role in a family sitcom on Disney Channel, thus settling in Los Angeles.

Half an hour later, as Eric casually chatted with Gisele and Alessandra, Miranda walked in, led by a waiter.

She was instantly on guard upon seeing Eric and the two unfamiliar girls sitting beside him but quickly warmed up as she playfully made her way over to Eric.

"Stop it, we have company," Eric quickly got up, catching the girl's soft frame and gently seating her next to him.

Although he had specifically chosen a booth, it was still not completely private, and making too much noise would catch attention.

Miranda sat down neatly, casting a glance at the two girls across from her, who were also assessing her, before quickly turning her focus back to Eric, with a hint of pretentious sadness, "You haven't contacted me in almost a month. I thought you might have forgotten me."

"You know I've been busy," Eric offered in explanation as he reached for the menu, gesturing for the girls to start ordering.

As the waiter with a hint of envy in his eyes walked away, the atmosphere in the booth became slightly awkward.

"Right, this is Gisele Bundchen and Alessandra Ambrosio. They're both from Brazil. And this is Miranda Kerr; she's from Australia," Eric took the initiative to introduce the three girls to each other, thinking it was quite a gathering of top models from the early century.

"Hello," Miranda waved at the other two from her seat beside Eric.

Initially wanting to get up and shake hands with Miranda, Gisele and Alessandra both returned to their seats, waving modestly in response.

After brief exchanges, Miranda keenly sensed Gisele and Alessandra's cautious demeanor around Eric and realized their relationship with him wasn't as close as hers. This stirred a subtle feeling of superiority in her, prompting her to ask, "So, the three of us will be appearing in that scene together?"

"No, it's four," Alessandra, seated across from Miranda, added, noticing her confusion about the situation.

Miranda looked questioningly at Eric.

Eric chuckled and said, "Guess who the last one is. It's easy to guess."

https//Sayonara816.

[Chapter 784: Sounds a Bit Scary]

Gisele and Alessandra wore puzzled expressions on their faces. Their knowledge of Eric was limited to various rumors since arriving in the United States, and they certainly didn't understand certain things.

After a moment of confusion, Miranda's eyes lit up as she glanced triumphantly at the two girls across from her. She asked Eric, "Is there a reward if I guess correctly?"

Eric smiled, "You have to guess right first."

Miranda blurted, "It's that 'girl with the stuffed animal,' right? That girl has been in several of your movies. I think her name is Ivanka. She should be about our age now."

Eric snapped his fingers lightly. "Bingo!"

"So, where's my reward?" Miranda prompted.

Eric feigned innocence. "I never agreed to that."

Miranda immediately wrapped her arms around Eric's, playfully shaking him.

"Alright, alright," Eric surrendered quickly, "What do you want?"

Miranda's eyes twinkled as she replied, "My birthday is on the 20th of next month. Can you celebrate with me?"

Eric shook his head regretfully. "I should be in Europe then. I can only arrange for something to be sent to you. Do you have any birthday wishes? Let's hear it!"

"As long as it's from you, I'll love it," Miranda replied, her expression tinged with a hint of disappointment. "I just want you to be with me on my birthday."

"Next time, maybe. This time, I really don't have time."

Gisele and Alessandra listened to Eric and Miranda's exchange with a bit of envy. Coming from small towns in Brazil, they hadn't seen many movies growing up and had no idea what the 'girl with the stuffed animal' reference meant.

While they pondered on how to catch up on all of Eric's films, Alessandra hesitated and shyly mentioned, "Eric, my birthday is also next month, on the 11th."

"No problem, I'll get you a gift, too," Eric replied, glancing at Gisele.

Gisele shook her head with a smile. Her birthday was on July 14, leaving her feeling a bit disappointed but also hopeful, wishing that filming wouldn't conflict with it.

Miranda felt a bit down when Alessandra interrupted their conversation about birthdays. She rolled her eyes and joked, "Eric, if you know enough girls, will you end up celebrating someone's birthday every day?"

"Uh, that situation sounds a bit scary."

"Haha!"

...

After dinner, as it was only eight o'clock, Miranda immediately began to act coy when Eric offered to take her home. After some back-and-forth bargaining, the four of them decided to go watch a movie together.

Easter was the following week, and Rumble in the Bronx just happened to premiere today. Eric chose this film to gauge its reception in North America.

To build momentum for Rush Hour, promoting Jackie Chan's quirky kung fu in North America, Eric spared no effort in supporting Rumble in the Bronx. Aside from the $5 million rights purchase which shattered the record for Asian films, New Line also pledged at least $5 million for its marketing campaign. Altogether, the costs had exceeded the film's production budget of $7.5 million, with the opening scale reaching 2,000 screens -- marking a significant turnout for a Hong Kong film in North America.

Before this, aside from Bruce Lee's kung fu films, most Hong Kong films achieved only a million-dollar box office in North America, with a few rarities reaching $10 million. While Rumble in the Bronx had performed exceptionally well in Asia, New Line was prepared for potential losses given the total investment exceeded $10 million. Thankfully, management was confident in the upcoming Rush Hour, considering the possible losses of Rumble in the Bronx manageable.

Eric took the three girls to a nearby theater showing Rumble in the Bronx, clutching a pile of snacks as they entered the screening room. Although the film was rated R, statuesque Gisele and Alessandra faced no issues purchasing tickets, and though Miranda's youthful face was somewhat conspicuous, with Eric accompanying her, they had no trouble entering the theater.

They found a row of seats toward the back, with the three girls settling in around Eric. As Eric scanned the room, he noted it was a medium-sized theater, accommodating about a hundred people. With over ten minutes until the movie started, commercials were playing on the screen, and about twenty people sat scattered around. A few more trickled in just before the film began, resulting in barely a 30% attendance rate.

For a blockbuster like Jurassic Park, a 30% opening attendance would definitely be deemed a flop. However, for a Hong Kong film that wasn't particularly popular in North America, this rate was surprisingly encouraging.

Miranda was completely uninterested in the film Eric had chosen but was quite pleased with the theater's somewhat spacious environment, allowing her to engage in some discreet antics without being noticed.

Though Gisele and Alessandra towered over her and appeared to have better figures, Miranda felt a bit superior, dismissing the two Brazilian girls who couldn't even speak English fluently. She didn't see them as much competition.

As the lights dimmed in the theater, the girls began shifting restlessly in their seats.

Eric remained focused on the screen, casually taking a few bites of the buttery popcorn passed to him by the girls. Soon enough, he felt Miranda lean from her seat on to him. Having witnessed her boldness just the previous evening, he wasn't surprised. Instead, he placed an arm around her shoulder to limit her movements, smiling as he warned, "If you don't pay attention to the movie, I won't bring you next time."

Gisele and Alessandra, not initially interested in the film, found themselves wide-eyed, watching Miranda cling to Eric. They both simultaneously wondered: This is an option too?

Under Eric's "suppression," Miranda quickly quieted down, and the group's attention returned to the film.

Rumble in the Bronx was indeed a quality production. At a budget of $7.5 million, it could only be considered low-budget in Hollywood terms today. However, it contained no shortage of car chases and intense shootouts, even dramatic scenes of buildings collapsing. While some sets looked rough, the same production quality would have easily skyrocketed to over $30 million if a Hollywood crew had taken the reins.

Gisele and Alessandra maintained some decorum while watching the movie, but Miranda had no reservations and quickly became engrossed in the plot.

"Wow, the fight is amazing."

"Ouch, that must hurt!"

"Haha, I can't believe it! He just dove headfirst into that car. That's hilarious!"

"Wow, can hovercrafts really drive on the road? Isn't there a car underneath?"

"..."

Though there were only around thirty people in the screening room, the girls' animated commentary on the film didn't draw much particular attention because most viewers chimed in with gasps or laughter in response to the film's thrilling and humorous scenes, gradually forgetting that they were watching a non-Hollywood film.

...

Once the film concluded, Eric patiently waited for most of the audience to leave before putting on his shades and nudging Miranda, who was still latched onto him. "Alright, let's go."

"Okay," Miranda replied before leaning close to his ear. "Eric, can I come over tonight?"

"That's not happening; you still have school," Eric quickly found an excuse.

Miranda pouted. "You forgot? Tomorrow's the weekend."

"Isn't it nice staying with John?" Eric stood and helped her up, making his way toward the exit as he spoke.

Once in the aisle, Miranda linked her arm with Eric's and continued, "It's perfectly fine; you arranged it! How could they treat me poorly? But I wanna spend the weekend with you! And don't worry, they won't tell my parents."

Eric wasn't about to indulge this little temptress and create unnecessary trouble for himself. He shook his head firmly. "Then behave and go home. You're still too young to realize what you're doing."

Miranda's expression turned dejected. "But I know exactly what I want."

"Knowing the risks makes it worse."

Miranda tugged at Eric's arm playfully. "Eric, you're so annoying. You're such a coward!"

Though she was unwilling, Eric instructed the driver to drop Miranda off at her boarding place. After watching her go inside, he signaled for the driver to proceed.

As Miranda left, Gisele and Alessandra, who had been quiet, both let out a sigh of relief. Honestly, with this little enchantress around Eric, they found it hard to get any attention from him.

However, recalling the last time in New York when Eric dropped them off, Gisele and Alessandra quickly felt anxious again. Would Eric send them back to the hotel like last time? If so, who knew when they would see him next.

As the car pulled away from Miranda's boarding house, Eric asked Gisele, "Do you have classes this weekend? I mean, that acting training class?"

Gisele perked up, shaking her head joyfully. "Nope."

"Well, then come spend the weekend with me. I happen to be alone these days and it's pretty boring."

"Sure," Gisele nodded without hesitation. She glanced at Alessandra, recalling the remarks they had received from that medium in New York. She felt her cheeks redden while still struggling to resist the thought.

Eric didn't have any overwhelming desires for Gisele and Alessandra. He certainly didn't lack for companionship and wouldn't be influenced by simple physical urges. Bringing the two girls home was genuinely just a desire for some attractive company on a boring weekend. As they say, a beautiful woman could brighten the presence around.

If it weren't for Miranda Kerr's seductive behavior, Eric wouldn't have minded bringing her to the estate for the weekend.

Miranda mirrored Drew Barrymore from back in the day, yet she held a fundamentally different essence. Drew had been purely infatuated, and Eric was certain she wouldn't engage in actions that could harm him. Miranda, however, was like a cunning and greedy little beast. She knew exactly what she wanted and was unhesitant in being willing to give everything for that, but if her needs were unmet, this little beast might just bare its teeth at him.

Eric had always been generous towards women, but that was only if he was willing, not because he felt coerced into being a fool.

...

By the time they reached the estate, it was eleven o'clock.

Entering the long-awaited Shell Villa with Eric, Gisele watched as the motion-sensor lights illuminated the grand foyer. Her upbringing in a financially constrained environment made her first thought revolve around how much electricity that would consume over the month. Quickly, she felt warmth rising to her cheeks at this thought, imagining how embarrassed she would be if Eric or Alessandra caught her thinking this.

Eric happened to turn and spot the unusual expression on Gisele's face, inquiring with concern, "What's the matter?"

"Nothing, really," Gisele quickly shook her head.

Noticing her hands clutching her purse against her stomach, Eric joked, "Are you hungry?"

He had noticed that both girls hadn't eaten much at dinner earlier.

Gisele shook her head again. "No, Eric, I'm not hungry."

Eric thought Gisele was just shy, leading the girls into the kitchen. "Actually, I'm feeling a little hungry too. Why don't you whip up a late-night snack? I'll take a quick shower first."

Gisele wanted to say more, but Eric waved her off and walked away.

...

Once Eric's figure had vanished, Alessandra turned to Gisele with a teasing grin and asked in Portuguese, "What were you just thinking?"

Portuguese was the girls' mother tongue, and they preferred chatting in it over English while conversing privately.

Gisele glanced back in the direction Eric disappeared, feeling a bit guilty as she answered in Portuguese, "I wasn't thinking of anything."

As she said this, Gisele decided not to continue with that topic. She set her bag aside and walked toward the fridge.

Alessandra followed, helping Gisele pick out ingredients while continuing in Portuguese. "I wonder if it'll hurt."

Gisele, who had been somewhat distracted, perked up and asked, "What?"

"I meant, you know, I bet it'll hurt," Alessandra replied coyly.

Gisele finally grasped the context and asked, "Y-you haven't...?"

Alessandra nodded, her face turning a shade of red as she whispered, "Let's hope Eric is a gentle man."

https//Sayonara816.

[Chapter 785: Gisele's Ambition]

After Eric finished his shower, he headed downstairs to find Gisele and Alessandra had prepared milk and cereal. Perhaps the topics they had just discussed were too sensitive, as both women wore expressions that suggested they felt a bit uneasy, anxious, yet also hopeful. The prospect of the three of them being together added to their embarrassment.

Eric noticed the two girls sipping their porridge like little cats, seemingly stalling for time. He knew exactly what they were thinking and joked, "Make sure to eat up; you might need the energy later."

Gisele and Alessandra both blushed simultaneously, thinking Eric might be getting impatient. They hastened their pace, eager to finish their meal.

After finishing their late-night snacks around midnight, Eric took the two girls upstairs to a guest room. He opened the door and gestured for them to enter.

Gisele and Alessandra stepped inside and surveyed the spacious bedroom.

The room was about fifty square meters. Against the left wall was a large bed, surrounded by simple yet elegant furniture and appliances. At the far side, there was a door that likely led to the bathroom. A full glass wall formed the southern side of the room, and while the lights were bright, faint starlight and the dim ocean surface were still visible through the glass.

Having only come to the estate for the first time, the girls subconsciously viewed this room as the master bedroom. They walked to the edge of the large bed, turned around together, and awkwardly looked to Eric.

Leaning against the door, Eric studied the two of them for a moment before saying, "There are spare toiletries in the bathroom, all brand new. Freshen up and get some rest; it's already quite late."

Upon hearing Eric's words, Alessandra was momentarily stunned. Under normal circumstances, this wasn't how the scenario would typically unfold.

Gisele's reaction mirrored Alessandra's, but she quickly gathered her wits. After a brief moment of relief, a sense of nervousness returned. She knew very well that if they sought Eric's help and support, their bodies were their only bargaining chips. If Eric rejected them, what else could they offer?

Gisele mustered her courage, approached him, raised her hand hesitantly, and then awkwardly lowered it. "Eric, you're not... sleeping here?"

Alessandra, too, regained her composure and stepped forward. "Eric, you can stay."

Eric chuckled softly, lifted Alessandra's youthful face with his hand, and traced his finger along her glossy pink lips. He felt her warm tongue flick out to lick his fingertip before he withdrew his hand and said, "You shouldn't wear pink lip gloss; that color doesn't suit you at all."

Upon hearing this, Alessandra instinctively raised her hand to wipe off the gloss but then remembered how inappropriate that would be. She'd just end up smearing pink all over her mouth, so she awkwardly let her hand drop.

"Alright, get some sleep," Eric said, glancing at Gisele with a smile. "You two are mine sooner or later. So, no need to overthink things. Just don't let me down."

...

Just as Eric closed the door, Alessandra eagerly lifted her hand, wiping her lips as she headed toward the bathroom.

Gisele followed her in and saw Alessandra holding a towel to her mouth, which made her smile with a hint of schadenfreude.

Alessandra caught a glimpse of Gisele but felt helpless, murmuring as she wiped, "I'll never let that Sandra woman give me fashion advice again. Oh my god, Eric must hate my lip gloss. That's why he said that."

Gisele approached the sink, opened the nearby cabinet, and took out a brand new toothbrush and toothpaste, grinning, "I think it looks nice. Hehe, pink lip gloss makes you look more like a little chick."

After wiping off the lip gloss, Alessandra realized what Gisele meant and asked, "You, you figured it out long ago?"

Gisele didn't respond. She filled a cup with water and began to brush her teeth.

Of course, she had noticed it; Alessandra was a year younger than her, and both of them were still youthful. Instead of dressing more maturely, wearing pink lip gloss just made them look awkward. Still, she didn't feel obligated to give Alessandra a heads-up.

After their respective thoughts during the wash-up, the two girls, wrapped in bathrobes, came out of the bathroom and realized something else: they would be sleeping in the same bed tonight. While the bed was large, it somehow felt strange.

They exchanged glances and shared a single thought: was Eric doing this on purpose?

After all, such a large mansion must have plenty of rooms.

It was already past midnight, and both girls started to feel sleepy. Even though those thoughts lingered, they didn't delve into them. Gisele turned off the lights, and as she crawled onto the bed, she found Alessandra already lying on the other side. After shedding her bathrobe and pulling up a corner of the thin blanket to cover herself, the initial fatigue tangibly lessened.

"Hey, what do you think that girl we met earlier would do if she were here?" Alessandra suddenly asked, referring to Miranda Kerr they'd seen that afternoon.

Gisele rolled onto her side to face Alessandra and replied, "She would definitely sneak into Eric's room."

As soon as the words left her mouth, a brief silence filled the room.

After a minute or two, Alessandra spoke again, her tone filled with eagerness. "So, would you dare to go over?"

In the dim light, Gisele blinked, then quickly replied, "If you dare to go, I'll dare too."

"Why don't we," Alessandra hesitated for a moment, then suggested, "go together?"

Gisele replied, "It was your idea, you should go first."

Alessandra twisted her body, feeling fueled, "I thought you'd be braver than me!"

Gisele had no intention of arguing over this. "I'm actually pretty timid."

Alessandra huffed lightly, sitting up. "Then don't come with me."

Gisele decided to ignore her and turned away, presenting her back to Alessandra.

Biting her lip, Alessandra soon made up her mind. She slipped off the bed, put on her bathrobe, and quietly tiptoed out, not bothering to turn on any lights.

Hearing the soft creak of the door, Gisele comfortably reclined, relaxing her body and smiling smugly to herself.

"You know, Eric likely anticipated that girl Miranda would do just that, which is why he didn't bring her back."

Gisele squinted her eyes, patiently looking forward to what was about to unfold. After an undetermined amount of time, the door quietly opened, and Gisele sat up to look. In the dim light, she saw Alessandra returning, looking quite solitary.

Making her way to the bed, Alessandra whispered, "I... the villa is too big. I couldn't find Eric's room."

Gisele felt disappointed and fell back onto the bed.

Sigh... she really was foolish.

...

They ended up falling asleep quite late. Unfamiliar with the new environment, they forgot to close the curtains. When the daylight broke, Gisele and Alessandra woke up simultaneously, realizing how close they were. Gisele's hand rested on Alessandra's waist, leading to an awkward moment as both girls quickly regained their composure.

After getting dressed and washing up, they stepped out of the room. The villa was unusually quiet in the early morning. The sound of their high heels echoed sharply against the floor, prompting them to tread lightly. In no time, Gisele simply shed her high boots, and Alessandra followed suit, carefully descending the stairs barefoot like two curious cats tiptoeing around while the owner slumbered. They traversed through the living room, meeting room, gym, library, dining room, and kitchen -- they explored every nook.

Eventually, captivated by the view outside the glass wall in the hall, they cozily nestled into two space chairs by the glass, enjoying the mesmerizing ocean view that felt like a real-life IMAX experience.

Los Angeles was just as sunny, the sky a breathtaking blue, the rising sun barely peeking above the horizon while the sparkling sea seemed adorned with countless golden ornaments. A few gulls glided effortlessly across the expanse of sea and sky, adding life and vitality to the scene.

The space chairs felt like droplets hanging from a stainless-steel structure, gently swaying like swings.

Gisele tapped her toes against the floor, gently rocking, unconsciously taking deep breaths. Suddenly, she thought, maybe this was the life she longed for.

Too bad, she was just a passerby here.

"I've decided; I want a house like this someday so I can eat breakfast by a window with a sea view every morning..."

Alessandra shared her yearning, but upon hearing Gisele's words, she couldn't help but dash her hopes. "Wake up! We'd never be able to afford a place like this, and besides, this villa is said to be one of a kind in the world. Even if you had the money, you couldn't buy it."

A sudden wave of determination surged through Gisele. "Even if it can't be exactly like this, I want something similar. And even if you don't want a house like this in your life, why drag me into it?"

"Who says I don't want one?"

"You just said that yourself."

"I was just stating a fact."

"The future hasn't happened yet; how do you know it's a fact?"

Feeling Gisele's bitingly competitive nature, Alessandra took a step back. "I don't want to argue about this with you."

Just then, a voice suddenly came from behind them. "What are you two talking about?"

Both Gisele and Alessandra jumped out of their chairs, looking a bit flustered. However, realizing they had just spoken in Portuguese and Eric couldn't understand, they relaxed.

Eric noticed Gisele and Alessandra's bare feet and chuckled, "Where are your shoes?"

"Oh, they're over there," Alessandra pointed toward the stairs, instinctively replying in Portuguese, before quickly switching to English to repeat herself.

Eric didn't let the girls put their boots back on. Instead, he led them into the gym for their morning exercise routine before they prepared breakfast together.

...

By around eight o'clock, Eric settled down at the round table by the glass wall, where he frequently worked. The table held a laptop, several documents, and a sketchpad.

As Eric sent Gisele to fetch the day's newspaper, Alessandra curiously took a seat across from him. She casually started chatting about the morning's events, and without any loyalty, she revealed Gisele's ambitions to Eric.

Eric smiled and asked, "Don't you want that too?"

"Of course, who wouldn't want that?" Alessandra rested her chin on her hand, leaning across the round table. "I just think it sounds exhausting."

"I think people shouldn't live too comfortably; you should put some pressure on yourself."

Alessandra pouted slightly. Today, she wasn't wearing any lip gloss. Her lips were naturally colored, making her face appear even sweeter.

"I just think," she mused for a moment, playfully smiling, "I'm a woman. I shouldn't have to work that hard."

"Heh," Eric shook his head. He liked ambitious women, but he also appreciated those who enjoyed life. Perhaps Alessandra was right; they were women -- beautiful women, so men would always be more tolerant of them.

Gisele returned, holding a stack of newspapers, and sat beside Eric. Just as she was about to speak, she glanced around and noticed their conversation had abruptly stopped, prompting her to realize they must have just been discussing her. Her expression turned slightly uneasy. Still, Gisele mustered her courage and asked, "Eric, what were you guys talking about?"

"You," Eric replied, taking the newspaper from her, flipping it open with a grin. "The ambitious girl from Brazil."

Gisele understood; Alessandra must have shared her earlier comments about wanting a life like this with Eric. She shot a glare at Alessandra, wanting to explain but unsure of how to start.

Noticing Gisele's look, Eric interjected, offering her an escape. "Actually, I like girls with ambition."

