I Am Hollywood

by Cui Shi yi

1 - 702

26. 799

I am Hollywood #Chapter 799: Chapter 800: Countermeasures - Read I am Hollywood Chapter 799: Chapter 800: Countermeasures Online - All Page - NOVEL NEXT

[Chapter 800: Countermeasures]

Feeling Kelly's cool fingertips, Eric laid his hand down and comfortably leaned back on the sofa.

"Got a headache? You've been working too hard lately, haven't you?" Kelly's voice came from behind him, softer and more tender than the sharp efficiency expected from a personal assistant.

"The doctor said it's just a result of my recent night-and-day schedule," Eric reclined further, responding casually, then asked, "What about Sony? The box office numbers for Men in Black II should be out by now, right?"

Kelly replied, "$52.16 million. It should land around $75 million for the opening weekend."

Eric murmured in acknowledgment, feeling a bit indifferent. This included the upcoming release of Jumanji 2. Firefly still held a 60% investment share in both films, but since the last dispute, they had completely stepped back from any involvement in the projects aside from financial investment.

While a $75 million opening weekend seemed strong, and North America was likely to hit the $200 million mark in total box office, the sequel had a steep budget of $140 million, plus marketing, bringing the total cost to nearly $200 million.

Even with a global box office high of $600 million, the project could barely break even; though subsequent revenues from DVD, video, and broadcasting rights could yield profits, the long-term operational costs made this project exceedingly unprofitable.

After a moment, Eric asked again, "What about Jumanji 2? I heard the test screenings didn't go so well?"

"Yeah," Kelly didn't want him to worry yet decided to elaborate since he asked, "Many critics said it feels like a circus, not only does the plot feel chaotic, but it completely lost the charm of the first one. Most of these reviews have been suppressed by Sony, so now we'll just have to wait for next week's market reaction. I mean, the special effects are still quite impressive."

Eric hadn't been involved in the sequel's production. Jumanji 2 continued with the board game theme, but the entire crew had changed, including the director. Given that the first film hadn't built a substantial fan base, the current outcome wasn't surprising. Still, replacing the whole crew had its advantages -- the production budget was kept at a relatively acceptable $86 million. Even if it did flop, Firefly wouldn't suffer too much of a loss.

After this summer blockbuster season, it seemed that only Men in Black would hold potential for further development from the films Firefly had originally partnered with Sony on.

Aside from the Jumanji series, discussions about a sequel to Mr. Mrs. Smith had been ongoing, but everyone knew that Pierce Brosnan, who played James Bond, was unlikely to return. Nicole's salary had skyrocketed past Pierce's in recent years, and with so many commitments, the prospect of making a Mr. Mrs. Smith sequel was almost non-existent.

Thinking of Sony's development of Godzilla, Eric couldn't help but smile. It looked like Sony was set to struggle for a long time down what they called "flop street."

Noticing Eric's silence, Kelly leaned in slightly and caught sight of his smile. "What are you smiling at?"

Eric shook his head and patted the space beside him. "Come, sit here."

Kelly understood this little man wasn't thinking anything good but complied and sat next to him. Still, she gently reminded, "But it's still daytime. Peter might come by later."

"Just call him and tell him not to come over," Eric chuckled, leaning back and resting on her soft thigh, inhaling her lovely scent. He wrapped his arms around her waist and added, "I'll take a nap. Don't let anyone disturb me, even if the sky falls."

Sighing, Kelly reached for the phone on the coffee table and called Peter Rich. Speaking softly, she mumbled a few instructions before hanging up and glancing down, noticing that Eric had comfortably closed his eyes, his breathing now steady.

...

When he woke again, the living room was dim, with a soft yellow wall lamp glowing. Kelly's leg had become a makeshift cushion.

Eric pulled off the blanket and sat up, instinctively lifting his wrist, only to find his watch had been taken off and set down on the coffee table.

It was nearly 8 PM, and just as he was about to pick up the phone to call Kelly, the door swung open, and Kelly walked in holding a tray.

"Eric, you're awake?" she said, setting the tray down and reaching out to feel his forehead.

He caught her small hand and kissed it. "Why'd you leave me all alone here?"

"I was making dinner for you," Kelly said with a smile, pulling her hand back. "The meeting room is ready. You should eat something; everyone is waiting for you."

"Let's just head over now then," Eric said as he started to get up, but Kelly pressed him back down.