"Really?" Gisele asked, somewhat shyly.

"Of course," Eric nodded, smiling, and he couldn't help but recall the Gisele of his original timeline.

She was undeniably a miracle in the modeling world. For many years, she topped the Forbes supermodel earnings list, raking in tens of millions of dollars, far outpacing other supermodels earning just hundreds of thousands. Moreover, apart from her income as a supermodel, Gisele's other gains primarily came from her astute business investments.

Eric enjoyed wonders, particularly if they were linked to women; it was even more delightful to contemplate.

As he pondered, Eric suddenly thought, why not create a miracle himself? After all, he had an already exceptional "template" before him. He could easily elevate Gisele to an even higher status than in his past life, just like Drew.

Eric had never been indecisive. He turned to Gisele and said, "If you really want that, maybe I can help you achieve your dream."

"Ah," Gisele exclaimed, surprise washing over her. After a moment of anxious contemplation, she asked, "What would I need to give in return?"

https//Sayonara816.

[Chapter 786: Are You In?]

"Well, too many people want to achieve success without effort, and very few realize that in order to get what you want, you have to pay the price," Eric nodded and continued, "Usually, in this kind of deal, you often have to sell your soul to the devil."

"Ah," Gisele opened her mouth, feeling a little anxious.

"But I'm not the devil, and I'm not interested in your soul," Eric shrugged, wearing a devilish smile. "So, I only need your body."

Gisele fell silent.

Eric opened the newspaper in front of him. "Well, you can think it over."

But Gisele didn't stay silent for long. She quickly asked, "Eric, can I ask what exactly I would get in return?"

Eric thought for a moment and said, "You might just become the second Drew."

With Eric's relentless support, and thanks to her shares in MGM, Drew had already become the youngest female billionaire in the world, no doubt about it.

Women close to Eric all harbored some thoughts about becoming the next Drew.

Gisele suddenly felt that if a girl from a small town in Brazil could reach Drew's heights in her lifetime, selling her soul... oh, her body to the devil would be worth it. Of course, she knew Eric's promises couldn't be found in any written contract; maybe there wasn't even a 100% chance of success. But she had always been a decisive girl, and she understood that even so, this man's promise wasn't something just any woman could easily obtain.

After pondering for a moment, Gisele looked at the man across from her and said firmly, "Eric, I'm in."

Eric looked up again, somewhat surprised by Gisele's determination, and said with a smile, "You've really thought it through?"

"Yeah."

"Then let's talk about the next steps," Eric continued. "First, you'll need a public partner to help shape your media image. Since you're my woman, that partner obviously can't be a guy. So from today on, you'll be a lesbian."

Hearing this, Gisele instinctively turned to look at Alessandra beside her.

Alessandra, who had been watching the drama unfold, shrank back a bit when Gisele suddenly looked at him, stammering, "W-what do you want from me?"

Eric showed a mischievous smile and said, "Great, you've found your target. I think Alessandra is quite suitable, so let's see a kiss."

Without hesitation, Gisele reached out, wrapped her arms around Alessandra, and leaned in to kiss her.

As their lips met, Alessandra blinked rapidly a few times, stunned for a while. By the time she wanted to push Gisele away, she found herself pressed against the sofa, Gisele's hand already slipping inside her shirt.

"Oh my God," thought Alessandra, trapped on the couch. "That psychic was right! But why am I the one getting bullied? Is this my fate?"

Eric watched the delightful scene unfold between the two girls, setting aside his newspaper to open his laptop and check his email. The box office results for the previous day's release, Rumble in the Bronx, had just come in, with the figures emailed to Eric.

...

With nearly 2,000 screens, Rumble in the Bronx garnered $3.6 million on its opening day, which was one of the best opening numbers for a Hong Kong film in recent years. In fact, more than 90% of Hong Kong films that made it to North American theaters didn't even reach $3.6 million in total. This indicated that Jackie Chan's comedic kung fu still had a market in North America.

Additionally, the weeks leading up to Easter were traditionally a lull period for the North American film market, as films slated for the year-end had already entered their winding-down phase, and companies held back some of their highly anticipated releases. Thus, with $3.6 million on its opening day, Rumble in the Bronx easily became the Friday box office champion.

Based on the usual weekend box office curve, Saturday's figures would be higher than Friday's, and Sunday would likely match Friday's total. If this pattern held, Rumble in the Bronx could expect a weekend total around $11 million. If the next couple of days followed this trend, the film's first seven days could even hit $16 million -- far exceeding New Line's expectations.

Eric recalled that in the original timeline, Rumble in the Bronx only made a little over $30 million in North America. But now, due to a much larger marketing and screening push, he expected those figures to be exceeded.

If Rumble in the Bronx could follow a typical Hollywood box office trajectory, its total earnings might even reach $50 million. Eric never expected it to achieve a long-running box office like some films; after all, the audience for Hong Kong films in North America was limited. The second week drop-off could be as much as 50% after an opening weekend spike.

Still, a total box office of $50 million would be a recent miracle for Hong Kong films.

Rumble in the Bronx was simply a warm-up for Jackie Chan's star power, gearing up for the popular anticipation for Rush Hour slated for release later in the year. Above all, the focus remained on the film Se7en, which had seen over two months of intensive marketing and was set to premiere on April 5.

Scanning over the upcoming release schedule, Eric noted that Se7en was firmly positioned at the top of the charts, planned for 2,500 screens. Just as he intended to close the email interface, a certain title caught his eye.

...

The film's name was Primal Fear.

Looking up its details, Eric remembered that Primal Fear was Edward Norton's breakout role. The film portrayed a dramatic courtroom battle between two lawyers entangled in a story involving a suspected murderer with possible dissociative identity disorder. Richard Gere's character, Martin, ultimately proved that Norton's character, Aaron, was not responsible for the murder due to his mental condition, but the shocking twist at the end revealed that it had all been a con.

As a crime thriller, Primal Fear's pacing could be slow, yet Norton's standout performance was undoubtedly its highlight. He won countless nominations and quickly rose to fame in Hollywood.

Recalling this information, Eric opened the IMDB site and found the page for Primal Fear. To his relief, Edward Norton still had not been replaced; he successfully retained the role of Aaron.

With just a week until release, the movie's page had several reviews from professional critics.

Eric casually clicked on one, authored by Stephen Garry, the film critic for The Seattle Times, and after reading a few passages, his brow furrowed slightly.

"... Invited to see two excellent crime thrillers in just one week, the frightening and shocking impact of Se7en still lingers; however, the newcomer Edward Norton in Primal Fear produced a chilling shudder within me once again. Between the two films, Kevin Spacey and the Broadway-trained Edward Norton presented two somewhat similar villainous roles. Spacey effectively embodied a cold, psychopathic killer, making a strong impression despite limited screen time, comparable to Anthony Hopkins in The Silence of the Lambs. However, as a newcomer entering Hollywood, Norton's performance eclipsed Spacey's. His chameleon-like ability to portray a character with an innocent facade hiding a rage-filled soul was showcased with raw intensity, causing a spine-chilling effect that lingered long after the film..."

While the critic praised both films, Eric noticed a clear intention to flatter Primal Fear. The review didn't delve into a detailed comparison of the films' plots, character development, or cinematic techniques; rather, it caught onto Norton's stellar performance, positioning it favorably against Spacey's and insinuating that Spacey was inferior. Given that average audiences would read this review, they would likely develop greater curiosity for Primal Fear, subconsciously favoring it when deciding what to see.

Putting aside the review for the moment, Eric knew very well that, when it came strictly to acting chops, Norton couldn't hold a candle to Spacey.

In the original timeline, Norton's roles had always been somewhat narrow; he excelled only in portraying characters with stark contrasts between their outward appearance and internal struggles, which made films like Primal Fear, American History X, and Fight Club resonate deeply. However, outside of these, it was tough to identify any real standout performances; some roles even evoked a sense of artificiality.

Irrespective of several allegations of sexual assault and sexual harassment, Spacey was a different level of actor. He could portray a cold, crazed killer in Se7en, a sensitive but awkward single father in The Negotiator, a seasoned politician in House of Cards, a miserly boss in Horrible Bosses, or a husband facing a mid-life crisis in American Beauty.

In theory, Spacey could present a thousand different facets of himself in a thousand films, while Norton, with his undeniably distinct style, could only ever be Edward Norton.

After skimming through the review once more, Eric closed the page.

Maybe he was just overthinking things.

...

Just as he was about to flip through the newspaper to check for similar news in the latest film reviews, Gisele and Alessandra, who had been entangled for a while, finally sat up together.

Alessandra straightened her disheveled clothes and threw an accusing glance at Eric, saying, "Eric, I never agreed to anything with you."

Eric spread out a newspaper on the table and quickly went through the relevant information, chuckling as he replied, "It's all fake anyway; just for show."

"But Gisele doesn't seem to be just 'putting on a show'..."

Eric raised his head and glanced at Alessandra, saying, "Then let's turn this act into reality. I kinda like it."

"I..."

Alessandra tried to voice a small protest but lacked the courage.

She suddenly recalled a well-known rumor in the industry: when the first Victoria's Secret Fashion Show was held, a supermodel named Heidi Klum had been banished to New Zealand for violating interview protocols. Banished! That sort of thing usually only happened centuries ago. Rumor had it that Heidi's career never fully recovered; she was stuck in the second and third tier of modeling, and even after her punishment ended, no big-name brand wanted to work with her.

Silently cursing Eric's arrogance and tyranny, Alessandra looked over at the girl who had just forcefully kissed her, then slyly turned to Eric, "Eric, aren't you worried Gisele might have second thoughts in the future?"

Eric lifted his gaze, looking at Gisele, "Will you?"

Gisele quickly shook her head, reaching over to pinch Alessandra's waist.

Alessandra couldn't help but suppress her protests, reaching out in retaliation, only to have Gisele catch her hand, pinching back.

Noticing the playful exchange between the two girls, Eric chuckled.

Relationships were complex and deepened over time, especially between men and women. In the end, how could a mere "second thought" allow one to escape?

...

After a quick glance through today's newspapers, Eric indeed noticed several reviews tying together Primal Fear and Se7en, echoing similar sentiments that insinuated Norton's talents surpassed Spacey's.

Cross-promotional strategies in film releases were not uncommon, with films often stirring up conversation with one another to elevate their buzz, usually resulting in a win-win situation.

Nevertheless, while both films had a production budget of around $30 million, prior to now, Primal Fear had lacked the same level of hype and promotional push as Se7en. It was clear that Paramount, the distributor behind Primal Fear, had low expectations for the film; otherwise, they wouldn't have planned for a release on just 1,900 screens -- a number even fewer than Rumble in the Bronx. Besides Norton's performance, there wasn't much else to highlight in the film.

Linking Primal Fear with Se7en was likely Paramount's last resort to boost visibility.

After contemplating for a moment, Eric casually noted this in his laptop's memo pad, not bothering to take any other actions.

The distribution process for films was entirely handled by the New Line team. If Paramount just tugged a bit on the coattails, everyone would benefit; however, if they went too far, New Line would naturally respond accordingly. Eric was not the type of hands-on boss who needed to oversee every detail; otherwise, why bother paying a distribution team?

...

In the meantime, the two girls playfully tussled. Gisele, observant of the cluttered table full of documents in front of Eric, smartly volunteered to grab coffee.

Once Eric finished reviewing his work emails, he heard the notification sound coming in for new mail - a response to the email he had just sent. He opened it and looked up at Gisele, who was returning with the coffee pot, saying, "So, let's continue discussing your situation."

https//Sayonara816.

[Chapter 787: No More Shenanigans]

With Eric's detailed understanding of the global economic trends for more than next twenty years, helping Gisele amass a fortune was a piece of cake.

However, merely possessing a vast amount of money would lead to being labeled as nouveau riche. Therefore, alongside wealth, the most crucial aspect was to attain power and influence that matched one's personal fortune.

In the original timeline, Gisele earned the title of "the Goddess" not just because her annual income far surpassed that of other supermodels, but primarily due to her status as the topmost and most coveted model in the fashion industry of her generation.

Gisele's income was far beyond that of her contemporaries, which resulted not only from her savvy business acumen but also from her ability to monetize her personal influence.

Eric had no intention of completely changing Gisele's life trajectory. He simply aimed to elevate her original path to new heights, allowing her to gain influence far beyond what she achieved in her past life, becoming the true "Gisele Queen" of the fashion world, rather than just a fan-favorite model.

Of course, seeing the young girl before him, still shy and innocent at sixteen, Eric knew that this developmental journey would take many years.

However, Eric was only twenty-six himself. Time was not an issue for him or Gisele.

At this moment, Eric had already reached the pinnacle of his career, so nurturing a few legendary talents that normal people would talk about was more of a pastime.

After all, what did they say? "If you don't do anything pointless, life will be lonely like snow."

Gisele and Alessandra were completely unaware of Eric's mundane thoughts. When Eric announced he wanted to talk about his own matters, Gisele perked up, sitting straight and serious, with Alessandra also unconsciously mirroring the atmosphere.

Recollecting his thoughts, Eric turned to Gisele and said, "If you want to do more, first, you'll need to wait until you're eighteen to have complete independence; otherwise, many things will be restricted. But these two years will be exactly the time you need to further enhance yourself and gain recognition in the fashion world. At the very least, you'll have to earn the title of supermodel."

Gisele nodded obediently, while Alessandra couldn't help but be astonished.

Supermodel -- that was the ultimate goal for any girl entering this industry, and Gisele could achieve that in just two years!

In the fashion world, becoming a supermodel required naturally possessing a great body; even appearance wasn't the most crucial factor, a criterion Gisele already met.

The next step was landing a contract with a modeling agency.

The world's top modeling agencies had a well-established model promotion mechanism and abundant fashion resources. Entering one of these agencies didn't guarantee supermodel status, but if a girl couldn't get into these top-tier firms, the hope of becoming a supermodel would be even slimmer.

IMG, where Gisele was currently based, although not as dominant as Elite, was one of the top agencies in the industry, so she wouldn't face any drawbacks there.

Possessing natural beauty and connecting with a leading modeling agency was merely the start of a girl's journey to supermodel status.

The real competition came afterward, akin to thousands of horses crossing a single-plank bridge. After landing with an agency, girls had to participate in various modeling pageants, find ways to get featured in fashion magazines, compete for the favor of fashion luminaries, and land gigs in well-known brand fashion shows. Throughout this process, the cost to secure different opportunities could be minimal compared to the potential gains. Ultimately, only a rare few would reach the pinnacle.

Of course, exceptions existed.

If one had strong backing, suddenly everything became much simpler.

That was how the world operated: it wasn't fair. No amount of frustration could change it. Even the notoriously critical Karl Lagerfeld occasionally had to walk a mediocre-looking, out-of-shape model down the runway for Chanel.

"After this weekend, you'll be heading back to New York; no need to continue that performance training class," Eric said as he glanced at a recent email.

He picked up a piece of paper and wrote down a string of phone numbers, handing it to Gisele. "I just contacted Tina Brown, who happens to be in New York right now. After you return, she'll take you to meet Anna Wintour and arrange for you to grace the cover of VOGUE magazine."

Within the entire Conde Nast system, at that time, Tina Brown held a slightly higher position than Anna Wintour. Anna modeled her management of VOGUE after Tina's tactics at Vanity Fair.

After leaving Vanity Fair to become the editor-in-chief of Yahoo, Tina still retained considerable connections and influence within Conde Nast. After all, anyone smart at the top wouldn't sever ties with a powerful woman who emerged from their own group and ran a major new media platform.

Eric had specifically facilitated the participation of the Forrest Gump crew at a recent Vanity Fair party, as a favor from Tina who made the call.

Now, getting her assistance to secure a spot on the cover of VOGUE wasn't a difficult feat.

These top-tier fashion magazines often exuded an icy exclusivity in front of the average person, but for Eric, it was merely a little favor.

While Firefly's relationship with Conde Nast wasn't as close as that with Hearst, they had never completely severed ties. After all, major advertising partners like Firefly Group were always targets for any print media corporation looking to thrive. If Eric had Anna Wintour's contact information, he could have called her directly; she wouldn't turn down a request from him.

As Eric spoke so casually, a wave of excitement washed over the two girls.

VOGUE -- the ultimate "fashion bible" in the world! Many ordinary models would consider it a dream come true just to grace its cover even once in their careers.

Alessandra looked at Gisele with seething jealousy; she nearly wanted to say to Eric, "Take my body too."

Gisele, overflowing with excitement, clutched her chest and nervously asked, "Eric, can I really be on the cover of VOGUE? I'm still, um, I'm not even sixteen yet."

Eric nodded. "Of course you can. I've never heard of a rule saying you can't be on the cover of VOGUE before you turn sixteen."

Eric's vision was quite clear -- if you're going to appear on a magazine cover, you'd want to choose the very best.

Once Gisele appeared on the cover of VOGUE, that would catapult her fame in the fashion world, leading to various runway invitations and a significant spike in media attention. This was far more effective than slowly climbing up the ladder step by step.

Gisele's excitement was not so easily quelled, as she apprehensively voiced, "But..."

"There's no 'but' about it," Eric interrupted. "Discuss this with your agency for their help too. Besides that, don't fall behind on your modeling training over the next few months. While I can help you build the platform, if you don't work hard, all of this will be in vain."

"Sure, I will!" Gisele nodded vigorously.

Eric added, "Also, start learning some French; you should at least be able to engage in casual conversation. I'll arrange for you to attend Paris Fashion Week this September."

Among the four major fashion weeks, Paris Fashion Week was the most prestigious. The debut showcases of luxury brands like Prada, Dior, Versace, and Givenchy typically occurred there. With the allure of these top brands, the Paris Fashion Week runway was the best stage for ordinary models to advance to supermodel status.

After Gisele nodded, Eric was about to say more when the phone on the table rang.

...

He glanced at the unfamiliar number and casually answered, "This is Williams."

"..."

After a brief conversation, Eric smiled and said, "Hi Anna, good morning. Did Tina fill you in on everything?"

Gisele and Alessandra exchanged glances, both processing the name "Anna Wintour."

Seeing Gisele grow tense again, Eric continued to smile and said to Anna, "This is Gisele Bundchen, sixteen years old. Uh..." he gestured to Gisele, who promptly stood up. Eric assessed her a few times and added, "About five foot ten (178 cm). You know what? It's hard to describe everything over the phone; I'll have IMG send you a detailed profile shortly."

"..."

The other side continued the conversation, and Eric slightly furrowed his brow as he stated, "August is a bit late; I hope she can have two to three months to build momentum before the September Fashion Week, so preferably before July... What? A teenage edition? Anna, please don't just brush me off."

Gisele listened intently, feeling more anxious as she noticed the shift in Eric's tone. She wanted to chime in to ease the situation, "A teenage edition could work too!"

Of course, Gisele only thought that but wouldn't interrupt their conversation.

After Eric insisted, Anna Wintour hesitated just a bit before agreeing to arrange for Gisele to be on the June cover of VOGUE. As for what to do about the originally confirmed cover girl, that was no longer Eric's concern.

Such an outcome wasn't surprising. After all, securing a cover spot for a magazine was a minor task compared to Eric's influence. Anna Wintour wouldn't dither over such trivial matters.

It's worth mentioning that among the five prominent women's fashion magazines, VOGUE belonged to Conde Nast, while the other four -- Elle, Harper's Bazaar, Marie Claire -- were part of Hearst. Each of those magazines was always ready to challenge VOGUE's standing within the industry.

With the connection between ESPN and AE television networks, Hearst and Firefly Group's ties were evident. If a small issue like a magazine cover could potentially lead to Eric or Firefly being swayed into the Hearst media camp, that would be a major blunder on Anna Wintour's part.

Of course, Anna also knew that even if she refused, Eric was too level-headed to let his feelings get in the way; nevertheless, she wouldn't take risks over something trivial.

After hammering out the details, the conversation shifted to a more casual tone as Anna Wintour, hoping to foster a favorable relationship with Eric, enthusiastically agreed to help connect Gisele with top fashion photographer Steven Meisel for the cover shoot.

...

Once the call ended, Gisele quietly asked, "Eric, were you talking about Steven Meisel just now?"

Eric nodded. Having been more exposed to the fashion world in recent years, he had learned about several top fashion photographers.

Steven Meisel was known for skillfully capturing women, and his lens always revealed a unique sense of mystery and allure, akin to a band of black cats strolling stealthily through the night.

Gisele's face lit up with excitement upon confirmation but quickly dimmed again as she lamented, "Eric, um, hiring Steven Meisel for a photoshoot must be really expensive; the company might not cover that."

"Don't worry; I'll handle the bill," Eric replied, passing the phone back to Gisele. "Once you're back in New York, no need to reach out to Tina Brown anymore. Just call your agent right now and have them send your profile to VOGUE's headquarters."

Gisele nodded, taking the phone with a tinge of embarrassment as she stepped aside to make the call.

Having observed everything quietly, Alessandra finally spoke up, "Eric, I..."

Eric was tidying up newspapers on the table when he casually remarked, "You're still young; wait another two years."

Alessandra fiddled nervously with her fingers, pleading softly, "I could be in the teenage edition of VOGUE."

"Stop it. If I push both of you at once, Anna will go crazy."

...

After debuting at $3.6 million on the first day, Rumble in the Bronx garnered $4.16 million and $3.55 million over the next two days, culminating in a first weekend box office total of $11.31 million.

While successfully claiming the weekend box office crown, Rumble in the Bronx also drew considerable media attention, with New Line eagerly ramping up subsequent promotions while promptly releasing news about Jackie Chan's collaboration on a new project.

...

Post-weekend, Gisele and Alessandra returned to New York together, and Eric prepared to fly to the Bahamas to visit the filming locations for Casino Royale.

However, before leaving, Eric had to personally intervene regarding the release of Se7en.

It became apparent that Paramount intended to create buzz by linking their own Primal Fear with the successful Se7en. Initially, Eric had not planned to get involved, but New Line's distribution team quickly responded.

Paramount's media strategy was straightforward: ignite discussions over who was the superior antagonist, Kevin Spacey or Edward Norton, to captivate audiences' interest in Primal Fear.

Clearly, Paramount understood that Primal Fear couldn't possibly compete with Se7en's intricate and superior storytelling in overall quality.

Nevertheless, New Line's counterattack honed in precisely on this point. Highlighting the overall film quality, rather than diminishing public excitement surrounding Primal Fear, merely showcased how critically acclaimed Se7en was after its early viewings -- a widely accepted fact in cinema reviews.

As long as they connected Primal Fear with Se7en, enticing audiences to compare the two films, Paramount's marketing strategy would be deemed a resounding success.

Typically, when films co-promote, synergistic effects yield higher total box office returns.

But this case was different since the North American Easter season had yet to be capitalized on; audience attendance and overall box office during this period wouldn't fluctuate significantly.

Furthermore, due to substantial early promotions by New Line, Se7en's buzz was already high. Therefore, while the promotional collaboration between Se7en and Primal Fear might marginally increase both films' box office totals, it was very likely only Primal Fear would significantly benefit.

As a result of Primal Fear taking a larger share of box office revenue, Se7en's overall earnings might actually dip compared to the original timeline.

The original Se7en broke the $100 million mark in North America, with New Line's effective operation playing a substantial role.

The $100 million milestone was a significant demarcation for most films. Crossing this threshold allowed a film to be classified as a classic; thus, even if a film stalled shy of $99 million, it felt entirely different from one standing over $100 million.

It was easy to foresee that if the new Se7en failed to surpass the $100 million mark, perhaps due to the influence of Primal Fear, it would only miss out by a few million. Nevertheless, the ramifications for subsequent overseas market releases and home video distribution would be dramatically different; audiences might see an $80 million to $90 million film as pleasant but would be less likely to invest it with classic genre status.

Under the original timeline, Se7en earned $220 million overseas, with home video releases filling New Line's coffers. It would be no exaggeration to state that reaching $100 million in North America was a significant booster to that success.

Therefore, if this version of Se7en couldn't break the $100 million barrier, the losses would expand far beyond just the few hundred thousand or million dollars in box office receipts.

After helplessly observing for several days, Eric made a call to Katzenberg before leaving Los Angeles, where they thoroughly discussed the marketing strategy to counter Primal Fear, allowing him to board the flight to the Bahamas with peace of mind.

https//Sayonara816.

[Chapter 788: Death by Praise]

After the heated auction two years prior, Paramount successfully acquired Disney's hand-drawn animation division for a staggering $2.5 billion, relocating the entire team to a new working space in Culver City, Los Angeles.

At this point, Paramount Pictures' CEO Sherry Lansing exited the office building of the Paramount animation studio, bidding farewell to head Roger Allers before hopping into her car.

As the vehicle started, Sherry leaned back against the leather seat and gently massaged her temples, recalling the discussion she had just had with Roger regarding the release of Pocahontas. The film tells the story of a Native American princess who saves a British explorer and resolves a racial conflict. This project had been in the works since Disney's animation era, with detailed scripts, storyboards, and breakdowns already established. Upon acquiring the hand-drawn animation team, production for Pocahontas was immediately greenlit.

Although the entire animation team's salaries had significantly increased under the new ownership, the resentment from being cast aside by Firefly Group did not dissipate easily. For over a year, the hand-drawn animation team had been eager to create another masterpiece like The Lion King, hoping to make Firefly regret its decision to abandon the hand-drawn division.

Consequently, the usual two-year animation production cycle was reduced to just a year and a half, yet the quality of Pocahontas remained exceptional. During the test screening, even Roger Allers himself praised the animated feature.

To realize Viacom's ambitions for diversification across the entire industry, Allers had provided unwavering support for Paramount's animation department. However, Sherry Lansing was far from as optimistic as Allers and the animation team.

Despite strict cost controls, the skyrocketing salaries for animators resulted in the production cost for Pocahontas reaching $80 million. Including marketing and promotional expenses, the total investment would likely exceed $120 million -- equivalent to twice the production and promotion cost of The Lion King.

The costs for the animated sequel to The Lion King and Mulan were also expected to be high. If Paramount intended to leverage its animation content to build a diversified industry chain exploiting the commercial potential of animated films in collaboration with Viacom's Blockbuster chain and Nickelodeon, it would conservatively take at least five years.

Before that, recouping the investment in these high-cost animated projects heavily relied on box office success. One could only imagine that during this lengthy industrial process, if just one of these expensive animated films flopped, it would severely damage Paramount's cash flow, potentially leading to a situation like Warner Bros., which wouldn't generate profits for its parent company and might need financial assistance from headquarters.

Moreover, Sherry Lansing remained suspicious regarding why Firefly Group had suddenly sold Disney's hand-drawn animation division. After all, this sale occurred at the peak of The Lion King's global box office nearing $1 billion -- no rational business manager would make such an irrational decision.

If the young man acted impulsively, such reasoning would seem even more unfounded. Firefly had experienced a miraculous rise, becoming the largest media group in North America and the world in under ten years. How could an individual who built such a media empire act recklessly? If the sale of the hand-drawn animation division was indeed a well-considered decision, then Paramount could be facing some profoundly hidden risks.

The decision to acquire Disney's hand-drawn animation division lay squarely with Allers. Sherry understood that even if issues arose in the animation division, she wouldn't bear the brunt of the responsibility. However, as CEO of Paramount Pictures, if such a situation arose, her position would still be far from comfortable.

...

Everything had been decided, and after pondering for a moment on the matter, Sherry quickly set it aside. She resolved to focus her efforts on live-action films. While they may not have as much lucrative merchandise as animated films, live-action films were always the mainstream in Hollywood.

"Have we heard from Steven?" Sherry asked as she straightened up, addressing her assistant in the front seat.

It was common knowledge in the industry that Spielberg was forming a new major studio with the support of Microsoft, in conjunction with David Geffen and George Lucas.

While there was an understanding that this studio would gradually build its own distribution network, unless it managed a series of acquisitions like Firefly did with New Line and Disney's distribution channels, Spielberg and his associates would need to depend on the seven major studios for film distribution for at least the next few years.

Due to the strained relationship between the principal investor Bill Gates and Firefly, the three companies within the Firefly system were certainly not options for Spielberg. Sony Pictures was still struggling to recover from financial difficulties, and Warner Bros. already had several affiliated production companies. That left Spielberg with only Paramount and Universal, both of whom were eagerly vying for this collaboration.

"The assistant just got a call from Spielberg's aide, saying that Mr. Spielberg is available tonight at eight o'clock. I've made a reservation at Morton's in Beverly Hills," the assistant informed.

Sherry nodded, satisfied. She glanced at her watch -- less than an hour remained before quitting time. She was about to instruct the driver to head home to prepare for the evening's dinner meeting when the car's fax machine suddenly crackled to life.

Pages printed out one after the other, and only when five or six pages had been faxed did the noise cease.

The assistant quickly skimmed the materials before handing them to Sherry in the back seat. "It's about Primal Fear, and there has been some... well, Ms. Lansing, you should take a look yourself."

Primal Fear was a crime thriller directed by Gregory Hoblit, known for his work on acclaimed television series like L.A. Law and NYPD Blue. The film had a budget of thirty million dollars, classifying it as a mid-range production.

Perhaps due to his background as a television director, Hoblit struggled to control the pacing of the film, initially resulting in a runtime exceeding 160 minutes. After numerous edits, the film was eventually trimmed to 130 minutes. Although this was more manageable, it still felt lengthy, and further alterations might affect the overall story cohesion.

In the early test screenings, aside from the stunning performance by newcomer Edward Norton, everything else fell short of management's expectations. Consequently, the company had not prioritized its marketing efforts.

Recently, however, the film's producer, Gary Lucchesi, proposed an idea to align the promotion of Primal Fear with Firefly's momentum from the recently released Se7en to boost Primal Fear's visibility and ultimately enhance its box office performance.

It was now Wednesday, with both Primal Fear and Se7en scheduled for release this Friday. Based on various feedback, Sherry found herself quite satisfied with Lucchesi's marketing strategy's effectiveness.

Noticing the assistant's somewhat hesistant demeanor after reviewing the fax, Sherry felt intrigued. As the assistant had forgotten to organize the fax pages, Sherry's eyes first landed on media snippets reviewing Primal Fear.

...

"...If Se7en merely gives pure sensory stimulation through some religious-style brutality, Primal Fear's shocking twist ending brings us pure psychological trauma. Numerous theories and facts have proven one point: psychological fear is the true fear. In this genre of crime thrillers, Primal Fear undoubtedly epitomizes that, while Se7en feels more like a cliche bloodbath."

"... Primal Fear is undeniably a high-quality crime thriller, without convoluted plot twists or misleading images directed towards the audience. Instead, it features a shocking twist that rattles the senses at a moment when one thinks everything is settled. If Se7en, which flaunts grand brutality, can score a 7, then Primal Fear surely deserves at least an 8.5. I can't wait to step into theaters and experience this truly captivating film during its official release."

"..."

...

Having glanced briefly at a few segments, Sherry furrowed her brows. The planned advertising strategy aimed to highlight the acting comparison between Edward Norton and Kevin Spacey as antagonists, but now the situation had shifted. Se7en's reputation had long since been established, having won the Sundance Film Festival Jury Award.

Now promoting that Primal Fear had superior quality over Se7en was only setting them up for a letdown after the film's release, wasn't it?

Raising her head to her assistant, she ordered, "Get Gary on the line."

The assistant took the onboard phone and, while dialing, turned back to say, "Ms. Lansing, this was indeed sent over by Mr. Lucchesi."

Sherry nodded, flipping through the fax pages in hand until she found the note on the first page from Gary Lucchesi. It turned out these reviews weren't the result of Paramount's marketing team at all. Quite frankly, aside from Paramount, who would care about both films? It was clear.

Once the phone connected, the assistant handed over the receiver. Sherry discussed the situation with Gary Lucchesi, who was responsible for Primal Fear's marketing. Frustrated, she hung up and reread the pages she had in her hand, several thoughts flashing through her mind, none of which seemed appropriate.

It was almost certain that these media comments stemmed from Firefly Group. Sherry understood that even she, if faced with such a scenario, would likely retaliate somehow. But it was unlikely that anyone could employ a counter-strategy as frustratingly effective as Firefly's.

After all, these reviews appeared to praise Primal Fear, and Paramount couldn't publicly admit that their film was lacking or needed improvement.

Yet, without action, the narrative that Primal Fear was of higher quality than Se7en would spread, leading audiences and critics to discover the deception once the two films premiered. The outcome would be unpredictable.

Clearly, it was a classic case of "death by praise," elevating someone only to see them crash down and shatter into pieces.

Primal Fear's final quality did not meet Paramount's expectations, and thus the marketing push wasn't particularly strong. However, that did not mean Sherry Lansing was indifferent towards the film. Each year, Paramount produced no more than ten films with production costs exceeding $30 million.

After a brief moment of reflection, Sherry concluded, "Let's head back to headquarters. Also, call Gary and the team to discuss a strategy."

"What about the meeting with Mr. Spielberg?"

"As long as we're not late, it'll be fine. Just keep an eye on the time and remind me when it's close."

...

A film's promotional work typically began as soon as the project was initiated. However, the reputation of a film truly solidified in the weeks surrounding its official release. Before that, one could only twist and turn to make sure audiences were aware of the film's existence. It was only after the film started small test screenings and then expanded into wide releases that word-of-mouth would spread.

After winning the Sundance Film Festival Jury Award in January, Se7en had gained significant traction in media and fan circles. Thanks to Paramount's clever cross-promotion strategy, many suddenly began noticing a similarly themed film named Primal Fear as Easter approached.

Ordinary folks wouldn't typically delve deeply into film reviews; they merely sensed the overall trend in public opinion and gradually thought that perhaps Primal Fear was indeed as good as what the newspapers suggested -- better than Se7en.

Days flew by swiftly leading up to Easter. While Easter wasn't a statutory holiday in North America, it coincided with college spring breaks, and many American college students had at least a week off during this period. While some affluent youths might choose to travel, most still lacked that kind of financial means.

However, watching a few films with friends and family over the holiday was a common pastime among Americans.

Se7en and Primal Fear undoubtedly emerged as the top choices for moviegoers this Easter.

On April 5th, a Friday, just two days before Easter, Se7en and Primal Fear were released in 2,500 and 1,900 screens, respectively.

Due to the muted reception of Alien 3, David Fincher wasn't particularly known. However, the two leads of Se7en, Matthew McConaughey and Morgan Freeman, were familiar names to the public, and the debut of Victoria's Secret model Diane Kruger added another layer of appeal, attracting a large audience.

Simultaneously, driven by recent media comments surrounding both films, a significant portion of viewers also opted for Primal Fear.

https//Sayonara816.

[Chapter 789: The Cliff of Reputation]

Peter Roger was an English teacher at Santa Monica High School, but he also had another identity: a freelance film critic. Peter had been fascinated by movies since he was a child and, while studying at UC Berkeley, he attempted to submit some reviews to various newspapers. Luckily, his work was accepted and published.

After graduating, he realized that this side gig could support a nice home in the upscale community of Santa Monica, so he stuck with it. Over the years, he became somewhat well-known in the industry and even published a collection of his film critiques.

Easter Sunday had arrived, and Peter had initially planned to spend the day at home with his wife and kids. However, he received a last-minute invitation from The Hollywood Reporter to review Primal Fear, an R-rated crime thriller not quite suitable for a family outing. After dinner, he drove alone to downtown Santa Monica.

After parking, he walked into his usual multi-screen theater, where it was almost nine o'clock -- the perfect time for the next screening. As he joined the ticket-buying queue, Peter recalled the recent media buzz surrounding Se7en and Primal Fear.

He had been invited to a private screening of Se7en two weeks prior and, although he didn't entirely love its bleak theme, he had to admit that David Fincher's intricate storytelling style was impressive. He gave Se7en an 8 out of 10 in his review for The Hollywood Reporter.

Primal Fear, on the other hand, seemed to have ramped up its promotional efforts in recent weeks, aggressively positioning itself to compete with Se7en.

Having been around the industry long enough, Peter understood the game. While several lesser-known newspapers were claiming that Primal Fear surpassed Se7en, most mainstream outlets were more cautious. Nonetheless, since Paramount was willing to assert that Primal Fear was better than Se7en, Peter had some modest expectations.

As he slowly moved forward in the ticket line, a slight commotion broke out at the window. He looked over to see two pairs of young couples disagreeing over which movie to see. With the cashier's urging, they ultimately split into two groups, choosing Se7en and Primal Fear, respectively.

Peter barely paid attention to the minor episode, instead feeling a twinge of envy over the youthful energy of the couples. The chilly April night in Los Angeles had them dressed lightly, showing slight tans on their exposed skin. He figured they must have spent the day surfing at Santa Monica Beach because, back in college, he, too, loved that sport. However, glancing at his beer belly, he thought, perhaps he could no longer even paddle onto a surfboard.

Not dwelling on lost youth, Peter finally got his movie ticket and snagged some popcorn as he made his way to the auditorium.

...

Finding his seat, he surveyed the surrounding area out of habit. The audience was only about 40 percent full when he unexpectedly spotted the couple involved in the earlier dispute seated just one space away. The girl noticed Peter looking their way and politely nodded.

He returned the nod but overheard the girl say to her boyfriend, "Zach, it's just a movie. We don't have to separate from Vincent and the others."

A young man named Zach replied, "Michelle, I told you earlier, I'm not into religious films, and the papers say this one is way better than that one that's just hype -- Se7en."

Michelle seemed to pout slightly and said, "How do you know this movie isn't just riding on the coattails of marketing?"

"But it must have a stronger reputation than Se7en. I think there's a really noteworthy actor in it," Zach replied, wrapping his arm around his girlfriend and lowering his voice to tease, "Not being with them isn't so bad; at least nobody will interrupt us... Uh-huh..."

Michelle pushed Zach away, playfully scolding, "Get off, you're annoying."

Listening to their conversation, Peter felt a bit uncomfortable. Just as he considered moving to another seat, the lights dimmed in the theater, and the couple quieted down, dispelling his impulse.

...

After a few advertisement clips, the logo for Paramount Pictures appeared on screen.

The film opened with a discussion about whether lawyers should adhere to the letter of the law or pursue justice. Richard Gere played lawyer Martin Vail, who argued that a lawyer's job is to fight for their client's victory in court, regardless of their actual guilt.

If this had been a PG-13 film, the dialogue might have hinted at a story about Martin Vail transforming from a cold, profit-driven attorney into a defender of justice.

But because this was an R-rated crime thriller, the themes were unpredictable.

Set in Chicago, the plot revolved around the brutal murder of a bishop, with a man named Aaron Stampler quickly apprehended as a suspect.

Due to his emotional entanglements with the prosecuting attorney, Janet Venable, Martin Vail decided to represent Aaron. As he communicated with Aaron, Martin gradually realized that his client might be a mentally ill man with multiple personality disorder, and he sought a psychological evaluation for Aaron in court.

At this point in the film, Peter glanced at his watch, noting that 45 minutes had passed. Outside of the critical reveal about Aaron's potential psychosis, the film hadn't provided much useful information. In Peter's view, many details seemed unnecessary. The director appeared to be setting something up, but it was unclear what exactly it was. Undoubtedly, such prolonged set-ups would only lead the audience to lose interest.

Disappointed with the film so far, Peter found his mind wandering. To his surprise, the couple nearby remained quiet, so he looked over again and was amused to see Michelle had dozed off against Zach's shoulder.

Chuckling to himself, Peter noted that for most people, the film's slow pace could indeed induce drowsiness.

Meanwhile, the story continued, and while many signs suggested Aaron might be mentally ill, Dr. Molly failed to find concrete evidence. Instead, Martin stumbled upon a tape where the bishop had compelled Aaron to engage in sexual acts with his girlfriend while he watched. This tape quickly became critical evidence of Aaron's motive to kill the bishop, leading Martin to furiously confront Aaron about why he had hidden this information, accidentally triggering the emergence of another personality, Roy.

Just when Peter thought he had lost all interest in this movie, he watched as the timid Aaron transformed into a violent and aggressive figure onscreen. Finally awake, Peter noticed a ripple of excitement in the theater, with some audience members gasping in admiration.

Unfortunately, Aaron's transformation into "multiple personality disorder" was never shown. To prove his assumptions, Martin resorted to some tricks, provoking Aaron's other personality in the courtroom until the verdict ruled Aaron mentally ill, dropping the charges and sending him to a psychiatric hospital.

Just when it seemed everything was coming to a close, the film took another turn. During their last meeting, Martin noticed inconsistencies in Aaron's speech and concluded that Aaron did not actually have dissociative identity disorder. Everything had merely resulted from Aaron's brilliant deception.

Ultimately, Martin emerged from prison in a daze, staring at the desolate courtyard that seemed to mock his earlier claims.

...

As the credits rolled, audience members began to rise to exit. Peter could faintly hear murmurs from those around him.

"That was so boring! I can't believe I wasted over two hours on that movie."

"I should have seen Se7en instead; at least it has Diane Kruger to look at."

"Didn't the papers say this was better than Se7en? If both films are at this level, I'd rather stay home and watch TV this Easter."

"That guy, Edward Norton, did put on a good performance, but it wasn't as great as the media made it sound."

"I nearly fell asleep."

"..."

Peter waited a moment, then stood up. The couple to his left got to their feet and walked out, the girl still rubbing her eyes sleepily against her boyfriend's arm.

As he exited the auditorium, Peter unexpectedly spotted the same four people from before walking ahead of him, seemingly heading towards the nearby parking lot.

"This movie was so thrilling! Kevin Spacey really nailed the last two punishments of the original sins, and Diane Kruger was just gorgeous -- too bad she got killed off without any close-ups of her head," a tall, lanky young man excitedly exclaimed, his arm linked with the girl beside him.

"Hey, Vincent; your tone while saying that was too dramatic," the girl interrupted with a laugh.

"Okay, babe," Vincent switched topics, asking the group, "How was Primal Fear?"

Zach didn't answer, but his girlfriend, Michelle, openly joked, "Super dull. I mean, I fell asleep. What do you think, Zach?"

Zach hesitated before saying, "At least Edward Norton's performance was stunning."

"Ha," Michelle took Zach's words as defensive banter, turning to the others, "Maybe we should just watch Se7en again tomorrow."

Vincent waved his arms, saying, "Absolutely! You guys should see that. Forget about Primal Fear."

By now it was past eleven, and Peter eavesdropped on the young people's chatter as he slid into his car.

...

Driving down the slightly empty streets late at night, Peter began pondering his review for Primal Fear.

He thought the most he could give the film was a 6.5, with half a point coming solely from Edward Norton's performance. While his performance was impressive, it couldn't save the film from being overall mediocre.

The director had aimed for an O. Henry-style twist ending, but filled the early parts with unnecessary details.

While the media had been enamored with the film's twists, Peter felt these forced turns were its biggest flaw. Had the film eschewed this gimmick from the start, the director might have crafted a tighter, more thrilling psychological drama centered on Aaron's multiple personalities, instead of spending excessive time setting up the surprise ending.

Under all that unnecessary set-up, it took over seventy minutes before the film finally produced a captivating plot conflict. Yet, seventy minutes was long enough for ninety percent of the audience to lose interest, as evidenced by that girl, Michelle, who had fallen asleep in the theater.

As he constructed his critique in his mind, Peter sensed that the media manipulation surrounding Primal Fear had become exceedingly obvious. He even foreboded that Paramount might end up shooting themselves in the foot with this one.

...

During Easter weekend, the only films capturing Hollywood's attention were Se7en and Primal Fear. Given the recent media coverage, both films generated a lot of buzz.

Yet, after the big releases, many soon realized Primal Fear was far from the outstanding film critics had claimed -- at least nowhere near the tightly-woven narrative of Se7en.

The higher the expectations, the greater the disappointment.

With the internet still not widely accessible, the average person struggled to voice their opinions. However, once the film was out in theatres, media commentary became difficult to control.

...

"A lengthy, failed attempt at storytelling, while Edward Norton's performance is commendable, it fails to elevate the film's overall mediocrity. Compared to the intricately woven narrative of Se7en, I couldn't spot anything remarkable in this film."

"The director became so engrossed in creating an O. Henry-like twist that they forgot whether audiences would have enough patience to wait two hours for an ending that wouldn't surprise them."

"It's hard to believe some people are comparing this mediocre work to Se7en, which is undoubtedly the best thriller since The Silence of the Lambs. Aside from Edward Norton's notable performance, Primal Fear brought little joy to viewers."

"..."

...

As the media reviews exploded, Firefly Group promptly ceased all attempts at manipulating the public's perception of Primal Fear's reputation. Without solid backing of positive reviews, the film, which had once seemed a contender against Se7en, quickly plummeted. Even media outlets that had touted Edward Norton's performance suddenly turned critical, echoing harsher sentiments.

Both films premiered on April 5, and over their first weekend, Se7en grossed $13.9 million, easily claiming the box office crown. Although Primal Fear's reputation rapidly declined, it still pulled in over $11.2 million at the box office that weekend, buoyed by its buzz.