"It's fine; everyone knows you've been tired lately."

...

After a quick dinner, Eric arrived at the nearby Ocean Club at 8:30, walking into a meeting room.

Peter Rich was already there, and unsurprisingly, there were no video conference tools, just a conference phone on the long table.

Eric took a seat, and Kelly spread a few documents in front of him, sitting beside him. She spoke into the conference phone, "Everyone, Eric is here."

"Good evening," Eric greeted them.

Voices from across the line -- Katzenberg, Frank Wells, and other Firefly executives -- returned the greeting.

After some brief pleasantries, Eric said, "So, what's the current situation? Are there still fans protesting outside the headquarters?"

Katzenberg chuckled ruefully. "Yeah, it's been pretty crowded. There are over a hundred people at Burbank and Playa Vista, and the petition website has over 120,000 signatures."

With the Internet lacking registration and verification systems, Eric was well aware that this number was inflated. In addition to deliberate sabotage by competitors, most of the signatures were likely repeats. So, he shrugged off the figure and replied, "Given the circumstances, let's hear your thoughts."

"I think we need to give the public a clear response as soon as possible to diffuse this situation," Frank Wells' voice came through. "I suggest we go ahead with the Wachowskis' original script. Of course, we can shoot just the second one. I believe the popularity of the first movie will guarantee profit. Even if the sequel isn't up to par, it's unlikely we'd see a repeat of this current situation."

"That sounds like a reasonable approach," Eric nodded, then asked, "Jeffrey, what's your take?"

It seemed they had reached a consensus. On the other end, they replied, "Eric, we've all seen the Wachowskis' script, and we know it would be a disaster for this franchise, but we don't have any other good alternatives right now. Frank's suggestion is about the best solution we have."

Eric smiled wryly, saying, "So, this franchise is pretty much dead weight for us."

Frank Wells remarked, "I wouldn't call it dead weight. Regardless, the current recognition of the film assures that a sequel would definitely turn a profit."

Eric couldn't help but rub his temples. Even without this crazy situation, he felt skeptical about the modified script from the Wachowskis.

A director's style is hard to change, and even if the brothers write a new script, unless Firefly sent someone to supervise every shot, it would be impossible to avoid them slipping into their own style again.

Moreover, the strategy of having someone monitor the set was unfeasible since such overreach would only lead to disastrous consequences. As Eric knew, the Wachowskis were notoriously fiery; during the first film, as newcomers, they managed to remain humble and restrained, but now that they were famous, expecting them to stay obedient was impossible.

After a moment of contemplation, Eric asked, "So, what are the current box office numbers across the board?"

There was a moment of silence before Kelly beside him said, "North America is at $223.5 million, overseas $136 million, but we still have major markets like France, Japan, and Italy yet to release. Once the film lands in those countries, it's expected that the overseas box office will be between $350 million to $400 million, bringing the global total to around $600 million."

With recent trade agreements led by the U.S., many overseas markets had opened up, and the overseas box office splits had started to increase. Hollywood films were now seeing an overseas revenue share of about 35% on average.

According to the average splits in the U.S. and overseas, Firefly could expect to retrieve about $250 million from a $600 million gross, and with ticket sales usually accounting for about a third of total revenue, the future profits from merchandise and other revenue sources would likely double that figure. After deducting all expenses, Firefly would potentially earn around $500 million from this project.

Of course, while box office revenue could mostly be recouped within a year, subsequent income from DVD and video releases, as well as licensing, required a longer operation period -- often over three years -- another reason why many mid-tier Hollywood studios remained fixated on box office results. A three-year plus capital cycle was only manageable for the major studios in Hollywood; for smaller to mid-tier companies, if a film failed to recoup its costs quickly at the box office, it could lead to serious cash flow issues and stunted company development.

Eric remembered that the two sequels of The Matrix had grossed nearly $1.2 billion combined, with Warner Bros. generally reclaiming about $500 million from ticket sales.

However, the production cost for the two sequels reached $300 million, and the marketing costs were at least around $100 million, meaning that even with a staggering $1.2 billion global box office, Warner only ended up with a meager $100 million profit from the sequels. Furthermore, due to the sequels' poor reception and quality, subsequent revenue from DVDs and other sources wouldn't be promising either.

While Eric couldn't know the exact numbers, he was certain that the profits from both sequels combined probably wouldn't match the success of the first film, which had received massive praise and had a significant impact.