In the full week, Se7en's box office reached $18.4 million. Though Primal Fear's reviews began to crumble, its opening week still raked in about $15.5 million, despite screening in about 600 fewer cinemas. Its average audience turnout was not significantly lower than Se7en's.

Paramount had initially worried about how the faltering reviews might affect Primal Fear's box office, but after seeing its first weekend earning of $11.2 million and a total of $15.5 million by the end of the week, they felt reassured. At least the early hype had played a significant role, as Paramount had originally predicted only $12 million for its opening weekend.

Most in the industry understood a simple truth: the marketing scale of a movie determined its starting box office, but a film's reputation ultimately dictated the length of its revenue arc.

Though Primal Fear's first-week earnings were close to Se7en's, as the two films diverged in reputation, their subsequent box office trajectories began to diverge starkly.

Thanks to its robust reputation, Se7en only saw a slight drop of 9.7% in its second week, grossing $16.6 million. Primal Fear's reputation collapse, however, resulted in a dramatic 46% drop in ticket sales, earning only $8.37 million in its second week -- barely half of what Se7en pulled in.

Three weeks in, Se7en maintained an extraordinary drop of only 15%, grossing $14.1 million. At that point, however, Primal Fear's weekly gross fell far behind as audience anticipation flipped to disappointment, causing its attendance to drop sharply again, ending the third week with just $4.77 million -- almost a mere fraction of Se7en's returns. Edward Norton's stellar performance, meanwhile, faded under the weight of the film's negative reception.

By May, Se7en's fourth-week earnings remained strong, hitting $11.3 million. Although Primal Fear's declines lessened, its $3.19 million weekly gross signaled the film was nearing its exit from theaters.

After four weeks of showing, Se7en raked in $60.43 million, while Primal Fear barely crossed the break-even line with a total of only $31.83 million.

Given the current box office trajectories, Se7en was sure to last into the heated summer months, with a very high chance of crossing the $100 million mark. In contrast, Primal Fear was unlikely to stick around for more than two more weeks.

At this point, the relative quality and success of the two films was undeniable.

...

Notably, during the showdown between Se7en and Primal Fear, Rumble in the Bronx quietly held its ground in North American theaters for six weeks, ultimately grossing $43 million -- unfortunately not crossing $50 million. Nonetheless, this figure pleased the studio immensely, especially since New Line had only invested $10 million into the film. With this box office revenue alone, the company was poised to make over 100% profit.

Rumble in the Bronx also garnered positive reviews, with Jackie Chan earning the title of "Most Lovable Action Star."

Furthermore, New Line planned to nominate Jackie Chan for Best Fight Scene at the upcoming MTV Movie Awards in June. However, given the recent spat with the two films, Jackie Chan's chances of winning looked almost nonexistent.

After all, MTV was a Viacom property, and they had just had a falling-out -- how could they be expected to award a trophy to him?

What fairness? Don't be ridiculous!

https//Sayonara816.

[Chapter 790: Below Expectations]

The filming locations for Casino Royale included the UK, Italy, the Czech Republic, and the Bahamas, with over sixty detailed shooting spots. This was consistent with the lavishness typical of the 007 series.

Eric had set off in early April to scout all the locations and returned to Los Angeles on May 6, a Monday, which coincidentally was the fifth week since the release of Se7en.

In its fourth weekend, Se7en accumulated a box office of $60.43 million, and during its fifth weekend, it generated another $7.12 million. This was only a minor 17% drop compared to the previous week. With summer blockbuster season approaching, while Se7en's shoot might face some competition, its heightened popularity was sure to bring a resurgence in attendance. It was clear that its total box office would surpass the $100 million mark without question.

As for Primal Fear, it earned $1.63 million over its fifth weekend, and it was expected to completely disappear from North American theaters soon after next week.

Primal Fear wasn't a significant project for Paramount, and both films weren't of the hot genre variety, which was why Firefly enjoyed such an easy win this time around.

However, with the clash of summer blockbusters on the horizon, manipulating public perception became not-so-simple. The best a company could do was conduct solid promotional work and then wait to see how the market responded. In times like this, even the reviews didn't hold as much weight; some films with terrible critical reception still enjoyed enthusiastic audiences flocking to purchase tickets.

Titanic was still in the post-production phase, expected to be completed by the end of July. Firefly's main movies for the summer season included just two: The Matrix, set to be released on May 31, and The Rock, debuting on June 14. Due to Titanic's absence, New Line filled its originally scheduled slot with the already completed Final Destination, officially launching on June 28.

Filming for Casino Royale was scheduled to start on June 2; however, Eric couldn't possibly arrive at the set that day. To accommodate his schedule, The Matrix's premiere was moved up to May 27. Unfortunately, Eric would have to miss the premiere of The Rock.

...

Upon returning to Los Angeles, Eric barely had time to adjust to the time difference before he dove back into the preparations for the joint venture of three companies with FFM cable network.

After months of preliminary work, aside from the initial cable network acquired through Tele-Communications, the three companies secured a few smaller cable channels from operators like Cablevision, totaling around 4 million users.

Eric had originally hoped to acquire Showtime from Viacom, which was second in size and prestige only to HBO. However, its current user base was only around 500,000. Due to its smaller size, it was considered a marginal business within Viacom. However, when Katzenberg called expressing interest in a purchase, Summer Redstone promptly declined. Eric suspected Redstone would research why Firefly showed interest in Showtime, but such efforts would be fruitless. Eric was only interested in the subscriber base at this point.

With Redstone's refusal to sell Showtime, Eric redirected his focus to the cable channels they had already secured.

Following the original trajectory of history, aside from HBO, other major media companies missed out on the lucrative cable network market. Later, when Showtime and Starz made their climb, the age of streaming media arrived. To compete against Time Warner's traditional cable operations and the emerging streaming services, Fox, Disney, and Comcast collaborated to launch the streaming platform Hulu. However, the three companies faced disagreements over development strategies, with no party holding absolute control over the platform. Eventually, this led to discord, with management pulling out to seek other opportunities, making competition against platforms like HBO and Netflix almost impossible.

Hulu's collaboration model was very similar to what FFM was preparing.

The preliminary plan distributed FFM's equity as follows: Firefly held 30%, News Corp held 30%, MGM retained 20%, while the remaining 20% was distributed among Tele-Communications, Cablevision, and other cable operators. Although Firefly and MGM held a combined 50%, giving Eric complete control of the company, it was crucial for all parties to agree on a consistent development track and revenue model from the outset to ensure a long-term partnership.

In terms of development, both Eric and Murdoch, as primary decision-makers, had not significant disagreements. MGM naturally sided with Eric, and the other operators promised not to interfere with the company's operations. Hence, as long as Eric and Murdoch reached an agreement, everything would proceed smoothly.

To avoid the management of the three companies affecting FFM's growth, Eric and Murdoch mutually decided to establish a new cable company dedicated to FFM's operations. This company's management team would report directly to Eric, Murdoch, and a few others, without being constrained by the individual management structures of the three major groups.

With Firefly, News Corp, and MGM's content support, FFM faced no significant restrictions on content development. The primary issue was the lack of pedigree; it lacked the brand equity that HBO had built over more than twenty years. Therefore, to facilitate FFM's rapid development, a manager adept at leveraging small investments for substantial brand recognition was indispensable. Eric immediately thought of a certain heavyset individual.

...

Beverly Hills was where Eric had visited a few times, specifically to an al fresco restaurant.

It was afternoon, and he and Murdoch occupied a section of the terrace, discussing FFM. Murdoch mostly resided in New York with occasional trips to London. He had specifically come to Los Angeles this time to discuss FFM matters.

"HBO has developed for 23 years since 1973 and has established a solid reputation among viewers. For FFM to grow in this brand-new market, the key issue is brand building -- meaning we need to get viewers to recognize the FFM brand in the shortest possible time. Although we boast even richer movie resources than Time Warner, the audience isn't aware of this. The power of familiarity is incredibly strong, so we have to think outside the box."

As Eric said this, Murdoch interjected, "Are you suggesting we do reality shows like America's Next Top Model or Project Runway?"

Lifetime Television rose to fame thanks to these two reality shows, which became industry classics.

Eric shook his head, saying, "Not exactly. While everyone knows that reality shows aren't wholly real, they still carry the 'real' aspect. For cable network reality shows to draw viewers' attention, they must push boundaries far beyond basic cable and public television standards, to the point where they risk touching on social ethics or even legal limits. It's a minefield we should definitely avoid."

"That leads us to self-produced dramas like Sex and the City," Murdoch seemed to catch on but then gently shook his head. "However, TV shows can never match the production quality of films. It's one thing for basic cable, but persuading viewers to spend more on premium cable TV shows isn't so easy."

"Then, we should aim to produce TV shows to the same standards as films. In fact, Firefly originally had a project in mind stemming from my thoughts after Saving Private Ryan. We planned to invest about $100 million to produce a large miniseries on World War II. Unfortunately, this project wasn't suitable for ABC, so it was shelved."

Murdoch rubbed his coffee cup gently, leaning back in his chair, asking, "$100 million, do you think we could recover our costs?"

"If the project were at ABC, it definitely wouldn't recoup costs; advertisers wouldn't pay far beyond the rates set for other TV programs. After airing on public television, revenue from off-network syndication and video sales would also take a hit. But on a premium cable network, that's a different story. First off, we'd gain subscription revenue, and secondly, as long as these miniseries generate sufficient buzz, we could definitely recover costs and even turn a profit through future video and syndication sales."

Murdoch nodded in understanding, "I get it. So that's why you want Weinstein to run this network, right?"

Eric smiled and nodded.

For a premium cable network's original drama to become successful, besides having necessary word-of-mouth promotion, it must employ marketing strategies akin to those of independent film companies aiming for big box office returns.

Historically, HBO's biggest selling point for its well-produced content was the hundreds of Emmy nominations frequently cited by the media. As long as there were outstanding works, no one had been able to outshine the Weinstein brothers at awards in recent years. Even with Forrest Gump sweeping the Oscars, Miramax still took both Best Actress and Best Supporting Actor awards.

While Eric was still in Europe, he had had several discussions with Harvey Weinstein over the phone. Weinstein had shown significant interest in taking over FFM, leading to this meeting.

Eric glanced at his watch, noticing their scheduled time was approaching, and he waved to the server to bring out a fresh pot of coffee.

Murdoch remained calm, but then suddenly adopted a serious tone, "Eric, you're about to turn 26, right?"

Eric's heart skipped a beat; that line felt eerily familiar.

What was coming next?

Just as Eric contemplated how to divert the conversation, a chubby figure appeared just in time to avoid any potential awkwardness. Eric had always embraced a single lifestyle. He had only chosen to settle down at thirty due to being pushed by his parents during the holidays. This time, Eric had no intention of being tied down, especially given the complex situation surrounding him, which clearly wasn't conducive to marriage.

...

"Good afternoon, Rupert, Eric. Hope I'm not late," Weinstein approached, warmly exchanging embraces with both men as they stood up.

"Of course not; we just arrived a little early," Eric happily released Weinstein, silently glad he'd shown up at such a timely moment.

Murdoch wore a somewhat helpless expression -- while he could be as cunning as a fox in business, he wasn't able to act coldly with his children like Redstone. Instead, like many traditional parents who spoiled their kids, he hoped for them to grow up, achieve something, and start families. Unfortunately, his children brought him worry. The issues with his youngest daughter and oldest son were one thing; his youngest son James recently got caught street racing, fortunately without any accidents this time around.

Noticing Murdoch's unusual expression, Weinstein stood up to take the coffee pot from the server to fill their cups, casting a curious glance at Eric.

Eric felt he couldn't explain the situation, so he simply ignored Weinstein's look.

Fortunately, Murdoch didn't linger on his concerns for too long and soon initiated conversation, "Harvey, have you thought about that deal we discussed?"

Weinstein quickly replied, "Of course, I'm very eager to take over FFM, but I do have some questions."

"Go ahead."

Weinstein gathered his thoughts and said, "If I were to manage FFM, would I only need to answer to you and Eric, um, and those at MGM?"

Murdoch looked at Eric.

Eric responded, "Absolutely. FFM operates independently, and the management teams of the three companies have no jurisdiction over you. However, I would appreciate it if you could work cooperatively with them."

Reassured by Eric's words, Weinstein felt relieved. Miramax had done well in recent years but was still just a subsidiary of Twentieth Century Fox, lacking proximity to the parent company, News Corp. Weinstein was keen on seizing a larger platform and power in the media landscape, and with the weight placed on FFM by all three companies, he certainly understood it was a splendid opportunity.

"Also, regarding the salary..."

As he mentioned this, Weinstein rubbed his hands together in a seemingly bashful manner.

However, Eric wasn't fooled by Weinstein's demeanor. He laid out the plan he had crafted with Murdoch, saying, "Rupert and I hope you can sign a five-year contract with an annual salary of $250,000 plus 5 million options for stock."

Leaning on Miramax's performance, Weinstein had been receiving bonuses and dividends exceeding $10 million in the past couple of years. However, he didn't think a $250,000 salary was too low. Even Katzenberg only earned $750,000. In Hollywood, what everyone truly cared about were bonuses and dividends -- the real money. As long as the company performed well, the annual incomes of executives ranged from millions to tens of millions.

Weinstein also recognized the significance of the 5 million stock options in that package, asking, "Eric, what's FFM's total stock?"

Eric thought for a moment, saying, "Once the company integration is complete, it'll be around 400 million shares."

Stock options allowed shareholders to set a lower selling price for the management team, granting them the option to purchase a specified number of shares within a certain time frame. If the company's performance and market value hadn't grown, or had even declined, management wouldn't be inclined to cash out at a high price. However, if the stock price doubled or more, then purchasing at that price effectively amounted to a bonus.

Weinstein had reviewed some materials before and noted that FFM's current estimated market value was around $1 billion. 5 million options were equivalent to 1.25% of the total stock, and cashing them all would require just over $10 million, a figure he could manage.

However, even if FFM's market value doubled in five years, the profits he could glean from the options would only total just over $10 million, which fell far below his expectations.

https//Sayonara816.

[Chapter 791: The Family]

In the mid-1990s, the American cable television industry stood on the brink of explosion, buoyed by the wave of new technology.

As long as FFM was managed properly, by the peak of this technological wave five years later, its valuation would not merely double -- it could increase five or even ten times, which was a very conservative estimate. Erik's promise to Harvey Weinstein of options worth over ten million dollars might yield returns exceeding one hundred million dollars, provided FFM's development met expectations. Erik was also prepared to be generous in compensating management.

However, Harvey Weinstein did not share this optimistic view. After all, not everyone could see the future. He shook his head and said, "Erik, I can accept a salary of $250,000 a year, but one million shares in options is too little."

Erik replied, "Harvey, after you take over this cable company, if it grows at a 30% annual rate, in five years the company's value will be around four times what it is now. Your total compensation would exceed $40 million, which is very generous. Whether at Firefly or News Corp, there are no more than ten executives earning in the tens of millions annually."

Harvey opened his mouth to rebut but couldn't find the words. He certainly couldn't say he doubted the ability to achieve a 30% growth rate. For enterprises that had already passed their rapid development phase, achieving such growth was indeed challenging, often just about maintaining the status quo. However, for a newly established company like FFM, with ample funding and resources, failing to hit a 30% growth rate would not bode well for success.

Seeing Harvey hesitating, Erik added, "If you think the risk of the options is too high, we can set up a separate bonus structure. If you meet your annual performance targets, you would receive this bonus. But I can only offer a maximum of $5 million in bonuses each year."

When Sony hired Peter Guber to manage Columbia, they used a similar structure, with Guber's contract also spanning five years, and Sony promising a bonus of $50 million. In the end, Guber collected that bonus, leaving Sony with a mess.

Sony got caught because they were outsiders; Firefly and News Corp were not likely to make that mistake. However, at the level of a major film studio CEO, even a bonus of $50 million was significant, and Erik could hardly set a higher limit for Weinstein, lest it upset other executives of the same rank.

Harvey clearly understood the rules, and his expression showed more hesitation. Opting for a bonus was undoubtedly a safer choice.

Though he had made a good amount at Miramax these past two years, that was during prosperous times. The film industry was always unpredictable; he could easily find himself with no dividends the following year due to losses.

But the potential high returns of options were equally enticing, albeit accompanied by high risks. Erik's vision of continuous growth was merely an ideal scenario. Should there be a year of substantial losses causing FFM's valuation to plummet, the efforts of the previous year or two could easily be rendered meaningless.

In the end, Weinstein asked, "Erik, can you give me a few days to think about this?"

"Sure," Erik nodded, not expecting Weinstein to agree on the spot. "If you're not in a hurry to leave, perhaps you could hear my thoughts on FFM. It might help you decide whether to accept this position."

Harvey smiled readily, a hint of flattery in his tone. "I would love to. I think no one would pass up this opportunity."

From its inception, FFM targeted HBO as its benchmark.

Since HBO's founding in the early 1970s, it had changed its slogan eight times, reflecting its exploratory journey into the paid cable model. The current slogan, established in 1993, was "We're Out of Town Today." HBO's most classic and longest-used slogan, which signaled its business model had fully matured, was "This is not TV. This is HBO." That tagline had yet to be unveiled.

"This is not TV. This is HBO" represented HBO's core business principle, offering viewers a viewing experience that was entirely different from regular television programming. Built around this core idea, HBO maintained a commitment to invest heavily in producing a vast array of critically acclaimed original series while introducing hundreds of outstanding films each year.

Since HBO had not yet launched its classic slogan, Erik had no hesitation in proposing, "This is not TV. This is FFM."

Drawing on memories from his past life and recent research, he discussed in detail with Murdoch and Weinstein the development strategy he envisioned for FFM.

Determined to use the slogan "This is not TV. This is FFM," this paid cable channel would have to eliminate the traditional TV model that relied on advertising revenue and instead gain profits through user subscriptions and rights management. While attracting quality content, FFM needed to produce more high-quality original series. However, this didn't mean just throwing money at big-budget projects; rather, it involved creating works that resonated with its audience of elite social demographics, more open, thought-provoking, and artistic in nature.

The three then discussed other specifics like brand building and focusing on user satisfaction until around 8 PM, after which they finished dinner and parted ways.

...

After a busy day, feeling somewhat fatigued, Erik opted not to return to the Liberty City Manor but instead went to Drew's residence at the Trousdale estate.

With no one home, Erik dismissed the driver and used his key to let himself in.

After a quick shower and donning a bathrobe, he settled into the living room, turned the television on, and sat on the sofa with his laptop, flipping through emails while watching TV.

From Weinstein's reaction when he left, it seemed he had nearly decided to accept the job, and was only likely to negotiate over salary. With the right management in place, Erik also began considering his next moves.

In the media realm, the crux of competition ultimately hinged on content.

For FFM to quickly establish its brand, merely acquiring external film rights would not be sufficient; original content that could generate substantial buzz was essential.

Aside from the rights already taken for Lifetime's Sex and the City, the first show that came to Erik's mind was The Sopranos.

In HBO's lineup, The Sopranos held a standing comparable to that of Netflix's House of Cards. Although HBO had previously produced acclaimed shows like Sex and the City, Six Feet Under, and Band of Brothers, it was The Sopranos that truly propelled HBO to dominance in the pay cable industry.

This television masterpiece often ranked as the greatest drama in various media's "greatest TV shows of all time" lists. While Sex and the City had a significant impact, its appeal was largely limited to women, while The Sopranos became a nationwide conversation piece.

Typically, series of equal quality garnered higher ratings on public networks than on basic cable, which usually outperformed paid cable. Due to the fewer potential viewers, very few paid cable programs made it into the top rating spots, yet The Sopranos did exactly that. During HBO's peak, it achieved viewership exceeding ten million, a staggering feat considering that the total subscriber numbers for other pay cable networks only reached several million. The Sopranos' miraculous ratings were pivotal in cementing HBO's reign over the paid cable sector.

The rise of The Sopranos stemmed from numerous factors, but the show's high quality and its alignment with American media and audience tastes were paramount.

...

While Erik's presence altered Hollywood's history, writer David Chase still penned the script for The Sopranos, as the idea had been conceived from his own childhood experiences that had brewed in his mind for years.

David Chase had already garnered some recognition in the television industry, having produced the hit CBS series Northern Exposure.

However, selling The Sopranos' script was not straightforward. By the time Erik became aware of this, major networks, including ABC, had received the script but ultimately rejected it. The executives at these prominent networks showed no interest in a stylistically dark and unconventional mob drama, leading to unanimous rejections.

In the annals of history, The Sopranos' production journey was fraught with difficulties. After failing to sell it to major networks, David Chase aimed for smaller cable channels. HBO finally acquired the script in 1997, but interest in production was lukewarm. It wasn't until David Chase insisted that HBO approved funding for a pilot. Chase directed the pilot, but HBO shelved it for over a year. Only in 1999 did The Sopranos finally premiere on television, resulting in its astonishing rise.

Recently, Erik had also instructed Firefly's rights department to reach out to David Chase again to secure the script. There was another intriguing twist: David Chase's agent, named Brad Grey, had been Weinstein's assistant and had now started his own production company.

Erik certainly wouldn't deal with this directly; that would only invite others to pounce.

He specifically instructed the head of the rights department to keep him updated on the negotiations for The Sopranos. After opening his inbox, he soon found an email related to it.

Perhaps sensing Firefly's changed attitude towards The Sopranos, David Chase had begun demanding to direct and produce the series himself, along with involvement in casting, while Brad Grey was reluctant to relinquish control of the project's production entirely.

Compared to the bigness of Firefly, Brad Grey's production company seemed more like a small workshop. As long as the other party wasn't greedily trying to share the rights, Erik didn't mind giving them a taste of success. As for David Chase wanting to be involved in the production, that was something Erik was keen to see.

...

After drafting a reply, Erik closed his email window and opened Yahoo to browse the latest news.

After what felt like forever, as Erik was nearly dozing off on the sofa, Drew finally returned from the outside with the twins, adorning a blue evening gown.

"Erik," she called as she walked in, leaping into his arms and planting a sweet kiss.

Erik pushed aside the laptop that was wedged between them and wrapped his arms around her waist, asking, "Where have you been? You're so late!"

"I haven't been gallivanting! It was a godfather's party! I couldn't very well not go," she replied, wriggling closer to him and raising her little legs to shake them. The twins quietly approached, helping take off her high heels and automatically tidying the laptop that had tipped over. One of them softly asked, "Boss, do you want to take a shower?"

"Sure, Eric and I will shower together."

Erik grinned, noting, "But I've already showered."