After some thought, Eric proposed, "What do you all think about selling the rights for the Matrix sequels?"

"No way!"

"Absolutely not."

"Eric, you've lost it."

Immediately, a chorus of opposition erupted on the line, with Kelly and Peter looking surprised at Eric.

Although they were facing many challenges, none of the top brass at Firefly had ever entertained such an idea.

There were countless examples in Hollywood of studios exchanging or selling rights for various reasons, but those typically involved projects still in development with uncertain futures. The Matrix was different; the first film could already guarantee the company over $500 million in pure profits. The idea of selling such a project was considered nothing short of madness.

Once the tensions settled slightly, Katzenberg said, "Eric, we absolutely can't sell The Matrix. You must have seen the news lately; we've already let go of enough projects."

Eric patiently argued, "I think everyone has been overly sensitive lately. Sure, our box office share this summer wasn't great, but that's just a temporary situation. Every movie studio goes through these lows; our 'low' even surpasses the peak of some other studios. If you think about it, we've had three films breaking the $100 million mark this year -- Se7en, The Matrix, and The Rock. We also have Rumble in the Bronx as well as the recently released Final Destination, all performing excellently. By and large, we're still doing better than most movie studios."

Frank Wells' gentle voice came through the phone, offering, "Eric, but we still need to think about the future. We can't just let go of iconic projects like The Matrix."

"Speaking of the future," Eric patiently recounted, "we have plenty of projects lined up. Although we've had a gap this year, next year our Disney animation and Pixar can release both Monsters, Inc. and Finding Nemo, bringing in 3D animated films back-to-back. Beyond that, we have Jurassic Park 3 and The Day After Tomorrow, which will help maintain strong revenue for live-action films. Moreover, the company will continue to develop other high-quality rights."

https//Sayonara816.

[Chapter 801: Bring It Here]

Although Jeffrey Katzenberg and Frank Wells, among other executives, found it hard to approve Eric's plan to sell the rights to The Matrix, they had to admit that given the circumstances, cashing out early from the project was not the worst solution.

Since the boss had made up his mind, Katzenberg started discussing the best handling approach, saying, "Alright, I'll put the word out tomorrow. At least we can shift the media and public attention away."

Frank Wells added, "That's a good way to handle it. If we wait until the last moment and can't find a suitable buyer, it's best not to sell at all."

Wells seemed a bit reluctant, but Eric didn't want to appear too stubborn either, so he nodded in agreement. They talked through a few more details before wrapping up the discussion.

Katzenberg then mentioned, "Eric, at the end of the month, Cameron will have the director's cut of Titanic ready. I've seen some snippets, and this version might run over three hours. I've talked to Cameron about trying to trim it down to under 150 minutes, but he insists that you need to see the footage yourself before making a decision."

Katzenberg's tone reflected his frustration; clearly, their back-and-forth wasn't as simple as he made it sound.

Eric thought for a moment. The filming schedule for Casino Royale had totaled five months. According to the timeline, the crew would head to the Czech Republic next for two weeks of shooting, followed by a month in Italy. They would finally spend two months shooting in the UK while also working on some post-production at Pinewood Studios in London.

After a brief pause, Eric turned to Kelly and asked, "When is this year's Venice Film Festival?"

Kelly replied, "August 28."

Eric nodded and spoke into the conference phone, "I'm not sure if there's enough time, but if possible, let's have Titanic participate in this year's Venice Film Festival. It doesn't matter whether it's in competition; it would be best if we could get it as the opening film. Also, I'll be in Italy next month, so have Jim bring the snippets to Europe ahead of time, I'd like to take a look."

Katzenberg responded, "Alright, Eric, we'll do our best to make it happen."

...

Firefly Group had a reputation for high efficiency. The next day, The Los Angeles Times reported that Firefly might be selling the rights to The Matrix.

Subsequently, Katzenberg verified this news in person, caught by reporters outside the Firefly headquarters.

In no time, both the media and fans were buzzing, completely baffled as to what was happening. Other major Hollywood studios were equally astonished. They had been making subtle moves behind the scenes, intending to cause trouble for Firefly, never expecting them to abruptly throw in the towel.

Moreover, from the outset, Firefly had a public relations strategy ready to go.

However, once the news broke, fans immediately erupted in excitement. Under media guidance, their attention shifted to the other big players in Hollywood, with fans quickly appearing outside Warner Bros. and Universal Studios, which were just a short drive from Firefly's headquarters, urging them to acquire the rights to The Matrix.

Of course, some media folks questioned whether Firefly was simply trying to divert attention, and some fans suspected Firefly might not have given up on the sequel's production rights after all. After all, could anyone really imagine Warner selling off Batman or Universal parting ways with The Mummy?

However, these doubts struggled to persist in the face of the public statements from Firefly's top executives.

Despite their surprise, Hollywood's other major studios reacted far more quickly than the media and the public. On the same day the news broke, countless calls flooded into Firefly's top executives and to Eric in the Bahamas to inquire about the situation.

...

In the Bahamas, the crew took a three-day break, with some staff already heading to Prague in advance. Eric planned to fly out with the last batch this afternoon.

Meanwhile, in the study of the villa where Eric was staying on Paradise Island, he was taking a call from Bill Gates. He had lost count of how many times they had spoken over the past two days.

"Yes, Bill, that's definitely true," Eric said cheerfully, maintaining a facade of cordiality despite their underlying business competition. "But if Amblin is interested in this project, you might want to negotiate with Jeffrey. I'm just too busy right now to focus on this."

Without a doubt, Bill Gates, or Microsoft, had caught the interest of Amblin Productions in The Matrix. Given Amblin's contract with Paramount signed a few months back, people were starting to guess around their ambitions.

Eight films over three years didn't seem like much for a newcomer aspiring to be a major studio. In fact, it was rather insufficient. Any big Hollywood studio, including the now-rejuvenated MGM, typically produced over eight films annually.

Given Microsoft's ambitions, Amblin would likely produce more than eight films in three years, indicating they were looking to expand their distribution channels through such projects.

However, even with Spielberg's star power at Amblin, that didn't guarantee every film he directed would be met with open arms by distributors, especially since he had been relatively low-output in recent years. After taking over the reins at Amblin, if he managed to direct even one film every three years, that would be a feat.

Consequently, Amblin was in urgent need of a film project that would attract distributors strongly. A project with the kind of box office guarantee and influence that The Matrix sequel represented would be just what they were hoping for.

Bill Gates said something on the other end of the line.

Eric simply shook his head, saying, "Bill, I can't just throw out a number without discussions. We'll need to sit down and negotiate properly. But don't doubt it; if Amblin offers a fair price, we will sell. Hm... $250 million? Heh, Bill, while I don't want to negotiate right now, if that's the only offer you put on the table, I don't see much point in discussing further."

Just then, as Eric was talking with Bill Gates, there was a gentle knock on the study door. Kelly pushed it open, and alongside her, Miranda Kerr was peeking in with a somewhat eager expression.

Eric waved her in, and Miranda walked in while Kelly stayed back and closed the door behind her.

Noticing Eric was on the phone, Miranda's anxiety eased a bit. She hesitantly made her way to the desk, her eyes flitting around nervously. She glanced at the couch to her left but didn't dare sit down, standing obediently in place, putting her hands behind her back, looking up at Eric with her best innocent expression.

Eric looked up at the girl, smiled, and while still on the phone with Bill Gates, he made a few clicks on his computer with his mouse.

The printer nearby soon whirred to life.

Cautiously, Miranda glanced over, and when the buzzing stopped, she could see the papers on the A4 page -- credit card statements.

It was clear it was the CitiBank black card she had in her hand.

She instinctively shrank her neck, a bit worried as she looked at Eric. Her mind wandered back to the past month's experiences.

...

Initially, when she cajoled Eric into giving her a black card, Miranda's heart wasn't exactly set on anything else. She had simply heard that this type of credit card had a high status and even allowed for unlimited overdrawing, and she was just curious when she asked Eric for one.

Miranda considered herself a clever person, and even after finding out the eight-digit balance associated with the card, she didn't show much excitement because she knew that money wasn't hers; she couldn't and wouldn't squander it.

However, what followed still exceeded her expectations.

That such a CitiBank black card represented not just the millions of dollars in her account but a symbol of social power.

Because of that black card, her past month could be summed up as a series of "at your service" moments.

From the moment she arrived in the Bahamas, she had been receiving the most meticulous care -- airport VIP lounges, 24-hour luxury cars and drivers in Miami, personal butlers at top hotels in Orlando, and direct service from the managers at Chanel.