"Then we'll just take another shower together," she cooed, clutching Erik's neck like a child.

Feeling unable to say no, Erik nodded. Once the twins left to prepare hot water, he asked, "What did Steven invite you all to this time?"

"It was still about some business collaborations," Drew replied, clearly uninterested in talking about it. "Anyway, I just feel that godfather won't make it big this time."

Erik chuckled. At the end of last month, with Microsoft's backing, Steven Spielberg announced a new studio plan in partnership with David Geffen, George Lucas, and others. Perhaps Erik had appropriated DreamWorks' name ahead of time, as they chose not to rename the new studio but rather consolidated all the resources under Spielberg's Amblin Entertainment.

Microsoft's initial investment was $500 million and promised to provide technological support in visual effects and computer animation, gaining a 25% stake in Amblin. George Lucas merged his Lucasfilm and Industrial Light Magic into the company, also acquiring a 25% stake. Amblin would also obtain the rights to produce Star Wars. For the remaining 50% stake, with Spielberg retaining only 30%, while Geffen, as one of the project's original initiators, held a mere 20%. This implied that he was being subtly pushed out of the core group, and it was predictable that as Microsoft conducted second and third rounds of funding, the first shares to be diluted would certainly be Geffen's.

Additionally, Amblin signed an agreement with Paramount for the distribution of eight films over the next five years.

Erik had been closely monitoring these developments, and like Drew, he felt that the likelihood of Spielberg and the others expanding the studio was low.

Putting aside issues like distribution channel weaknesses or the suppression from the original big seven studios, both Spielberg and George Lucas were not particularly ambitious individuals. Although many referred to Spielberg as a film mogul, his somewhat indecisive nature was ill-suited for running a major studio.

During the recent negotiations, it was rumored that Spielberg had expressed to his partners that he would do his utmost to run the company while maintaining the right to engage independently with other film companies. Did that sound like something someone ambitious could say?

There was no doubt that Spielberg had talent in filmmaking, but he could not match Erik, who had the advantage of foresight. In the original timeline, even after years of establishment, DreamWorks had seen very little profitability from live-action films, with the solitary stable business being the animation division, which was overseen by Katzenberg. Eventually, that too opted to split from DreamWorks and go public, leading to an inevitable estrangement among the partners, ultimately parting ways.

https//Sayonara816.

[Chapter 792: Taking the Leap]

Unless Spielberg and his colleagues could secure a major Hollywood studio acquisition with Microsoft's backing, and establish solid distribution channels, the chances of the new Amblin Entertainment making a mark in Hollywood were very slim. At least in recent years, Eric hadn't given this production company much thought.

After a deep discussion with Harvey Weinstein and several negotiations, they finally confirmed his takeover of FFM Television. Eric subsequently managed to secure the script for The Sopranos.

Once Harvey Weinstein signed the contract, he began integrating the three acquired cable networks. At that point, FFM Television only existed as a planning proposal. The integration of the networks, from staff to broadcasting channels, would take at least a few months. The best estimate was that FFM could officially launch under that name in September.

Once FFM was up and running, it would certainly require an adjustment period to form a stable user base. During this tumultuous time, rushing to release The Sopranos wouldn't be a wise decision. Eric planned to roll out the series next fall, giving creator David Chase ample time to refine it further.

Eric juggled multiple projects including FFM Television, Titanic, Rush Hour, and Bad Boys 2, up until late May when Hollywood studios started launching new films, signaling the official arrival of the summer blockbuster season in 1996.

...

The release date for The Matrix was set for May 31. Before that, only Warner Bros.' A Time to Kill managed a decent box office.

A Time to Kill starred African American actor Samuel L. Jackson, and it tackled themes of racial conflict in America. Honestly, films of this nature didn't sit well with critics. Given the racial issues they raised, reviews tended to be tepid as critics struggled to offer fair evaluations without stepping on sensitive toes.

A Time to Kill averaged a media score of around 7, which was neither good nor bad. If not for the subject matter that made critics more lenient, the rating might have plummeted to a bare pass at 6. Thanks to Samuel L. Jackson and a few other stars, the film grossed over $23 million in its opening weekend.

Since racial-themed films often struggled to perform well overseas, considering its $40 million production cost, unless A Time to Kill became a sleeper hit, Warner Bros. seemed unlikely to recoup their costs in box office earnings.

Eric felt that Warner had picked the wrong timing for their release, habitually filling the summer season with a filler. With upcoming blockbusters like The Matrix on the horizon, A Time to Kill would face significant competition for screen time and box office revenue, making it almost impossible to sustain a long run.

If such a film had been placed at the end of summer, it might have achieved surprising box office success. After all, serious topics like racial conflict typically only drew interest from adult audiences; the most popular student group among the summer moviegoers will definitely not be too interested.

Of course, Eric didn't lose any sleep over Warner's woes because it seemed Firefly Productions was also facing challenges this year.

Since March, when Firefly had officially rated The Matrix as R, the media hadn't ceased discussing the film.

The novel version of The Matrix that Eric had initially written didn't delve into much philosophical thought. It was more of a wildly imaginative sci-fi tale. This genre naturally would have a hard time achieving an R rating without reasons to warrant it. The R rating stipulated that anyone under 17 must be accompanied by an adult, effectively excluding amajority of the summer's teenage audience from theaters.

Due to this inherent restriction, R-rated films in North America rarely grossed more than $200 million. Two years prior, Cameron and Catherine faced off with True Lies and Saving Private Ryan; both films were massive hits, yet their R ratings kept their North American gross slightly above the $200 million mark.

That $200 million mark was widely acknowledged as the glass ceiling for R-rated films.

Even if The Matrix crossed the $200 million mark, along with international earnings, Firefly could still turn a profit. However, that was far from industry expectations.

Many believed the creativity of The Matrix was on par with Jurassic Park, which had both grossed over $300 million in North America. Thus, The Matrix should have had similar box office potential.

After the film's R rating was announced, the media largely blamed novice directors, the Wachowskis, for potentially mismanaging the project. Even within Firefly, some shared these concerns. Katzenberg hinted to Eric that he should personally step in to edit a PG-13 version of The Matrix.

However, Eric dismissed those demands.

Aside from The Matrix, Titanic, which was still in post-production, also became a media focal point. Headlines like "Titanic's production costs exceed $200 million, could Firefly repeat Warner's WaterWorld blunder?" proliferated across major news outlets.

Perhaps due to Firefly's aggressive past performance, many seized the chance to dream of a reversal of fortunes amidst the studio's slight downturn this year.

Eric merely chuckled at such talk. Not to mention that nothing was certain and even if Firefly encountered setbacks this year in film, it wouldn't significantly harm the already solidly established Firefly Group, which continued to flourish.

...

While Eric didn't care much about outside opinions, others did.

Cameron clearly understood that if a $200 million film flopped at the box office, it could deal a devastating blow to his career. Thus, despite his relentless pursuit of perfection still manifesting, his temper had boiled over recently at work, with an increase in outbursts and raised voices.

Eric received a call from Stan Winston, ready to lend support by assuring Cameron that Firefly could handle the film's failure.

"Of course, if you feel bad about it, how about helping Firefly with another movie after Titanic?" he suggested.

Cameron was touched by the support and once again accepted Eric's suggestion to take on the first major film in the Marvel Cinematic Universe series, Spider-Man.

Why "again"?

Because Cameron had originally intended to make Spider-Man back in 1991. Carolco had bought the rights from Marvel. Unfortunately, Cameron's script was deemed too explicit, with scenes featuring Peter Parker and Mary Jane in a compromising position on the Brooklyn Bridge, which would have been rated R. In the end, due to financial and logistical issues, he abandoned the project, and Eric later reclaimed the rights.

This time, since Cameron was voluntarily entering the fray, Eric wouldn't allow him free rein. As the kickoff movie for the Marvel Cinematic Universe, the new Spider-Man needed to set an overall tone, meaning its R rating was out of the question.

...

By the time Eric wrapped up the tasks that required his direct attention, it was already the end of May.

On May 27, the premiere of The Matrix took place at the Los Angeles Music Center. After attending the premiere tonight, Eric planned to fly to the Bahamas tomorrow, where the Casino Royale crew was gathering.

While both inside and outside the company expressed concern over The Matrix's box office prospects, the premiere was as grand as past major film openings.

Alongside the Wachowski brothers, lead actor Keanu Reeves, and other production team members, many Hollywood stars showed up to support the event.

Eric arrived with Drew at 6:30 PM. The red carpet was buzzing, and they caught a glimpse of the Charlie's Angels trio stylishly making their entrance.

Although Casino Royale and Charlie's Angels featured intersecting storylines, the Angels' screen time was carefully limited to under ten minutes. This was a clever marketing strategy; a brief crossover could excite the audience without fully satisfying them, thus building anticipation for future story overlaps.

Charlize and her co-stars primarily filmed in Europe, with shooting set to begin in a few months, so they weren't traveling to the Bahamas.

Eric and Drew walked the red carpet, ignoring the excited questions from reporters. They smiled for some photos before entering the premiere venue.

After greeting the attending guests backstage, it was nearly seven, and everyone moved toward the screening room.

Eric sat beside Katzenberg, while Andy Wachowski took a seat on the other side. Knowing Eric would likely want to discuss some matters, the Wachowski had the good sense to choose a seat further back reserved for star guests.

Once the theater filled up and brief remarks were made, the film began.

Watching the familiar Firefly logo soar into the sky, Eric noticed Andy Wachowski's clenched fists. He reached over and patted his shoulder, saying, "Andy, be confident; I'm really optimistic about this film."

Andy smiled at Eric. He certainly had confidence, but the fate of a project with over a hundred million in investment weighed heavily on his future directing career. Even the most self-assured person could feel anxious in such circumstances.

Eric was highly delegative with this project. After agreeing on a script very similar to its previous iteration, he rarely interfered in the day-to-day filming tasks. Of course, when it came to the "bullet time" special effect that added a unique touch, he mentioned it when he noticed the crew had overlooked it.

Aside from some character changes, the storyline of the new Matrix remained largely unchanged from the original. It wasn't that Eric didn't want to ameliorate some past flaws; he simply knew that unless he devoted a significant amount of energy to oversee the project, excessive interference would disrupt the shooting rhythm established by the Wachowski brothers. The outcome would certainly be counterproductive.

...

The story began with Agent Smith's pursuit of Trinity. Hinting at the virtual world, the entire visual palette displayed a soft green hue, and together with the film's dark overall tone, many critics instinctively felt it revealed a lack of directorial skill from the Wachowskis.

It was only when Trinity executed a stunning 360-degree flight kick that critics realized this film might not be as lackluster as expected. Combined with its stylish action designs, mere seconds of the fight scene left many fans in attendance breathless.

After an intriguing opening, Keanu Reeves, as the protagonist Neo, entered the scene. Neo was a top hacker on the brink of awakening. When Trinity reached out to him, he experienced a series of changes and met Morpheus, the leader of the rebellion, ultimately choosing to return to the real world.

The real world two hundred years later.

As Neo awakened, a massive human-rearing facility providing bio-energy for robots appeared on screen, while disturbingly realistic effects crafted in the digital realm drew gasps. Some viewers instinctively touched the back of their heads.

As the story progressed, discerning critics noticed the film's clever use of color. In the virtual world, a green sheen enveloped the surroundings. Yet the moment Neo returned to reality, that green glow disappeared, and people could only see a stream of green data flowing on the ship's displays.

At the same time, Neo's dialogues with various members of the resistance and the Oracle regarding reality and illusion added a philosophical layer beneath the sci-fi surface.

However, these insights were primarily from seasoned critics. Ordinary audiences were already enchanted by the film's contrasts between reality and illusion, particularly during the final battle, where the "bullet time" effect re-emerged, once again thrilling many viewers.

As the film concluded with Neo's suspenseful monologue, the lights came up. After a brief silence, the screening room erupted into enthusiastic applause, with some impassioned fans shouting the names of various contributors to the film.

https//Sayonara816.

[Chapter 793: Action!]

"The Matrix premiered in Los Angeles to rave reviews, generating a strong response from audiences and enthusiastic critiques from film critics."

"Renowned film critic Peter Roger told a Los Angeles Times reporter after the premiere that The Matrix was the best film he had seen in the past several years. The film's philosophical exploration of the virtual versus the real represented a complete elevation of the original novel's themes. The innovative filming techniques such as bullet time and the 360-degree camera rotation were truly eye-catching."

"The Wachowski brothers showcased astonishing directorial talent as Hollywood newcomers, while Eric Williams proved once again his exceptional vision for film production."

"..."

...

Following the overwhelmingly positive premiere, Firefly Group eased its concerns about The Matrix's box office prospects. They began small-scale limited screenings in major cities like Los Angeles, New York, and San Francisco. Coupled with a final wave of intense promotional efforts, the film's reputation and visibility quickly skyrocketed.

From the May 27 premiere to the official release on May 31, The Matrix grossed $680,000 from limited screenings on 26 screens in major North American cities within just three days. Furthermore, the midnight showings on May 30, when the film opened on 3,100 screens across North America, surpassed the previous record set three years earlier by Jurassic Park, pulling in a staggering $4.65 million.

Once those figures rolled in, the media that had initially doubted The Matrix fell silent. Executives at various film companies secretly counted their blessings for not scheduling their summer blockbusters to release against The Matrix.

Even Universal, which had moved the release of The Mummy 2 following the delay of Titanic to a week after The Rock, expressed quiet anxiety that The Rock might match the quality of The Matrix. Despite The Mummy 2's solid audience base and excellent test screening feedback, the clash of two strong films could lead to mutual annihilation.

In the original timeline, Warner Bros. maintained a decidedly lukewarm attitude towards The Matrix from the start of production to its release, even slotting it in the relatively quiet Easter period. Nevertheless, the first film managed to achieve an impressive $170 million in North American box office on a modest budget of $63 million, far outpacing the $170 million Will Smith's Wild Wild West, to become Warner Bros.' top-grossing film of the year. Thanks to the phenomenal buzz from the first installment, even though the second film's quality fell significantly, it still opened to $150 million.

The new Matrix maintained the core team and main plot from the original while vastly improving in production quality, marketing strength, and timing. While it might face R-rated viewing restrictions, preventing it from reaching the box office phenomenon that was Jurassic Park, it was nearly certain to perform better than the original.

Thus, following the premiere, Eric flew off to the Bahamas with ease to begin production on Casino Royale.

...

The Bahamas, like Canada and Australia, was part of the Commonwealth of Nations, where the British queen was honored as the head of state, resulting in the absence of a president in most cases. The Bahamas also retained its age-old system of governors.

As one of the best vacation destinations near the Caribbean, the Bahamas boasted over 3,000 islands, though fewer than thirty were commercially developed.

While many elements of the original film's storyline were retained, the new Casino Royale had transformed into two entirely different tales. The new script had few scenes set on the Panama islands. However, Eric kept the plotline involving a terrorist plot to attack an airport, which was not planned for Miami but instead set for the international airport in Nassau, the Bahamian capital. Coupled with a range of other changes, the filming schedule in the Bahamas extended over a month and a half.

To facilitate the shoot, the Bahamas government allocated an island named Providence for the crew to set up their scenes. They also provided full support for filming on other islands like Nassau and Paradise Island.

Eric arrived in the Bahamas on May 28, where producer Barbara Broccoli, lead actor Pierce Brosnan, and various main and supporting roles had already gathered at the crew's base in Paradise Island.

The crew, numbering in the hundreds, incurred daily expenses of several tens of thousands of dollars without even beginning any work. After arriving, Eric wasted no time resting and quickly got to work.

After all, it has been more than two years since he directed a film. He had worked on the Victoria's Secret Annual Fashion Show, but that was unrelated to film directing. In the days leading up to the filming starting on June 2, Eric adjusted back into his director's mindset. Fortunately, after dedicating his life to directing, his ingrained understanding of the profession allowed him to rapidly reacquaint himself with the role, mitigated by the strong backing of his production team.

On June 2, the beaches of Paradise Island in the Bahamas marked the official start of Casino Royale's shooting.

Following the principle of starting with easier scenes, they filmed the moment Bond met the film's third Bond girl on the beach first.

This shot was devoid of specific dialogue and relatively straightforward to film.

According to the hierarchy of roles, the first Bond girl was naturally Cate Blanchett. To impart some professional charm to her character, Eric arranged for Cate to experience life at Firefly's British branch. The second Bond girl, character-wise Cate's sister, was played by Christina Aguilera, who also took on the dual role of a backup angel for Charlie's detective agency.

Thus, the woman currently in the Bahamas was the third Bond girl. Eric did not meddle with the casting process for this role, but it was quite a coincidence that they chose Terry Hatcher, who, based on the original timeline, was also cast as the Bond girl in the eighteenth Bond film. Eric had seen her name on the casting list for Sex and the City the previous year, making it easy to guess that Terry was likely an ICM client; otherwise, she wouldn't have appeared in two key Firefly productions back to back.

Of course, Eric had better things to focus on than this tangled web of industry politics; Hollywood was inherently a complex chess game.

...

Standing behind the familiar monitor, Eric took in the shooting tracks around him, the actors in their spots, and his crew at work. A familiar rush of excitement flowed through him.

The assistant director waved at Eric, signaling that they were ready. Finally, Eric raised the microphone and addressed everyone, "Okay, Casino Royale, Scene 1, Take A!"

In the tracking wide shot, Terry Hatcher's character, Caterina, rode a white horse along the beach, followed by a group of excited children.

As the shot slowly panned, Caterina rode away, and the camera focused on the bright faces of the children. Eric made a hand gesture, "Cut! Good. Prepare for the next scene."

...

Being Eric's first shot after regaining control of the director's chair, as soon as the word left his lips, everyone around paused their work and gently applauded.

Terry Hatcher, supported by crew members as she dismounted, leaned in closer to Eric, pretending to watch the monitor, and casually remarked, "Eric, shouldn't we shoot a few more takes just for backup?"

The point was to play it safe, especially since a simple shot had been captured from four different camera angles for over a minute, and the editing would likely require only 15 seconds of footage, so there was no need for a reshoot.

"This shot is good as it is," Eric replied, shaking his head with a smile, gazing at the bikini-clad beauty before him. "There will be plenty of chances for NG, just hope you don't lose patience then."

"Of course not! How could I possibly lose patience in front of you, Eric?" the woman said, throwing a flirtatious glance his way as she walked away.

The surrounding crew feigned ignorance of the "interaction" between the director and the actress, each absorbed in their tasks while Eric just shrugged. Just like her character in the film, Terry Hatcher was also married in real life, and Eric wasn't one to chase after such women.

...

While Pierce Brosnan was preparing for his next scene, Eric shot a few empty beach and ocean shots with his longtime cinematographer partner, Nicole Frank. They then moved on to the next scene, where James Bond surfaces and first sees Caterina.

To be honest, Daniel Craig's body in the original film could only be described as "muscular," lacking any appealing aesthetic. Pierce Brosnan, however, was entirely different; he was a living mannequin in a suit, and stripped down, his physique that he shaped specifically for Bond -- featuring eight-pack abs, pronounced V-line, and long legs -- was enough to warrant gasps of excitement from a gathering of housewives and young girls.

In the shot, James Bond emerged from the water, slowly making his way toward the shore. Caterina dismounted, and as their eyes met, Pierce Brosnan broke into an appreciative grin while Caterina turned slightly shy, casting a few glances at Bond before leading her horse away.

This was the second official shot. Eric did not want to call cut, but watching Pierce Brosnan's performance in the monitor made him raise the microphone, "Cut! No Good. Pierce, Terry, could you come over, please?"

The two quickly approached, with Pierce wiping off water with a large towel that a woman from the crew had just handed him.

Holding the script, Eric gestured as he explained, "So, Pierce, your eyes were a bit too purposeful just now, as if you were searching for something. That's not right. I need your gaze to be more casual. And Terry, you shouldn't just be curious; there should also be a sense of attraction. Uh..." Eric said, nodding toward Pierce Brosnan, his expression serious, "Isn't such a charming male figure worthy of your admiration?"

Pierce Brosnan looked slightly awkward, while Terry Hatcher nodded slightly, "Okay, Eric. I think I understand how to approach that."

"Alright then, let's do it again," Eric signaled for them to reset.

...

In the original, James Bond did intend to seek out leads left by the bomber. However, in this version, their encounter was purely coincidental.

Caterina's husband, Alex, was a middleman involved in grey-area dealings with the Spectre. Bond, sent by M to the Bahamas for rest and relaxation, happened to meet Alex's wife, Caterina, on the beach. They would unexpectedly meet again at the casino on Paradise Island. Noticing Alex's cold and rough demeanor towards Caterina, Bond, who had a soft spot for the ladies, decided to punish him by winning Alex's Aston Martin at the card table, and this car would become a pivotal item that ensnared Bond in the Spectre's web.

One clear characteristic of this installment of Bond was Eric's intention from the script stage for 007 to enter a phase where real storytelling unfolded.

Past installments of Bond largely relied on flashy stunts and spectacle. They shot in various locations worldwide, with massive explosions and chaos. Though big-budget films often suffered from weak stories, the Bond franchise rarely took the time to properly weave a narrative. Prior to the 1990s, due to the subpar filming technology, these gimmicks could attract large audiences, but as cinematic special effects advanced, audiences would grow accustomed to thrilling visuals like apocalyptic scenarios or alien invasions. Continuing to follow its original formula would inevitably lead the Bond series to decline.

In the original timeline, Pierce Brosnan's portrayal of James Bond garnered much praise, but because of the poorly constructed stories in several films he appeared in, the continuity of the plot was riddled with holes. Even within a single film, there were unrelated plot threads, leading to a mediocre performance at the box office.

It wasn't until Daniel Craig took over as 007 that the series began to awkwardly convey a somewhat coherent story. Perhaps attributing his success to a bit of luck, Daniel Craig's four Bond movies, beginning with Casino Royale, brought in about double the total box office of Pierce Brosnan's entries, making him the highest-paid actor to play Bond in history.

The first day's shooting went incredibly smoothly. Due to it falling on a weekend, the crew decided to wrap up early and later hosted a small opening party at the resort where they were staying on Paradise Island.

On the second day of Casino Royale's official filming, the North American box office numbers for The Matrix's opening weekend rolled in successfully.

https//Sayonara816.

[Chapter 794: Breaking Through]

In the first week of June, the North American film market saw the release of only one heavyweight film, The Matrix. The other new releases were independent films debuting on around 1,000 screens each. In contrast, The Matrix dominated the box office, receiving excellent word-of-mouth. During its opening weekend, it grossed an impressive $45.7 million. When adding the figures from previous previews and midnight screenings, the cumulative total reached $51.03 million.