Once, while in Orlando, when she caught a cold, she made a phone call late at night, and within half an hour, a medical helicopter was there to whisk her to the best hospital in Orlando.

Throughout her life, not even her parents had ever provided her such attentive care.

Miranda often thought that even a princess wouldn't have a life much different from hers.

Despite her mentally mature demeanor, she was still just a young girl, and this intoxicating sense of vanity led her to lose her way. After enjoying her time in Miami and Orlando, the girl, on the travel consultant's advice, flew to New York and even attended a soiree with the wealthy kids of the Upper East Hydee. Although they didn't know her identity, because of that black card, those once-arrogant boys and girls treated her exquisitely.

Eventually, Miranda couldn't bear to even check the statements on that credit card. She sometimes thought just living this princess-like life for a month would be more than enough.

However, a month had passed, and as expected, her joy quickly turned into regret.

Waking up in a top suite at the Hilton in New York, she was handed a plane ticket back to the Bahamas by the front desk manager.

...

After talking with Bill Gates for over ten minutes, Eric finally hung up.

Setting down the receiver, Eric looked at the girl who had been shifting nervously on her toes. He pointed to the printer's credit card statement and said, "Bring it here, I want to take a look."

Miranda approached with an anxious expression. She sorted the papers, hesitantly moved beside Eric, and handed them to him. After a moment's thought, she mustered the courage to step closer, but Eric pointed back to her previous spot.

"Uh-oh!"

She sighed inwardly, returning to her spot dutifully, but still bravely said, "Eric, I'm sorry, I made a mistake."

Eric examined the long statement in his hands.

Luxury car rentals, personal drivers, medical helicopters, European breakfasts, limited-edition Prada bags, stays at Carlton Hotel, Dior dresses...

He shook his head in disbelief, occasionally clicking his tongue in appreciation.

To cap it all off, the bill for one month totaled $110,000.

With the American income level, a middle-class household where both partners worked might not even earn $110,000 in a year.

Eric looked up at Miranda, her pleading expression striking him; could she really just be a naive girl -- it felt more like she was an extravagant house cat.

Eric suddenly recalled something he had seen online in a previous life about a cat owner who installed a GPS tracker on their pet, and the next morning, they saw a shocking series of routes their cat had taken.

"Now, what did I say back then?" Eric finally asked after a lengthy pause.

"Don't spend wildly, enjoy it for a bit, then go back to Los Angeles," Miranda obediently murmured.

Eric set down the bill, "And now?"

"Eric, I was wrong. Will you forgive me?"

Of course, Eric didn't mind the money Miranda spent. With his current fortune, even if she kept spending at her current rate for a hundred years, it wouldn't affect him much. However, her behavior had certainly become unreasonable.

Without further ado, Eric stretched out his hand to her, "Give it here."

Miranda froze for a moment, suddenly realizing Eric was asking for that black card.

As memories of recent experiences flashed before her, the scenario of being turned back into a pumpkin like Cinderella upon losing that card loomed in her mind, and she instinctively took a step back.

But soon, she understood that Eric wanting the card back was simply something she couldn't refuse.

Hesitating, Miranda cautiously pleaded, "Eric, I promise I won't spend recklessly anymore. Could you please let me keep this card?"

Eric looked at the girl's pleading expression. Given his vast experiences, he understood all too well the thoughts running through her head.

Ah, the dreadful vanity.

https//Sayonara816.

[Chapter 802: Test Screening]

The two of them remained at a standoff for a while. In the end, Eric noticed that Miranda had a tearful expression, and he almost burst out laughing.

"Forget it; I might as well think of her like a little kitten."

With that thought, Eric decided not to insist on taking that black card back. After all, while the money this girl spent was indeed a fortune for an average person, to Eric, it was just the price of a lollipop. Moreover, if that girl truly started to spiral out of control, all Eric needed was one call to cancel the credit card.

Miranda cautiously watched the changes in Eric's expression. As his demeanor softened, she realized something and broke into a pleading smile. "Eric, really, I--I absolutely won't spend recklessly again."

Eric kept his tone unchanged; he didn't want her to feel too proud. "Kelly is going back to Los Angeles this afternoon. You will go back with her, and for this whole year, you aren't allowed to leave Los Angeles."

Miranda immediately jumped on the inconsistency in Eric's words and pouted. "But what if my parents want me back in Australia for Christmas?"

"Uh-huh!"

"Okay, okay, Eric. I promise I'll behave."

Seeing Eric scowl again, Miranda dared not be clever. She turned around the desk and leaned over to affectionately wrap her arms around his neck.

Eric raised a hand and gently pushed her away. "No clingy behavior. Go find Kelly."

"Hehe, Eric, you really are such a coward."

"Three..."

"What?"

"Two..."

"Stop it! You can't scare me like that!"

Realizing that Eric was counting down, even though she said that, the mischievous girl didn't dare test his patience anymore and quickly slipped out of the study.

As the door closed behind her, Eric shook his head and smiled. He picked up a few pages of credit card statements from the table, leaned back in his chair, rested his feet on the table, and started to browse through them slowly, all while considering how to arrange this little kitten's future.

After all, Eric didn't plan to let Miranda walk the same path as a former supermodel; that would be too exhausting. If she was going to be a kitten, then she certainly should lie comfortably on her owner's sofa, closing her eyes to enjoy life.

...

Geographically positioned at the crossroads of Eastern and Western Europe and receiving support from Western powers like Germany, the Czech Republic had become one of the first countries to develop after the Eastern European upheaval. However, in terms of the economy, it was still far from being on par with Germany or France.

The filming locations for Casino Royale were mainly in Prague, with scenes that included a car chase between Bond and the villain, as well as some dialogue scenes. Additionally, the exterior shots of Bond traveling to Montenegro were filmed on the mountain railways in the Czech Republic. As for Montenegro, the long-lasting Bosnian War had just ended last year, and the region remained in chaos, making actual shooting impossible.

Due to the promotional effects of the 007 series for the countries and cities it filmed in, the Czech government, eager for further openness, placed great importance on the film crew's shooting activities. While filming the chase scene between Bond and the villain, they even went so far as to block off two streets for a whole week.

...

As the crew was shooting in the Czech Republic, North America's summer blockbuster season was entering its final phase. Following Men in Black II, Jumanji II officially hit 2800 screens in North America the following week, but the ending left many shocked.

That week, MGM also released the second installment in the Resident Evil series, Resident Evil: Apocalypse. With production costs reaching $86 million, Jumanji II's opening weekend box office was surprisingly overshadowed by the less prominent Resident Evil: Apocalypse, resulting in quite an embarrassing outcome.

The first Resident Evil film, with a budget of $30 million, earned $60 million at the North American box office and an impressive $126 million worldwide. Moreover, this post-apocalyptic sci-fi film performed even better in the home video market, netting over $60 million in profit for the producers within a year of releasing on home video and DVD.

As a result, the production budget for Resident Evil: Apocalypse soared to $45 million. During production, MGM's plan was to only recover a significant portion of the budget at the box office, with the primary profit coming from after-market video and licensing revenues. MGM was now well-positioned to operate these long-term ventures.

Before the release of both films, although Jumanji II had already garnered negative buzz, most box office analysts predicted opening weekend earnings of no less than $50 million.

However, the ultimate results were that Resident Evil: Apocalypse pulled in $28.37 million in its opening weekend, while Jumanji II only managed $25.22 million, placing the two newcomers third and fourth in the weekend box office rankings.

In terms of reviews, due to the innate disadvantages of the Resident Evil series, media commentary was predictably lukewarm, averaging only a score of 6.5. That said, looking at an opening weekend gross of $28.37 million, the sequel might still reach a total box office of $70 million, and combined with international earnings, it could easily recoup all production and distribution costs during its theatrical run.

Jumanji II, however, faced complete failure. Not only did it earn just $25.22 million during its opening weekend -- over 50% lower than most agencies had predicted -- but due to its disjointed plot, it received a media rating of just 4.6, with most critics labeling it as "a farcical spectacle loaded with CGI."

As events unfolded, it seemed certain that Jumanji II was indeed going to flop. Firefly Group, which had only invested $50 million in production, would recover some losses due to box office and later copyright revenues. However, Sony Pictures, which not only participated in production but also acted as the primary distributor, faced significantly larger losses. The failure of this project would not impact Firefly too greatly, but for Sony, it represented a major setback for their film division.

Perhaps the sole silver lining was that due to the underwhelming box office for Jumanji II, it didn't significantly impact the box office performance of Men in Black II, which had released the previous week.