In the following workdays, The Matrix experienced a modest drop of only 40% from its weekend box office. By June 7, the film's total earnings surged to $78.45 million, far outpacing the second-place film, A Time to Kill, which earned just $21 million in its second week. Clearly, The Matrix secured the top spot on the box office charts that week.

Once the figures were released, there was no doubt left that the Wachowski brothers had not botched the project; they became Hollywood's hottest new directors and were in high demand.

...

In Burbank, at the Firefly Group headquarters, Jeffrey Katzenberg had just returned from a business trip to New York.

April and May each year were crucial months for North America's television networks and cable channels, as they finalized their plans for new shows and advertising bids. During this time, Firefly's ABC network, Disney Channel, and AE Network would establish their programming and advertising plans for the entire year.

Having just attended the weekly film distribution meeting and returned to his office, Katzenberg found his assistant had placed the advertising bid data report for Firefly Television on his desk.

After two months of advertising bids, ABC had set a new record with $2.3 billion, driven by its heavyweight shows like Friends, ER, and Survivor. This was a significant leap from ABC's previous high of $1.9 billion in 1992.

Moreover, ESPN, Disney Channel, and Lifetime collectively edged towards $1.97 billion in advertising revenue.

With these two figures combined, Firefly's television segment was projected to achieve $4.27 billion in advertising revenue for the 1996-1997 fiscal year.

Aside from advertising revenue, Firefly's television business generated income through syndication rights, licensing, video sales, and international distribution. Historically, advertising revenue accounted for about 30% of the overall segment income. This calculation suggested that Firefly's television business could reach total revenues of $14 billion for the year, reflecting expected growth of over 35% compared to the previous year.

Katzenberg was not a blind supporter of public listings. During his time at Disney, he had been reluctant to join the board because, as a publicly traded company, Disney was required to disclose the salaries of its board members, and he preferred to keep his financial information private.

However, as he gazed at the advertising bid report, he couldn't help but fantasize about what might happen if Firefly ever went public. The exposure of this advertising data could significantly boost stock prices -- perhaps even a 10% increase would be a conservative estimate, leading to a staggering market value for Firefly.

Just then, there was a knock on the office door. "Mr. Katzenberg, Mr. Kote and the Wachowski brothers are here," his secretary announced as she entered.

Katzenberg nodded and rose to greet Robert Kote, the producer of The Matrix, and the Wachowski brothers who had come into his office.

In light of The Matrix's surprising box office success, the Wachowski brothers eagerly wanted to discuss plans for a sequel with Firefly's upper management. With Eric Williams filming Casino Royale in the Bahamas, Katzenberg took the reins on this meeting to underscore the importance he placed on the Wachowskis.

After engaging in friendly small talk, Katzenberg instructed his secretary to bring in coffee and suggested they move to the small conference room next to his office.

Once seated around the conference table, coffee was quickly served. Katzenberg gestured for the brothers to take their time while sipping his coffee before asking, "So, do you have a complete concept for the sequel?"

Robert Kote glanced at the Wachowski brothers as Andy Wachowski pulled a script from his bag, saying, "Actually, we designed the script with a trilogy in mind. Here are the scripts for the next two films; you can take a look, Mr. Katzenberg."

"Just call me Jeffrey," Katzenberg replied with a smile as he took the script.

Andy nodded, explaining, "We hope to shoot the sequels back-to-back. This would save some production costs and better maintain continuity in style and storyline across the films."

As Katzenberg skimmed through the script, he didn't lose sight of the performance metrics for The Matrix, taking into account the overseas box office results in various territories. He anticipated that the film could earn around $600 million globally. With a production and marketing budget of just over $100 million, Firefly could see a profit exceeding $100 million.

He flipped the script again and stated, "Of course, if possible, filming both sequels back-to-back could work."

Upon hearing Katzenberg's response, both Kote and the Wachowski brothers wore satisfied expressions. They refrained from further interjecting while Katzenberg continued to read. Though they wanted to discuss the director's salary for the sequels, they sensed that it wasn't the right moment.

Katzenberg quickly browsed through the two sequels' scripts but grew increasingly puzzled. Half an hour later, he lifted his gaze toward the Wachowski brothers, shaking his head. "To be honest, Andy, Larry, I don't quite understand."

Both brothers looked taken aback. Andy remarked, "Jeffrey, maybe you're just reading too quickly."

"No," Katzenberg shook his head. As a staunch advocate for high-concept films, he preferred stories that could be summed up in a single sentence. However, as he read the scripts, he felt lost regarding the Wachowski brothers' intentions. If he had to use a somewhat blunt term, it would be convoluted. He observed that issues which could be clearly explained were shrouded in mystery, and certain actions taken by the main character Neo seemed utterly baffling: "I mean, the story of the sequels is too... esoteric."

"But audience loves it, don't they?" Robert Kote countered, saying, "Jeffrey, people praised the philosophical elements present in the first film. I think deepening that aspect in the sequels isn't a bad approach."

"I don't think it's deepening. The philosophical elements in the current release were just right, and audiences were primarily interested in the overall story, along with the film's innovative shooting techniques and explosive action scenes." Katzenberg shrugged before continuing, "While the scripts for the sequels contain similar elements, the entire narrative seems overly complicated. I believe you guys need to revise the script."

Given Katzenberg's fiery and tough nature, his patience in articulating these remarks showcased a great deal of restraint. He wasn't someone who lacked people skills; otherwise, he would have tossed out phrases like "nonsense" without a second thought.

The attention the media had been giving the Wachowskis lately left them feeling a bit irked. Andy Wachowski suggested, "Jeffrey, perhaps we should let Eric see the script; I believe he will appreciate it."

In any corporate structure, it's considered inappropriate to elevate issues beyond one's level directly. Not only did this disrupt the management hierarchy, but it also undermined the authority of the respective management tier. By suggesting letting Eric view the script in front of Katzenberg, Andy practically slapped Katzenberg in the face.

Robert Kote noticed Andy's reckless comment and felt his expression shift slightly, thinking that even if they would submit the script to Eric Williams, it shouldn't have been mentioned in front of Katzenberg. As a producer within the Firefly Group, Kote knew full well that Katzenberg was not the type to engage kindly with his subordinates.

However, to Kote's surprise, instead of erupting, Katzenberg's lips curled into a strange smile. "Of course, that's no problem. I can have my secretary send the script to Eric right now."

Having worked together for so long, Katzenberg was fully aware of Eric's cinematic vision. Although Eric liked innovative projects and occasionally made unexpected investments, his commitment to high-concept cinema matched Katzenberg's. To put it plainly, Firefly's rapid rise over the years was closely tied to its firm dedication to producing high-concept commercial films.

While critically acclaimed artistic films often gained considerable respect from the public in Hollywood, the reality was that both major studios and independent producers cared primarily about the commercially viable films that critics deemed 'lowbrow.'

Knowing that such a cryptic script would likely invite scorn, Katzenberg would gladly consume the assembled script if the Wachowski brothers did not get a rude awakening.

As he noticed that none of the three were speaking, Katzenberg summoning his secretary. He directed, "Sally, please fax this script to the Bahamas immediately."

"Sure, Mr. Katzenberg," she replied, taking the script and leaving the conference room.

Katzenberg did not intend to create a rift, as he understood that despite opposing the Wachowskis' script, the filming of the sequels would still rely on their direction after modifications.

"So, it's nearly noon, and there's a great restaurant nearby. Why don't we grab lunch together? Eric's been quite busy, and he might take a couple of days to respond, so you may have to be patient."

The Wachowski brothers were still trying to process Katzenberg's recent actions, but Robert Kote quickly stood up, suggesting, "Of course, Jeffrey, how about I treat you?"

"No, of course, it's my treat," Katzenberg countered, looking at the Wachowski brothers.

Having enjoyed much success lately, the brothers felt momentarily stumped by Katzenberg's rejection, instinctively wanting to use Eric to pressure Katzenberg. Yet, they were not ignorant and soon regretted their earlier statements.

Seeing that Katzenberg bore no signs of anger, the brothers finally caught on to the offer. Andy Wachowski said, "Of course, it would be our honor."

...

In the Bahamas, on Paradise Island, Eric had not seen Ivanka for nearly three years. The once-proud girl had blossomed into a 15-year-old young lady, inheriting her mother's modeling genes. At this point, she had reached nearly 5'7" tall. Although she still held some baby fat in her face, standing next to future supermodels like Gisele, Alessandra, and Miranda, she appeared equally poised.

Casino Royale had been in production for a week. Managing the extensive crew under the usual double-weekend policy was quite extravagant, especially since they were not in the U.S. The production company had signed agreements with crew members and actors that required six days of work followed by one day of rest.

Gisele and the other girls flew down to the Bahamas two days prior alongside Ivanka and her mother. After just finishing a rest day, Eric had arranged to shoot the four girls' brief scenes today.

As anyone grows older, their experiences and personalities change. Yet in front of Eric, Ivanka had lost her former pride and appeared more bashful instead. Coming from a wealthy family, she certainly understood the power and influence that Eric's considerable wealth represented far better than an average child would.

To him, Eric maintained an air of oblivion. He took the 'props' that had been prepared for Ivanka from the production assistant, seemingly intending to charm and coax her once again.

Outside the ocean park club on Paradise Island, the crew seemingly readied themselves, but most employees curiously watched as their director attempted to charm the film's exclusive 'mascot.' Gisele and the other supermodels donned tennis skirts and stood with their racquets, curiosity evident on their faces. Even Ivanka's mother, Ivana Trump, watched the scene with great interest.

https//Sayonara816.

[Chapter 795: Two Years and Nine Months]

"Ivanka, given the filming conditions, we're switching this doll for the puppet backpack," Eric said, holding up a green, oval-shaped puppet backpack with exaggerated big eyes and slender limbs, gesturing to Ivanka. While the puppet backpack might look a bit strange at first, not at all like the cute stuffed bunnies or bears, its mischievous grin radiated a certain quirky charm.

"Hey, don't underestimate it. His name is Mike, and he's the main character in an upcoming Disney animated movie. They haven't even released the trailer yet, so you're definitely one of the first to see Mike..."

Ivanka stood across from Eric, wearing the same tennis dress as Gisele Bundchen's models, feeling shy under the attention of the crowd, some teasing and some mocking. Her cheeks flushed as she quietly interrupted Eric, "Eric, could you, you know, stop rambling? I never said I didn't want to."

Eric was taken aback, halting his speech, and handed the puppet backpack to the young girl, then lamented with a touch of sarcasm, "Ivanka, you've changed."

Many crew members, who had been with Eric since Home Alone, remembered how he had to coax and even bribe Ivanka with twenty dollars to get her on camera back in the day. Upon hearing Eric's comment, they couldn't help but burst out laughing, with even those who didn't fully grasp the context joining in the merriment, creating a joyous atmosphere.

Eric watched as the bashful girl hurriedly distanced herself and clapped his hands, saying loudly, "OK, everyone, let's get ready for the next shot. Save the laughter for after work!"

...

The scene they were shooting involved the Spectre discovering Bond's identity and suspecting the Alex couple of betraying the organization, leading to their execution. Bond witnessed Alex being assassinated and realized that Caterina was also in danger, causing him to rush back to Heaven Island only to find it too late: Caterina, like many Bond girls before her, met her end dressed in lavish attire on a big bed.

To uncover the truth, Bond headed to the Ocean Club to check the surveillance footage from before and after Caterina's death.

"Scene 3, Take 21 of Casino Royale!"

...

Bond parked the car and made his way to the plaza in front of the Ocean Club, squatting down to pretend to tie his shoelaces while glancing up at the surrounding surveillance cameras.

In another subjective camera angle from Bond's perspective, the camera panned across the plaza, revealing a group of four young girls clad in white tennis dresses laughing as they walked by.

This was Gisele's first experience on a film set, and Ivanka hadn't done anything similar in a long time. Although it was a long-distance shot, the girls' nervousness was apparent. Miranda even sneakily glanced at the camera.

...

Eric promptly called for a break and walked over to explain some pointers to the girls before resuming.

After several unsuccessful takes, Eric had to gather the girls together again. Gisele's trio looked increasingly anxious, and even Ivanka seemed a bit on edge.

Seeing their worried expressions, Eric couldn't get upset. He reassured them, "Relax a bit; just act like you're walking and chatting like usual, as if no one is watching, not even the camera. But I have to remind you, everyone's time is valuable. You only have three more attempts, and if it doesn't work, I might have to cut the scene, and you'll only appear from behind. Now, let's all take a deep breath and relax."

The girls obediently inhaled deeply. As they did, Eric's gaze drifted downward, appreciating how much these little beauties had grown.

Shaking off those thoughts, Eric clapped his hands, saying, "Alright, back to your positions, we'll try again."

Perhaps motivated by the potential for their scenes to be cut, the girls finally delivered stronger performances in the next few takes, and they successfully wrapped that part of the shoot.

...

In the following scenes, the girls crossed paths with Bond, who was mistaken by tourists for a valet. This resulted in a bit of chaos in the parking lot, diverting the security guards from the control room, allowing Bond to locate two assassins from the surveillance footage of Caterina's murder.

Using the leads from these two killers, Bond tapped into MI6's intelligence resources in the Bahamas and tracked the investigation to Miami, thwarting a plot by an organization attempting to blow up the latest prototype of Skyfleet Airlines on its test flight, leading to a confrontation with the Spectre.

Of course, these events wouldn't be wrapped up in a single day. After accomplishing several scenes at the Ocean Club, the day's shooting concluded.

...

At dinner time in the resort restaurant, where Casino Royale was stationed, Eric once again expressed his gratitude to Ivanka's mother. He recalled the divorce between Ivanka's parents, which he had experienced firsthand. Although there had been some unpleasantness between them, Ivana Zelnickova was ultimately the mother of Donald's three children, and over the years, tensions had eased.

Ivana said, "It's our pleasure, Eric. When we came here, Donald asked me to say hello to you."

"Oh, what has he been busy with lately?"

Eric casually inquired, while discreetly nudging some restless little feet under the table, silently warning Miranda not to cause any trouble. Gisele's trio sat right beside him, so the girls were clearly feeling a bit jealous as they watched him engage with Ivanka's family.

Ivana thought for a moment before glancing toward her daughter.

Ivanka replied, "Dad's in Washington. He seems to have received an invitation from the President and First Lady."

This happened to be an election year in the U.S., with several candidates vying hard for support. Eric didn't find it surprising; he had received a few invites himself, but he didn't want to get too involved in such matters.

Naturally, given the differing policies of each president, Eric was not keen on the idea of the next administration being led by a family that only waged wars over oil. To avoid too significant a deviation from the historical path, he chose to support Clinton, even though he personally didn't hold a favorable view of him. He had privately donated a sum of campaign funds as well. Clinton and his wife even wanted to pay Eric a personal visit in Los Angeles, but he declined. However, they continued to express their gratitude through multiple phone calls, recognizing that Eric's political contribution represented not just a hefty check but rather the stance of the entire Firefly Group in that election.

As Firefly had evolved into its current scale, each administration's policy could significantly impact the group's growth. Even if Eric wanted to stay clear of political affairs, he had to align himself with a party that served his interests.

Hearing Ivanka's comment made Eric ponder some elements from his past, so he asked, "Didn't your dad mention he wanted to run for president once?"

Ivanka looked puzzled but nodded.

Eric, half-jokingly, inquired, "So, Ivanka, what do you think it would be like if your dad actually became president?"

Ivanka tilted her head in thought, then shyly smiled but didn't respond, likely not wanting to speak ill of her dad in front of everyone.

Eric brought the subject up casually before quickly shifting to Ivana, saying, "If you're not in a hurry, you two could stay in the Bahamas a few more days. The resort has been rented out by the crew, and we still have some spare rooms. We plan to be here for a month."

"Thank you for the invitation, Eric," Ivana smiled, acknowledging his generosity. With Ivanka on summer break, they weren't anxious to head back to New York.

...

After dinner, Eric checked the day's footage as usual and returned to his suite around nine o'clock.

This resort had only recently opened, with most accommodations being individual hotel-style apartments. Other crew members shared their units, but Eric's unique position, in addition to handling various matters within the Firefly system alongside directing, made it impractical for him to share a space with others. Thus, he occupied a full unit by himself.

Upon entering, Eric found his assistant waiting for him.

"Mr. Williams, here's the script for the Matrix sequel that came in this morning from Los Angeles. Additionally, I have the detailed financial report for the new year's advertising bid for our television operations..." His assistant efficiently laid out several documents.

"Okay, you can head back and get some rest."

...

Eric dismissed his assistant, placed the documents on the coffee table, stretched his tired body after a busy day, and was about to take a shower when there was a gentle knock at the door.

Guessing who it might be, Eric smiled and shook his head before opening the door to find Gisele and her two friends waiting outside.

Noticing Eric's silence and curiosity, Gisele spoke up first, saying, "Eric, we just wanted to say goodnight."

"Come on in," Eric said, stepping aside as the three girls entered the living room.

Gisele and Alessandra joined Miranda, who had unapologetically plopped down on the couch. However, noticing Eric's amused gaze on them, Gisele quickly got up and said, "Eric, do you drink coffee? I can make you some."

"It's in the kitchen; just don't make it too strong," Eric instructed, observing as Miranda grabbed the remote and turned on the TV. "You all can watch TV. Just don't mess with the papers on the table. I'll go take a shower."

The two girls nodded obediently, and Eric headed upstairs.

...

After showering, Eric changed into a casual T-shirt and jeans and went downstairs, finding the three girls distinctly spread across two sofas. Gisele and Alessandra occupied one with the other side of the couch, while Miranda comfortably nestled alone on a single chair like a curious kitten.

Holding a thick stack of papers, Eric walked to a single chair on the other side. He pulled out the advertising bid report for the television business and casually asked Gisele, "This month's VOGUE should be out soon, right? How's the cover looking?"

"It won't be out until the 10th, but I was hoping to show you," Gisele replied, retrieving the bag she had brought earlier and pulling out a stack of photos to sit beside him on the sofa armrest.

Eric temporarily closed the financial report, accepted the photos from Gisele, and began admiring them one by one. The girls showcased soft smoky eyes, draped in a light gray autumn/winter coat, wearing heels as they languorously posed on a rectangular prop, looking very much like lazy cats gazing seductively at the camera.

Miranda had snuck closer without Eric noticing and looked at the photos in his hands, saying, "Wow, so pretty! But Eric, I can take pictures like these too."

Eric chuckled, while Gisele ignored Miranda and selected a photo where she was seated on a sofa, exuding queen-like confidence. Excitedly, she said in a hushed tone, "Eric, this one is going on the cover, but Anna said these photos turned out really well and gave me six more for the spread."

Eric was satisfied with the quality as well and said, "Once this issue of VOGUE comes out, you'll definitely be busy. So make sure to work hard."

"Of course, um... Thank you, Eric," Gisele replied, carefully leaning in. Seeing no objection from Eric, she kissed him on the cheek. Unfortunately, it seemed she miscalibrated her balance and ended up falling right into Eric's lap.

Sitting on the other chair, Miranda kicked her legs in a light-hearted gesture of displeasure.

Eric steadied Gisele in her seat and then seized Miranda's leg, still resting on his knee, marveling at her long, delicate limbs as he joked, "Only nine months, so don't get too rowdy."

Caught off guard by Eric's playful grip on her legs, Miranda leaned awkwardly against the armrest with a blush creeping onto her cheeks. She clearly didn't get Eric's humor, curious as she inquired, "What do you mean nine months?"

Eric patted Gisele's tanned, toned leg, saying, "Well, there's one year for Gisele, one year for Alessandra, and you're nine months."

Gisele and Alessandra appeared puzzled by Eric's new "unit of measure," but that didn't stop them from looking smugly at Miranda.

Miranda nudged Eric playfully, not wanting to be outdone, she quipped, "I'm not nine months. At least I'm ten, and I'm still growing."

"Sure, one day you'll get to ten months," Eric replied, releasing her legs. "Alright, go watch TV; make sure you're in bed on time."

Miranda pouted playfully, "Eric, can I sleep here?"

"Nope."

"But I'm scared of the dark," Miranda countered, desperately searching for excuses, "They're both sleeping together, and I'm left all alone."

"That's because I told them to sleep together. I'll find you a buddy too, okay?"

"Not a chance."

[T/N: the comparison is basically alluding to the phrase: "legs as long as a year."]

https//Sayonara816.

[Chapter 796: I Don't Have Such an Obligation]

During a break while filming Casino Royale, Eric took a week to read the scripts for the two sequels to The Matrix penned by the Wachowski brothers.

Although the new scripts contained some variations from the original plot, they still retained that elusive storytelling style that left people scratching their heads. In the original timeline, the Wachowski brothers had been granted enough production power during the sequel's development due to the first film's success, which allowed them to inject their personal touches into the two sequels.

The Matrix, with its impressive action sequences, innovative filming techniques, and profound philosophical themes, had stirred up a massive global response and amassed a legion of fans. The subsequent second installment, while beginning to unravel in terms of storyline, still managed to rake in over $700 million worldwide due to the box office clout of the first film and a plethora of special effects. However, the quality of the sequel fell significantly short of the original, rapidly depleting the franchise's accumulated popularity, which directly led to a box office disaster for the third film.

Many believed that the reason for The Matrix Reloaded's low box office performance was due to Warner Bros. scheduling the releases too close together, with less than six months between the two sequels. However, one could observe from Warner Bros.' methodical ten-year brand management of the Harry Potter series that they understood the reasoning behind spacing out sequels and its potential impact on box office sales. It was simply that The Matrix Revolutions had turned out so disappointingly mediocre that Warner Bros. dared not postpone its release. They decided to capitalize on whatever they could while the heat from The Matrix was still alive and arranged for an early premiere.

In fact, it proved to be the right move for Warner Bros.; had they delayed The Matrix Revolutions by a year or two, the impact of the first two films would likely have faded, and even hitting $300 million worldwide by that point would have been considered a success, making the $400 million break-even line unattainable.

Eric hoped for both sequels to be shot back-to-back to save on costs. However, in order to avoid the missteps that had plagued The Matrix series in the past, he dismissed that idea and, in his reply to the Wachowski brothers, rejected the back-to-back filming plan, insisting they rewrite the script.

Eric made it clear that if the scripts continued to fail to satisfy him, he would park the series for a long time. Firefly had already amassed sufficient rights over the years, and with the Marvel catalog alone, they had enough material to develop properties for the next thirty years. Therefore, the company did not heavily rely on these cash cow series and had enough confidence to pursue perfection.