Following an impressive opening of $75.5 million, Men in Black II only experienced a 31% drop in its second weekend, grossing another $52.09 million and bringing its two-week total to $127 million.

Even in the third week, the box office for Charlie's Angels II saw its drop shrink from the previous week's 43% to just 25%, reaching $32.49 million and total earnings of $156 million. Furthermore, with no major new releases towards the end of the summer blockbuster season, the box office success of Men in Black II and Charlie's Angels II was likely to be sustained.

...

When Eric heard the news, he also inquired about the production progress of Sony's Godzilla, which had started filming in New York in June. However, Godzilla's shooting schedule was set to be much shorter than Casino Royale, just three months. Though as a CGI-heavy blockbuster, its post-production cycle would run significantly longer than that of Casino Royale.

According to Sony's released schedule, the film was set for summer release next year. While the exact date hadn't been confirmed yet, there was considerable possibility that Godzilla and Casino Royale would clash next summer just like Charlie's Angels II and Men in Black II had this year.

Thinking back to a certain "T-Rex" image, Eric felt some anticipation for next summer's blockbuster season. After all, next year would be 1997.

What a significant year that was; the Asian financial crisis.

While Japan may not have felt the immediate impact, the overall economic downturn in Southeast Asia was unavoidable.

In such an environment, Sony would likely have a challenging time unless they suffered another major defeat in their film business.

Just the thought made him feel a pang of sympathy.

...

Time quickly passed to August, and the two weeks of shooting in the Czech Republic whisked by.

The crew moved on to Italy.

Their filming schedule in Italy was for one month, focusing on two key plot points: the gambling scenes between Bond and the primary antagonist, Le Chiffre, at the casino, and the sequence where Vesper, played by Cate Blanchett, meets her demise.

At the same time, the trio of Angels along with Vesper's sister would also feature in some very brief scenes in Italy.

Charlize and the others were currently overseas promoting Charlie's Angels II, and their schedule was packed. Their parts were mainly filmed in the UK, which involved rescuing Vesper's sister, Angela Lind. If timing didn't allow, the three ladies might have to return to Italy for some brief reshoots after finishing their shots in England.

Although the trio couldn't arrive immediately, the actress portraying Vesper's sister, Angela Lind, Christina Aguilera, was now in the crew's Italian location.

However, while the crew was deeply immersed in filming, Eric had another pressing matter he needed to address.

...

After that initial meeting, under Firefly's operations, the Venice Film Festival promptly responded, agreeing to feature Titanic as the opening film for this year's festival.

After all, under Eric's leniency, Cameron's overall cost for completing Titanic had reached an unprecedented $215 million, surpassing the original timeline by $15 million.

Although the Venice Film Festival had always upheld its high-culture artistic vibe, it was becoming quite difficult to reject a film with a budget that could be entered into the Guinness World Records.

As the Venice Film Festival sent out formal invitations and disseminated news to the media, Cameron had already arrived in Venice with a sample reel.

It was August 3rd.

After completing a day's work, Eric hadn't had time to rest before he received news from Peter Rich that Cameron had made it to the hotel where the crew was staying.

In the hotel lobby, Eric encountered Cameron, who looked scruffy and worn down. Although Eric had reassured him earlier, Cameron was well aware that if a film with a budget exceeding $200 million failed, it would severely impact his directing career. Consequently, he seemed to have aged visibly over this period.

"Hey, Eric. How's the film shaping up?" As soon as Cameron saw Eric walk into the lobby, he immediately approached him.

"Everything is going pretty well," Eric lightly embraced Cameron, noting the fatigue on his face, and added, "Let's go have dinner. The hotel restaurant serves good food. After we eat, we can watch the film together."

"Sure," Cameron nodded.

Because both of them were a little distracted, dinner was quite quick.

...

After hastily filling their stomachs without much chit-chat, they headed into the hotel's private screening room.

"The film might be a bit long," Cameron said as the lights dimmed. He then added, "But I believe it's best not to cut it anymore."

Although he said that, Cameron's tone was not very decisive.

Eric had already given him the maximum support on budget, and Cameron wasn't unreasonable. While he could yell at Katzenberg back in Hollywood with, "If you want to cut this film, just kill me first," if Eric insisted, Cameron would also do his best to trim some of the runtime.

The version in front of them had a total runtime of 187 minutes.