...

Los Angeles.

The Matrix series had already entered its third week in theaters. With no strong new releases, the film saw only a minor 21% drop in its second week, bringing in $61.97 million, accumulating a total box office of $140 million over two weeks.

On that Saturday, Jeffrey Katzenberg wasn't taking a break. After receiving Eric's feedback on The Matrix scripts, he specially invited the Wachowski brothers to breakfast at Playa Vista Firefly Studios and communicated Eric's decision.

"Eric wants you to feel free to add your thoughts, but the sequels' scripts must be coherent, complete stories. The script you provided looks more like a collection of scenes. If there's no complete story, starting production will undoubtedly result in disaster, so the script must be rewritten. The specifics are all in this document," Katzenberg said as he passed a folder to the brothers sitting across from him. "Additionally, Eric has also vetoed the plan to shoot both sequels back-to-back; you'll need to do it one at a time."

The brothers seemed rather gloomy at Eric's request for a complete rewrite and even resentful. They both felt that the success of The Matrix was largely due to their diverse inputs. However, the rights to The Matrix were firmly held by Firefly, which also retained the power to replace directors. While the brothers had naturally gained some bargaining power after the film's box office success, Firefly was not likely to easily replace them. Ultimately, control rested with Firefly.

Andy Wachowski took the folder and flipped it open, recognizing the original script he had once penned, though it now bore several annotations.

After some thought, Andy cleared his throat and said, "Jeffrey, if we start completely from scratch, it might take a really long time, maybe a year or two to finish. By then, the film's excitement may have faded. So I believe we can modify this draft instead of starting over completely."

In Hollywood, unless a film has become a cultural phenomenon like Star Wars, where they can reboot years later and still have a robust fan base, sequels typically had a production gap of two to three years. If it took too long, the popularity of the original could diminish significantly, raising the risk of the sequel's box office performance.

Though the Wachowski brothers had not been in Hollywood long, they understood this principle. Thus, Andy's words carried an undercurrent of a threat: if the script was entirely scrapped, they couldn't guarantee the film would see production in the coming years.

Katzenberg understood the implicit warning. "Eric brought that point up too. If the script continues to fall short, Firefly will put this series on hold for a long time."

Larry Wachowski interjected, "What happens to our contract with Firefly if the project is shelved for an extended period?"

Initially, as a condition for obtaining the directing rights for The Matrix, the Wachowski brothers signed a three-film option agreement with Firefly. In other words, until they completed three movies with Firefly, they couldn't collaborate with any other studios, or it would be considered a breach of contract.

To ensure the completion of The Matrix trilogy, the first film, Bound, didn't count towards this agreement. That meant the brothers still owed Firefly two films.

Upon hearing Larry's concern, Katzenberg shrugged slightly. "So I suggest you both put your best effort into crafting the sequel's script."

Andy tentatively stated, "If the script takes too long to complete, can we work on other films or perhaps collaborate with... other studios?"

"Other films are possible, as long as the project is excellent," Katzenberg ambiguously replied. "However, collaborating with other studios is out of the question unless you complete your contract obligations. Firefly made you successful with The Matrix; we are not permitting you to leverage that fame for other companies' benefit. That's just not how Hollywood works."

Katzenberg's increasingly firm tone left the brothers feeling disgruntled, but sadly, they understood how difficult it would be to escape this contract.

At this point, there wasn't much else to discuss. Andy, with a blank expression, closed the folder before him and stood up. "We've got the message. If there's nothing else, we'll take our leave."

Katzenberg stood as well, politely extending his hand. "Well then, goodbye."

...

After personally escorting the Wachowski brothers out of the restaurant, Katzenberg returned to his seat where Frank Wells had already settled in. He had been at the restaurant earlier but chose not to interrupt Katzenberg and the brothers during their discussion.

Once Katzenberg was seated, Frank said, "Jeffrey, you didn't need to be so hard on them. You could have been a bit gentler."

"That's your job -- to soothe ruffled feathers. I don't have that obligation," Katzenberg joked, flashing a smile.

Having seen the Wachowski brothers' Bound, along with the recently muddled script for The Matrix sequels, Katzenberg felt deep down that, aside from The Matrix, the duo's chances of achieving greatness in Hollywood were slim. They were too entrenched in their unique vision, and while such a strong personal style might win them an Oscar, it wouldn't translate well at the box office.

As for the Oscars, Katzenberg was equally indifferent. He believed the fundamental goal of a film company was to chase profits; accolades were merely icing on the cake. Back during his control of Disney Animation, whenever animators suggested adding more "artistic" value to their projects, Katzenberg would sarcastically ask, "You trying to win an Oscar?" That line even became a bit of a catchphrase for him.

"Alright, just say the word when you need me to smooth things over," Frank teased in response.

Since the Disney days, Frank had established his reputation as the peacemaking type. In the 1980s, the Disney board originally planned to have him and Eisner co-CEO the company. After considerable infighting, it was Frank who stepped up, offering to be Eisner's deputy, thus resolving the deadlock. During the Firefly era, due to Eric's emergence, Frank managed to dodge a life-threatening plane crash, which allowed Katzenberg to rise to power while Frank diligently remained Firefly's second-in-command. His accommodating nature earned him the respect of most management, including Katzenberg himself.

As they bantered over coffee, Frank leisurely handed a box office report to Katzenberg, saying, "It seems our box office numbers this week aren't looking too good."

According to Hollywood's box office tracking cycle, yesterday marked the start of a new week. Katzenberg hadn't yet had time to assess Friday's numbers, so he took the A4 sheet Frank offered him and glanced at the figures.

Upon his first look, Katzenberg raised an eyebrow.

The top daily box office for the new week wasn't Firefly's release, The Rock, but rather Universal Pictures' new comedy, The Nutty Professor, starring Eddie Murphy.

"Wait, is that Eddie Murphy's new movie?"

As head of Firefly, Katzenberg kept close tabs on significant summer contenders, but he hadn't previously focused on this particular comedy, hence his puzzled tone.

Since the underperformance of Beverly Hills Cop III, Eddie Murphy had been somewhat quiet for the past few years. Many, including Katzenberg, felt that with Firefly's strong momentum, The Rock would naturally dominate the opening day and week box office.

Yet, the results showed that The Nutty Professor amassed $7.9 million on opening day, whereas The Rock brought in just over $7.4 million. While the figures were close enough that they could potentially reverse over the weekend, The Rock ultimately lost out on the opening day.

When this unexpected box office data surfaced, Frank had called Katzenberg multiple times without success, prompting him to rush to see him.

"Yes," Frank nodded, concern creeping into his voice. "I don't think this is a good sign. And don't forget, Cameron is currently working on Titanic..."

Katzenberg sensed an anomaly as well, but he reassured Frank, "Let's gather the distribution team, including Brian, for a meeting to discuss this. However, Frank, it's just day one's data; we shouldn't be too alarmed. If we do encounter one or two flops, it's unlikely Firefly's stock will plummet by 10% because we're not even publicly traded, ha ha." He chuckled, continuing, "Plus, you've seen the recent revenue from television ad bidding."

"I just feel like Eric's approach to filmmaking over these past few years has been a bit too risky -- either it's new talent or it's high-profile productions. Sure, Michael Bay, David Fincher, and the Wachowskis have all proven their worth, but our luck might not hold out forever. I think we need to have a serious chat with Eric. He can't keep being so... reckless."

Katzenberg could feel Frank's sincerity in his tone; he genuinely cared for Firefly's well-being.

In truth, Katzenberg felt similarly. While he knew Eric wasn't obstinate, until now, the films Eric had headed hadn't faced absolute failure, which in Hollywood was almost a miraculous feat.

How strange it felt to tell someone who had yet to experience failure that their methods were incorrect, that the rules didn't work that way, that they should do this or that...

Katzenberg thought about it and concluded that those moments were indeed bizarre; the unyielding rule of Hollywood never changed -- winners took all. If your movie garnered high box office returns, rewarding investors with hefty profits, you were a Hollywood hero.

"I see your point," Katzenberg mused, "but now's not the time. Perhaps we should wait until the end of the year. By then, Eric should be more receptive to our feedback."

Clearly, Katzenberg also had doubts about Titanic's box office outlook.

Frank understood immediately, nodding, "Sure, we'll revisit this later. By the way, FFM has reported that Weinstein is interested in acquiring Brad Grey's production company. Did you get the report?"

"Yeah, Harvey is looking to establish a production division for FFM, and Brad Grey happens to be his former assistant. He's probably hoping for a familiar face. But I think acquiring Brad Grey's company feels unnecessary. Aside from the TV series Eric personally chose, which he has some investment rights in, I don't see much value there."

The conversation shifted seamlessly to FFM, diverting from the previous topic...

https//Sayonara816.

[Chapter 797: What's the Reaction?]

Nassau International Airport, Bahamas.

Flanked by high-intensity floodlights, the otherwise empty airport's closed-off area blazed like a sunlit stage. It was the third day of filming at Nassau International Airport for the production team working on Casino Royale. The crew members were busily arranging the set for the next scene.

The scene being shot was the climax of the first part of Casino Royale, where Bond chased down terrorists at Miami International Airport and foiled their plot against Skyfleet Airlines. This action-packed sequence included car chases, gunfights, and explosions, making it exceptionally complex to film. To avoid any unforeseen disruptions that could affect the filming schedule, Eric arranged for this segment to be shot in the middle two weeks of the Bahamas filming period. Once this action sequence wrapped up, the crew would continue with less dynamic scenes.

Since this portion of the story featured night shots, and to ensure the normal operation of Nassau International Airport was not disturbed, the crew negotiated with Bahamian authorities to secure filming hours from 8 PM to 4 AM in designated areas each night.

The airport scenes amounted to approximately ten minutes in the script. Among them, a six-minute action sequence where Bond prevents a bomber from crashing a fuel truck into the prototype of Skyfleet was recognized as a classic among car chase scenes.

In those brief six minutes, the intense battle between Bond and the bomber, the Skyfleet prototype's rollout, the police intercepting the fuel truck, and the chaos among the airport crowd all blended seamlessly through rapid and sharp editing. With a pulse-pounding score, the fuel truck steadily approached the Skyfleet prototype, gripping the audience's hearts tightly in suspense. Ultimately, when the bomber detonated the explosives he wore, it erupted with a thunderous bang -- an exhilarating release that provided viewers with an overwhelming sense of satisfaction.

Of course, while the chase scene appeared thrilling, it was a complex endeavor to film. Many high-difficulty shots required hours of preparatory time, and the coordination of various planes, luxury vehicles, and background actors imposed a significant test on the director's ability to manage the set.

Before shooting began, Eric had visited the airport multiple times with his team to study potential filming angles, making adjustments to the shooting plan based on his memorized shots. It wasn't until the crew had been filming for two weeks that they officially commenced shooting at Nassau International Airport.

On one of the runways, Eric worked with Nicole Frank and the visual effects team to discuss camera angles for the upcoming shots. This included the moment when a fuel truck charged toward the Skyfleet prototype, narrowly missing a passenger plane descending from above.

This shot could not realistically be filmed live; the landing passenger plane would be created entirely in CGI during post-production. Nicole had just completed hours of hanging in the air to capture the pilot's subjective view of the descent, which would later be modified by the effects team to reflect the cabin's perspective.

...

Now they were about to shoot the moment when, as the passenger plane swooped down, a police car would be swept up and tossed by the terrifying blast from the plane's engines.

Seeing the police car equipped for the shot secured to a launch device, Eric recalled previous tests conducted elsewhere but recognized that nothing could match the clarity of the real-time effect. After discussing with Nicole and the effects team, he remained uncertain; he hoped a camera could be positioned on the trajectory where the police car would be launched so, when set flying, it would create a more visually arresting shot for the big screen. However, he knew this risked destroying an expensive camera if struck by the car.

After pondering for a moment, Eric said, "Hold on the shoot for now. Let's launch the car once to see the effect. Also, can we get a spare prop car on standby?"

The crew's cheapest camera was valued at over $100,000, while the prop cars custom-made by General Motors for the film averaged just $5,000. Although Eric wouldn't mind a couple of cameras getting wrecked if necessary, he aimed to avoid it whenever possible.

With Eric's decision made, the assistant producer in charge of props moved away to prepare a backup vehicle. Eric and Nicole retreated to a safe position.

After the effects team confirmed everything was set, they pressed the launch device's remote button. A muffled thud echoed, causing the ground to tremble beneath everyone. The police car shot into the air before crashing seven or eight meters away, hitting the ground with a heavy thud and rolling forward. By the time the scene settled, the once-pristine police car had transformed into a mangled wreck, with parts scattered everywhere.

Eric had no time to contemplate the scene's wreckage as he hurried over with Nicole, only to see that the concrete was left with a shallow crater where the car had landed.

After recalling the police car's trajectory, Eric took a few steps near the crater, halted, and asked the effects team leader, "Toby, can you confirm that the trajectory of the car when it's launched is fairly consistent?"

Toby, a middle-aged white man in his forties, seemed to understand Eric's intention. "While I can't guarantee it, I think your position is relatively safe. We can adjust the car's weight distribution on the chassis, allowing for a slightly different launch angle, which will enhance your safety."

"No need to shift; just set it up as it was," Eric decisively replied, then instructed the departments to prepare for official filming.

The effects team began installing a new prop car on the launch device, while the crew quickly cleared the fallen wreckage. They even repaired the freshly made crater.

Eric and Nicole set up several cameras, in addition to the one facing the trajectory of the tossed police car. Two other cameras would record the shot from different angles.

...

Forty minutes later, everything was ready. Eric stood in front of the monitor for one last check of the camera placements before signaling the script supervisor with an OK gesture.

"Casino Royale, Scene 54, Take 1!"

With a nod, both the fuel truck and another police SUV began moving simultaneously. Seconds later, as Eric felt the familiar tremors beneath his feet, the launched police car again soared into the air.

Eric locked his gaze on the most critical camera, number three, as he watched the car racing directly toward the lens. Suddenly, the monitor screen went black.

The crash sounds of the police car rolling on landing continued to echo, and standing nearby without restraint, Nicole exclaimed, "Oh my gosh, my Bonnie!"

After the monitor blacked out, Eric looked up because camera three's filming was dangerously positioned, the cameraman had not operated the camera personally and instead had it fixed in place. Now, that camera and its mounting rig lay destroyed, probably beyond repair -- an incident that the insurance company would not cover.

While Eric felt a pang for the $150,000 Kodak professional camera, he turned to Nicole with a bittersweet grin and said, "Does that camera have a name too?"

Nicole walked over to where the shattered camera lay, kneeled down to see if anything could be salvaged, and replied, "Of course, every camera I've used has a name."

"Oh, I'm sorry. But you should know, rule number one of the apocalypse is: never give names to anyone or anything around you; it will only make you weak."

Nicole picked up the camera lens that had fallen to the ground, replying, "Don't tell me that your film shoots are going to be frequented with 'apocalypse' scenes; I will lose my mind."

Eventually, others began to gather around. Eric reassuringly patted Nicole's shoulder and turned to Toby, the effects team leader, offering an apologetic expression. "Accidents are inevitable. Let's prepare for another attempt; hopefully, we can successfully finish this shot next time."

Nicole found the film canister from the wreckage and examined it. "Eric, even though the camera is wrecked, the film we shot should still be intact."

Eric took the canister for a look. The exterior bore no damage, but, glancing at his watch, he noted it was already 2:40 AM. With all but a few planned shots for the day completed, he suggested, "Let's shoot one more take, and then we'll call it a night. Everyone can head back early."

Cheers erupted, and everyone swiftly got back to business.

Although Eric didn't adjust the camera placements, filming over the rest of the night proceeded without further camera mishaps, yielding satisfactory results.

With nearly half an hour until four, Eric declared an early wrap. Night shoots were mental drainers, so after efficiently organizing the set's affairs, Eric rode a speedboat back to Paradise Island, where he collapsed into bed and fell into a deep sleep.

...

He awoke promptly at twelve noon.

After a quick shower and changing into a casual t-shirt and pants, he left his accommodations for the resort's restaurant.

Under the fierce midday sun of Paradise Island, the nearby white sandy beaches were deserted. While summer was an ideal time for vacations in the Bahamas, tourists rarely remained outdoors after ten in the morning.

Although many crew members rested, some staff on working shifts were present at the restaurant for lunch.

As Eric traversed the resort's path, he exchanged greetings with those he passed. Upon entering the restaurant, he noticed Miranda excitedly waving at him while chatting with Ivanka and her mother.

Following the release of the latest issue of VOGUE, Gisele had quickly made a name for herself in the fashion world and received a torrent of collaboration offers.

Days after shooting that scene, Gisele and Alessandra had hastily departed the Bahamas, leaving only Ivanka and her mother alongside Miranda. Due to the shifting shooting schedule, Eric had not seen the group for a few days, assuming they had traveled to other nearby islands.

Eric walked over, ruffling Miranda's hair, who wore a light pink dress, before ordering lunch from the waiter. Sitting down, he asked Ivana Zelníčková, "Are you enjoying yourselves lately?"

"Absolutely, thanks for your hospitality, Eric," Ivana replied, then added, "By the way, Ivanka and I are leaving this afternoon; I'm here to bid you farewell."

"You're in such a hurry to go back. Why not stay a few more days?"

Ivana explained, "Her dad called and said he wants to take her on vacation to Europe, so I need to take her back early."

"Oh, that's a pity," Eric remarked, turning to Ivanka. "Where in Europe are you two planning to go? We're headed there next month, so we might just cross paths."

Ivanka shyly smiled, saying, "Norway. Dad said he wants to take us white-water rafting."

"Norway, huh?" Eric shrugged with disappointment. "I guess we probably won't see you then."

Ivanka casually munched on the ice cream before her, looking at Eric and quietly added, "That's okay, Eric. You can come visit us when you're in New York."

Eric sensed a glimmer of hope in her eyes but understood that this invitation was likely a chore from Donald. Nevertheless, he didn't mind, nodding in agreement, "Sure, if I'm free, I'll definitely swing by."

While Eric spoke to Ivanka and her mother, Miranda listened intently, though her eyes betrayed a hint of envy.

Ivanka was around the same age, but just over a summer, she got to travel halfway around the world, going wherever she pleased. Meanwhile, glancing at the diamond-embellished silver bracelet on her wrist, Miranda sighed inwardly; it was a gift from Ivanka during these past few days -- a simple piece of jewelry, yet adorned with a 'CC' logo -- Chanel, no less. It must have cost over a thousand dollars, especially since it was just a common item from her twelfth birthday gift.

Sigh. When would she be able to live such a life?

Miranda glanced at Eric, her thoughts tinged with a hint of wistfulness.

Ivanka's flight was scheduled for 6 PM. While they planned to depart from Nassau International Airport as well, Eric couldn't find the time to personally send them off. So after finishing lunch, he took a moment to chat a little longer with them before heading back.

...

By the time he returned to his residence, it was already 2 PM.

Miranda trailed closely behind Eric to his abode. He settled onto the living room couch, flipping on the television while waiting for his assistant to deliver some documents.

As Miranda dashed to the fridge and returned with two juice bottles, Eric took one, had a sip, then placed it on the coffee table. "Now that they've left, you should probably head back to LA, right?"

"It's summer break, Eric. And that TV series has wrapped up, so there's nothing for me to do back home anyway."

Saying this, Miranda adopted a cute, pitiful expression, removing her shoes and curling her long legs on the couch beside Eric, brushing her knee against his thighs.

"You could always go back to Australia. I'm sure your parents miss you."

"No way! I'm not going back," Miranda immediately shook her head. Realizing how that sounded might seem ungrateful to her parents, she quickly added, "It's winter over there now, and I'm afraid of the cold."

"Well, you can't just hang around here forever; everyone's so busy. It doesn't make sense for you to just wander back and forth."

Miranda rolled her eyes playfully, linking her arm around Eric's, leaning closer as she said, "Then, Eric, I want to check out Miami and Orlando. I've never been to Disneyland!"

Both cities were in Florida, adjacent to the Bahamas, and Nassau's airport scene was set to represent Miami International Airport.

Still, Eric frowned slightly, hesitant. "I can't let you roam around alone; I won't be able to explain to your parents if something happens."

"Of course, I won't be alone! Claire can come with me."

"Who's Claire?" Eric asked, puzzled.

Miranda pouted in displeasure. "Claire is the assistant the company assigned to me! She came to the Bahamas with me, and you've seen her too -- how could you forget?"

Eric recalled a young brunette he had seen with Miranda, who must have been around twenty. Although he had personally arranged for Miranda to be at ICM, she had no real name value. ICM definitely wouldn't have provided a permanent assistant for her, and she couldn't afford one on her own at the moment. This must have been an exception made for her due to the circumstances.

Just as Eric was about to say something, the doorbell rang.

Breaking free of Miranda's clinginess, he got up to answer the door to find his assistant, Peter Rich, standing outside with a stack of documents.

"Come in," Eric said, stepping aside to let Peter in.

However, as Peter stepped inside, his gaze landed on the couch, and he hesitated noticeably.

Curious, Eric looked over and saw a certain little sprite clumsily pretending to fix her already pristine pink dress, her eyes showing a faint panic as if fearful that others would misinterpret her and Eric's earlier actions as scandalous.

"Hi, Peter. Good afternoon," Miranda squeaked, still fussing to make the dress look disheveled despite her absence of any disorder. Eric remembered that he had previously discovered Miranda while she was handled by Peter back at DOLLY magazine.

"Hi, Miranda," Peter replied awkwardly, unsure if he should excuse himself.

Eric shot Miranda a glare, swiftly deciding he wouldn't let her stay in the Bahamas any longer. Too much joy could lead to mischief; who knew what trouble this little sprite would concoct.

He had been too busy lately to oversee this wild girl.

"Let's head to the study," Eric informed Peter, who still seemed hesitant.

Passing the couch, Eric knocked lightly on Miranda's head, and as she squeaked in protest, he added, "Call that Claire over; I need to speak with her."

...

Once in the study, Eric sat at his desk while Peter handed over the documents, saying, "The first-week box office results for The Rock have come out, along with the company's analysis of the film's box office performance."

Since The Rock's opening day, Eric had anticipated this box office taking a hit from Eddie Murphy's comedy, The Nutty Professor.

Initially, Eric had wondered whether John Woo was facing the curse of Hollywood again, reminiscent of his previous string of successful films that led to a downfall. But, as he reviewed the weekend box office numbers, he soon realized matters weren't as grim.

For the opening weekend, The Nutty Professor topped the charts with a gross of $30.13 million, while The Rock came in a close second with $28.38 million. The third place, The Matrix, faced a 37% drop to earn $25.76 million due to new films releasing.

From those figures alone, it became clear that even if The Rock didn't take the crown, the box office gap equated to only a little over a million dollars. The Firefly distribution team predicted that The Rock's first-week earnings would lie around $42 million.

Gazing at the box office data, Eric asked Peter, "I remember hearing that The Rock received pretty favorable reviews during its screenings?"

"Indeed," Peter confirmed, "The Rock garnered a composite score of around 7.5 from the media, and audience surveys we arranged also indicated great feedback. Meanwhile, The Nutty Professor's media rating was only 5.6." He didn't delve further into commenting about The Nutty Professor, as losing in box office was losing. He continued, "The distribution team has evaluated the reasons for The Rock's box office shortcoming compared to The Nutty Professor. This information is on the last page."

Eric found the report and noticed that Peter was still standing respectfully across from him, failing to locate a spare chair in the office. He gestured towards the sofa in the corner, "Have a seat; I'll read this before we talk."

Peter nodded and took a few steps back to sit on the couch.

Eric flipped through the report, which contained statistics on the age demographics of the audiences who watched The Rock. It also compared these viewers versus John Woo's earlier films and other summer titles.

Once he finished reading, Eric started piecing together why The Rock had been underwhelming at the box office.

The summer months typically saw an influx of teens rushing into theaters, significantly boosting the box office numbers. Statistics showed that consumer contributions to box office revenues from students aged 22 and under accounted for roughly 40% of overall revenue. This additional demand for viewing paired with the sheer number of high-quality films during the summer was what allowed this period to leapfrog other slack months with box office totals averaging two to three times higher.

Consequently, whether a film succeeded during the summer highly depended on whether it resonated with young audiences.

In this respect, The Rock faced challenges. While its stars, Sean Connery and Nicolas Cage, were box office giants, their appeal to teens was limited, and the film had no standout young female leads to draw that demographic's attention. Furthermore, The Rock tackled the serious subject of unfair treatment of retired military personnel -- far removed from the edge-of-your-seat high-octane thrills that blockbusters like the Mission: Impossible series offered.

As a result, those factors shaped the primary reasons why The Rock, despite positive buzz, failed to draw in a substantial youthful audience.

Among the comparative data, only 17% of viewers for The Rock were below 22 -- a figure even lower than the R-rated Matrix, which managed to reach 35% in that demographic. Furthermore, The Rock's percentages lagged even behind several of Woo's previous films, such as Mr. Mrs. Smith.

Despite the shortcomings, The Rock couldn't be written off as a failure. The Firefly distribution team estimated a projected box office return of $130 million domestically and $200 million internationally based on current ratings and box office progression. This was well above its $75 million production budget, indicating that Firefly could likely recoup costs.

"So, at the end of the day, we've still fallen short," Eric said, glancing back at Peter after reading the document. "What's the reaction from Hollywood now?"

https//Sayonara816.

[Chapter 798]

Peter Rich thought for a moment and said, "Not many other Hollywood studios have made public statements about this, but Universal did announce this morning that they will hold a celebration for the weekend release of The Nutty Professor. Besides, the media has been very active concerning this matter, especially since it's the first time in three years that we lost our hold on the June release window."

Since Jurassic Park in 1993, Firefly had firmly established itself in North America's most popular movie month, June, thanks to its consistent strategy of releasing three summer blockbusters. During this period, few films from other studios managed to take home a week's box-office crown.

Because of Firefly's consecutive hit summer films, Hollywood had even come to see June as Firefly's "territory," with other major studios instinctively moving their top films away from the month.

This year, however, with Titanic and the 3D animation films that Firefly excelled at both absent from the summer lineup, Firefly's primary releases only included two movies. Universal, Paramount, and others began to attempt to "invade" what was traditionally considered Firefly's prime period.

Although Firefly had one film missing, the impressive performance of previous years left a deep psychological impact on the other studios.

It was easy to imagine the joys of other Hollywood executives as Universal's black comedy The Nutty Professor unexpectedly crushed Firefly's The Rock, claiming the weekly box-office championship. While they wouldn't rush to make public declarations, the close ties between Hollywood and the media almost guaranteed that these executives would express their relief through the press, lifting the pressure they had faced in recent years.

Given the media's nature of seizing the moment, Eric could almost visualize how lively entertainment news would be in the local papers in the coming days.

However, Eric didn't particularly care. Just like the earlier conversation between Jeffrey Katzenberg and Frank Wells way over in Los Angeles a few days before. On one hand, Firefly was not a publicly traded company, and Eric had absolute control over it, freeing him from the pressures of capital markets and shareholders. On the other hand, with a solid financial foundation, Firefly's production and distribution system was self-sustaining, eliminating any reliance on external financing.

Thus, this underperformance at the box office wouldn't have any substantial impact on Firefly. At worst, annual revenues from its film business might take a hit, but with the extreme uncertainty in the film market, such performance fluctuations were nearly an unavoidable reality for any major studio. The situation happening to Firefly also wasn't entirely a bad thing; at the very least, it let Hollywood's rivals, who've felt suppressed for years, breathe a bit easier, possibly lessening some of the hostility and wariness towards Firefly.

After talking a bit with Peter Rich, Eric signed off on some necessary documents and sent his assistant away.

...

Stepping out of his study and into the living room downstairs, Miranda immediately stood up to greet Eric as he came downstairs. A Caucasian woman sitting on a nearby armchair also stood up. She wore a women's shirt and a black knee-length skirt, stood about 5'7", had brown hair, and exhibited an ordinary appearance, though her eyes hinted at a faint cleverness.

"Eric, this is Claire Weissman," Miranda introduced, affectionately linking her arm with Eric's.

Eric nodded for her to sit back down, then asked, "You're an intern at ICM, right?"

"Yes, Mr. Williams. I dropped out of USC last year and have just started my first year at ICM."

With nearly fifty percent of American college students dropping out, Eric wasn't surprised by Claire's candor. He guessed from her school backstory she might be one of ICM's upper management's children -- USC was known as a prime school for the wealthy in North America. Claire's assignment as Miranda's assistant surely wasn't a mere coincidence; ICM management likely recognized that aligning with Miranda could provide valuable contacts, a resource every agent dreamed of.

Eric didn't bother delving into the intricacies of the situation. "Miranda doesn't have anything else going on here. Why don't you take her on a tour in Florida, then head back to Los Angeles?"

Claire smiled and nodded, saying, "Of course, Mr. Williams. That's my job."

Miranda's face lit up with joy, but then turned pitiful as she gently shook Eric's arm. "Eric, I-I can't even afford a plane ticket back to Los Angeles right now."

Eric chuckled, pinched her cheek playfully, and took out his wallet, intending to write her a check. Miranda, however, leaned in curiously, peeking into his wallet.

"Wow, this, the black one, I've heard of it. Eric, can I use this black credit card?"

Although the famous Amex Black Card wouldn't be issued until 1999, many top-tier credit cards from banks were black during that time.

Eric wasn't a collector and had only three or four credit cards from major American banks. Seeing Miranda's eager expression, he laughed, put his pen away, took out the Citibank black card, and handed it to her, saying, "Just don't go wild with it. Use it for a bit, then come back to Los Angeles like a good girl."

"I know!," she beamed as she accepted the credit card, pouting her lips to peck it, and noticing her faux pas, quickly wrapped her arms around Eric's neck to kiss his cheek. "Eric, you're such a nice guy."

Eric felt a wave of embarrassment, realizing his unlimited black card had somehow earned him a "nice guy" card -- what a loss.

Gently pushing Miranda off of him, he said, "Go find Peter, have him call my accountant for authorization. And don't shower compliments like that in the future."

...

Once he'd sent off the clingy little sprite, he returned to the production of Casino Royale.

However, in Hollywood, the media chatter surrounding The Rock's underwhelming box office performance didn't gradually fade with time; instead, it ignited a whirlwind of discussion.

After the news broke that The Rock's opening weekend earnings couldn't compete with The Nutty Professor, most of North America's media erupted into a frenzy.

They knew that this celebratory commotion was somewhat unreasonable, yet the first reported box-office "loss" for Firefly after dominating the June window for three years was nevertheless big news. The general public found it as captivating as news of a major American corporation suddenly going bankrupt. So, whether for sensationalism or to celebrate genuinely, most media outlets expressed a schadenfreude attitude regarding The Rock's box office disappointment.

After a week of such uproar, on June 21, Universal released the highly anticipated film The Mummy 2 in over 3,300 theaters nationwide, alongside Sony's The Cable Guy, which starred Jim Carrey, the first the studio had paid a $20 million salary to.

Riding on the popularity of its predecessor and extensive promotion, The Mummy 2 earned a staggering $84.29 million at the North American box office within just one week, easily claiming the weekly box office crown while also achieving the best opening performance for all films released in 1996 thus far.

Meanwhile, as Firefly had expected, The Rock, despite not having a large adolescent audience, demonstrated solid quality, resulting in only a 23% decline in its second week, raking in $32.17 million to secure the second position in the weekly box office chart.

However, Sony's much-anticipated The Cable Guy fell far below expectations, recording just $29.96 million over its first week from over 2,600 screens. Due to Jim Carrey's high salary, the film's budget had swelled to $60 million, and given the cold reception and lackluster critical reviews, this marked Carrey's first film post-contract that likely wouldn't exceed the $100 million mark at the North American box office.

The Nutty Professor, unsurprisingly, experienced a 39% drop in its box office, landing in fourth place with $27.45 million.

On its fourth week, The Matrix saw a 46% drop, earning $20.18 million to finish fifth that week while surpassing the $200 million milestone at the North American box office, totaling $200.54 million.

Despite The Rock's decent performance in its second week, the film's anticipated total revenue only capped around $130 million.

It was clear that while The Matrix's earnings exceeded $200 million, the media would not spare the opportunity to jab at Firefly, contrasting this year's figures with those from the previous year.

Last summer, Firefly released three major films -- Jurassic Park 2, Independence Day, and Toy Story 2 -- which collectively grossed over $811 million in North America alone. In previous years, Firefly's summer box office had consistently maintained such high levels.

But this year, everything appeared to be in freefall.

Even with The Matrix's box office crossing the $200 million mark and The Rock predicted to bring in decent profits for Firefly, based on anticipated earnings -- $240 million for The Matrix and $130 million for The Rock -- this year's summer total was shaping up to just $370 million. That was a stark drop of 54% compared to last year's $811 million summer performance.

Major films traditionally wield immense influence, so given the underwhelming thrust of these two films, it was easy to foresee that Firefly's total profits in the upcoming year would likely shrink by over 50% compared to the previous year's figures. Coupled with Titanic's approaching losses reminiscent of Waterworld, it was entirely uncertain whether Firefly could achieve the over $2 billion annual operational profit it did last year.

Some media outlets felt even more pessimistic, viewing Firefly's losses in this summer's box office as a sure sign of its decline.

...

Under such circumstances, during the last week of June, Paramount's release of Pocahontas delivered yet another blow to Firefly.

On June 28, Paramount Pictures launched its first 2D animated feature film, Pocahontas, produced by the Disney hand-drawn animation studio that originally had been acquired from Firefly for $2.5 billion.

While the production costs for this 2D animation had nearly doubled compared to its Firefly days, the decision-makers at Paramount Animation were all-out determined to give their old employer a "perfect revenge." The studio's heads invested a substantial amount of effort, and the quality of Pocahontas far surpassed what had been seen during its previous era, netting $5.9 million even just from pre-release screenings.

Although Pocahontas didn't replicate The Lion King's staggering opening of $66 million from years before, it still managed to earn $51 million in its first week, totaling $56.9 million -- well above most industry's expectations. It even toppled The Mummy 2, which had a strong opening; in its second week, The Mummy 2 itself plummeted by 49% to just $41.72 million.

Everyone knew that animated films thrived on long-term box office success; if Pocahontas achieved $51 million in its opening week and maintained a drop below 30% in the weeks following, its total earnings could approach the $200 million mark. Subsequently, the second week's box office decline of just 26% strongly confirmed this.

In this scenario, everyone completely ignored New Line Cinema's Final Destination, which had premiered the same week as Pocahontas. This quirky horror film brought in more than $13 million in its strong first week, and had a mere 24% drop in its subsequent week, and could well accumulate near $60 million in total earnings at its $20 million budget. Given its overseas earnings, Final Destination undoubtedly stood as yet another profitable release for New Line following Se7en.

Of course, most media outlets chose to ignore this fact, shifting the focus back to Pocahontas's box office success and directly pointing fingers at Firefly's historic abandonment of hand-drawn animation.

Only a select few knew the ins and outs of Firefly's original decision to sell its hand-drawn animation studio, and the studio couldn't possibly offer an explanation now.

As things increasingly heated up outside, the group had to prepare its own counter-narratives.

With The Matrix surpassing $200 million at the box office -- a cause for celebration -- Firefly arranged for the Wachowskis to appear on an ABC talk show, aiming to push for even higher box office numbers for the film.

However, this talk show ended up bringing a range of troubles to Firefly.

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[Chapter 799: Whatever You Do Is Wrong]

By July, Charlie's Angels 2 hit theaters on July 5, drawing immense anticipation. As one of the most popular female-led action films in recent years, it raked in over $71 million in its first week. At the same time, movies like Pocahontas and The Mummy 2 continued to dominate the North American box office, while sequels such as Men in Black and Jumanji were gearing up for their upcoming releases.

Many believed that, aside from The Mummy franchise, iconic female-led films like Pocahontas from Paramount and Charlie's Angels from MGM, or even films distributed by Sony like Men in Black and Jumanji, should have belonged to Firefly Group. Yet, these movies were currently being claimed by other major studios, while Firefly's own The Matrix and The Rock were nearing completion.

Consequently, these factors led the media to mock Firefly's strategic missteps, particularly targeting Paramount Animation.

While Firefly had sold its hand-drawn animation studio for a whopping $2.5 billion, the commercial potential demonstrated by Pocahontas suggested that, if Paramount Animation maintained such production quality in its upcoming films, Viacom would recover all its investment costs in the next few years. Moreover, Viacom's collaborations with other subsidiaries, like Nickelodeon and Blockbuster, could create a formidable 2D animation industry chain that could rival Firefly's 3D animated films. This was the most damaging impact on Firefly.

Previously, Hollywood's animation industry had been predominantly monopolized by Firefly's Disney, largely due to the lengthy investment and difficulties in nurturing animation talent. Firefly had essentially carved out a significant piece of a high-profit sector that it had previously dominated for Viacom.

Very few people knew the details behind the sale of Disney's hand-drawn animation studio, and Firefly had no rebuttal.

Initially, while the criticisms aimed at Firefly were frustrating, they did not pose any real harm; the PR team expected that once the summer blockbuster season passed and public interest waned, the controversies would naturally fade.

However, following The Matrix's North American box office surpassing $200 million, the Wachowski brothers appeared on ABC's Late Night with David Letterman to promote the film during its post-release phase. Although they had become celebrities, they preferred to maintain a low profile. It was Frank Wells who personally called them to arrange the appearance.

In the interview, the brothers inadvertently discussed how the script for the sequels had been rejected by the studio and was being rewritten. Firefly did not react particularly sensitively to that topic.

But, perhaps due to the incessant media buzz surrounding Firefly, many journalists had their eyes firmly set on anything related to the company, and this bit of information was quickly picked up.

...

Shortly after their interview, while the brothers returned to their long-time residence in Chicago, a persistent paparazzi who had been following them for some time managed to corner them. After days of pestering, the paparazzo convinced Andy Wachowski, who was slightly tipsy after leaving a bar, to return for an "exclusive interview."

Although they had based the trilogy's scripts on Eric Williams' original novel concepts, the brothers considered the trilogy their labor of love. Since Eric had completely rejected their scripts, they had been feeling quite down. A somewhat inebriated Andy poured out his frustrations to the eager paparazzi.

The next day, the Chicago Sun-Times published an article related to their interview.

"...The Matrix is undoubtedly one of the best sci-fi films in recent years. Although adapted from Eric Williams' original work, the director-screenwriter duo of the Wachowskis infused the film with many philosophical elements. This enriched the film's themes on top of Williams' pure sci-fi foundation and greatly increased its entertainment value and cultural depth.

...However, based on an exclusive interview conducted by our special correspondent Bob Johns with The Matrix's director Andy Wachowski, we received a deeply regrettable piece of news. The Wachowski brothers initially envisioned a complete trilogy while adapting Eric Williams' work, but after the success of the first film, the scripts for the sequels were entirely rejected by Firefly's higher-ups. Andy Wachowski revealed that Firefly executives deemed the sequel scripts too profound, meaning they failed to meet commercial movie standards. Therefore, not only did Firefly reject the brothers' requests to co-produce the sequels, but they also demanded that the brothers completely rewrite the scripts, removing any deep philosophical content and returning to the pop-corn movie essence.

...It is well known that although this year Firefly has faced its first box office flops since its inception, we must acknowledge that the recent years have seen the Firefly Group achieve commercial successes that other companies could only dream of. However, we also see that Firefly has made little to no progress in the art film sector beyond commercial films. We have always believed that while a movie pursues commercial profit, it also bears the task of conveying certain meaningful content. Therefore, Firefly's excessive pursuit of commercialism at the expense of substance is undoubtedly very regrettable.

...Just looking at The Matrix, within just a little over a month since its release, the film has garnered a massive fanbase thanks to its perfect blend of sci-fi and philosophy. It is easy to imagine that if the sequel discards the distinctive personal style of the Wachowskis and reverts to Firefly's popcorn blockbuster essence, then after several years of waiting with great expectation, we will undoubtedly be met with immense disappointment."

It was clear that the article had significantly misinterpreted Andy Wachowski's words. Eric's initial request had only been for the brothers to rewrite a coherent story and did not involve abandoning their personal style.

On the same day the Chicago Sun-Times published the article, the Wachowski brothers' agent publicly clarified the media's claims, stating that Firefly had no intention of forcing the brothers to turn The Matrix into a pure popcorn flick. This interview was merely the result of Bob Johns coaxing a drunken Andy Wachowski into speaking.

However, the media and fans clearly did not believe the brothers' agent's clarification. Many who fancied themselves knowledgeable about the industry's inner workings dismissed the statement as a forced response to Firefly's overwhelming pressure.

Thus, this article was quickly shared and gained traction.

...

In less than a week, nearly everyone remotely interested in entertainment news in the United States was aware of the situation.

Meanwhile, true fans of The Matrix were deeply angered. By the second week, large groups of fans began gathering outside Firefly's Burbank headquarters and Playa Vista studios, holding signs proclaiming, "We don't want popcorn movies; we want The Matrix!" They demanded that Firefly's leadership allow the Wachowski brothers to stick to the original script.

While Firefly could disregard mocking media critiques, they could not afford to ignore the actions of fans.

After all, America's well-established film culture meant that the fan community wielded far more power than in other countries with a nascent film industry. A slight misstep could damage Firefly's brand.

While daily efforts were made to maintain order among fans and prevent worse incidents, Firefly executives began discussing possible countermeasures.

Clearly, shooting according to the Wachowskis' original script was off the table, as Firefly had been cornered. If the original script's convoluted narrative were filmed, the resulting quality would not meet fan expectations, and fans would likely blame Firefly for any disappointments stemming from today's issues. Furthermore, Firefly couldn't risk making the Wachowskis' original script public, as doing so would violate industry norms. Fans often held a biased view, assuming their beloved creators could do no wrong and would likely not provide a professional critique of the script.

Conversely, if they went ahead with the original plan to have the Wachowskis rewrite the script, they risked angering a massive fanbase that would undoubtedly hold the sequels to ruthless scrutiny. Even if the sequel earned a good score, it could plummet to abysmal ratings due to picky fans.

In short, this unexpected media situation meant that for The Matrix project, regardless of Firefly's actions, as long as the sequel didn't achieve outstanding quality, the outcome would almost certainly be viewed as a mistake.

Perhaps other competitors recognized Firefly's predicament and aimed to muddy the waters further, engaging in minor schemes to create a ruckus.

As time passed, discussions about The Matrix's sequel showed no signs of cooling down; if anything, the noise intensified.

An online petition emerged, echoing the rallying cry "We don't want popcorn movies; we want The Matrix," and within just a week, it attracted over 100,000 signatures.

After multiple PR efforts, Katzenberg even made an appearance on ABC's Good Morning America to explain Firefly's intentions to the fans, but nothing proved effective.

Though other approaches existed, ultimately, executives like Katzenberg and Frank Wells had no choice but to forward the issue to Eric in the Bahamas for his personal decision.

...

Following two weeks of night shoots, the narrative filming went smoothly.

By July 16, just a couple of days prior, the filming of Casino Royale in the Bahamas had wrapped up, but the crew was utterly exhausted after working tirelessly for a month and a half, erratically switching between day and night shoots.

Thus, Eric decided against rushing the crew to the next filming location and instead gave them three days off to enjoy the sunshine and beaches of the Bahamas.

While filming progressed, Eric maintained his focus on the events unfolding in Los Angeles. He had expected that Katzenberg and the others would handle everything adeptly, but when his assistant Kelly Haynes personally arrived in the Bahamas with a thick stack of documents, Eric realized the situation had spiraled out of control.

In his living room, as Kelly handed him document after document, she explained, "The current situation is that we can hardly provide fans with a satisfactory explanation. If we film according to the original script, once the film fails to meet expectations, we'll be blamed, but if we let the Wachowskis rewrite the script, the film might not even come out before it faces fan backlash. Either way, the blame will fall on us."

After going over a mountain of clippings and risk assessments, Eric rubbed his temples and sighed, "It's never a dull moment, is it? Now we can't even afford to not shoot the film."

Kelly chuckled wryly, "Exactly. If we put the project on hold, we'll still enrage the fans, which might be the worst way to offend them, as they'll feel neglected and overlooked."

"Alright, let me think this through," Eric said, massaging his temples before looking at Peter Rich who was sitting nearby. "Go find a place where we can hold a video conference. The Ocean Club Center should have the equipment, right? Make sure Katzenberg and the team are online at the scheduled time for us to discuss."

Peter nodded but hesitated, "Eric, organizing a video conference might be difficult. This place probably lacks the necessary facilities; a phone conference would be easier to set up."

Eric realized that technology hadn't progressed to the point of easy video conferencing, especially not in the Bahamas. He waved his hand and said, "Then let's go with a phone conference."

Once Peter left, Kelly subtly shifted her position and, seeing Eric still rubbing his temples, walked over to stand behind him. She gently placed her hands on his shoulders to offer a soothing massage.

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