In Hollywood history, there were only a handful of films that exceeded three hours and also succeeded at the box office; Cameron could only recall Gone with the Wind from 1939. Additionally, while many films of that length might achieve some level of artistic recognition, very few could also garner high box office returns.

After all, for a movie, simply running three hours was enough to deter most viewers.

While Cameron was confident in his work, he wasn't delusional enough to think Titanic could be compared to Gone with the Wind, an era-defining film.

...

The idea to film Titanic had initially been influenced by Eric during a casual chat at Playa Vista with several well-known directors and producers. Eric had also participated in some of the scriptwriting.

Thus, the new Titanic closely mirrored the original's storyline.

The most significant difference was undoubtedly the lead actress. Compared to the curvy, warm Kate Winslet, the slender, elegant, and exquisitely beautiful Rachel Weisz -- with a hint of rebellion in her heart -- was far more suitable for the role of Rose.

When the older Rose began reminiscing on the grand screen, and Rachel first appeared on screen with her tall figure, classic makeup, and that uniquely British aristocratic pride, Eric couldn't help but feel a sense of awe, as if a past regret had been rectified.

Cameron's command over the narrative was undoubtedly masterful. Despite the film's length of three hours and seven minutes, each minute maintained the audience's engagement, offering no surplus moments. The shots of the Titanic sailing across the ocean, Jack and Rose embracing at the ship's bow during sunset, and the big industrial ambiance inside the cabins delivered almost breathtaking beauty and impact.

The disaster sequences in the second half, though brief, effectively conveyed the dualities of human nature in times of crises, as well as the emotional parting between Jack and Rose, touching the audience's hearts deeply.

Eric had watched Titanic numerous times, but living through another life, witnessing another still-perfect rendition of Titanic filled him with excitement all over again.

As the screening concluded, Eric didn't even notice the three-plus hours had flowed by unobserved. He turned to speak to Cameron, only to suddenly catch the end credits' pure instrumental music still playing.

Yes, this piece combined piano, bagpipes, and violins -- still beautiful but completely unrelated to the former My Heart Will Go On.

https//Sayonara816.

[Chapter 803: My Heart Will Go On]

Cameron saw Eric suddenly shift his gaze back to the screen and, with a mix of curiosity and apprehension, asked, "Eric, what do you think?"

Eric, pulling his mind back, nodded and replied, "A perfect piece of work, Jim, but I feel there's a small flaw in the film's ending."

Eric didn't raise the issue of the length of the film right away, which eased Cameron a bit. Cameron said, "Are you referring to the scene where Rose dreams of Titanic? If I remember correctly, you suggested adding that part, and I think it worked quite well."

"No, no, not that," Eric shook his head. "I'm talking about the ending theme. This instrumental piece is nice, but it feels a bit monotonous. Maybe substituting it with a song could improve it. When James was composing the score, did you discuss this possibility?"

The James Eric referenced was James Horner, the composer for Titanic.

He recalled that My Heart Will Go On was a collaborative piece by James Horner and another composer. Eric was unaware of how Cameron had collaborated with James Horner previously, but he had learned that during the making of Aliens in 1986, Cameron and Horner had a falling out over creative differences and their relationship had been strained ever since.

To keep Titanic's essence intact, Eric had personally invited James Horner to compose the film's score and had mediated between the two. Before the filming of Casino Royale began, the three of them had even had dinner together at Playa Vista.

Cameron shook his head at Eric's question, saying, "James did write a song inspired by the final scene called In My Dreams, but I felt the lyrics did not align well with the film's theme, so we decided to use the instrumental version, which is what we just heard as the ending theme."

Eric instructed the projectionist to replay the previous ending, probing Cameron for the lyrics. In the end, he could only shake his head in disappointment; the song simply did not hold a candle to My Heart Will Go On.

In truth, writing songs requires inspiration just like writing poetry or painting. Eric should have realized early on that although Titanic's core narrative could remain consistent under his influence, when it came to the ending theme, there was no way James Horner could recreate the exact inspiration he had from the original timeline under the flutter of Eric's butterfly effect.

The success of Titanic in the original timeline was attributed to the film's overall quality. However, while My Heart Will Go On hadn't reached the pinnacle of a perfect touch, it undeniably elevated Titanic. Eric was not going to let this opportunity slip away.

After a moment's thought, he said, "James shouldn't be too busy lately, right? I had some inspiration while watching the film earlier. If he could come to Italy, perhaps before the Venice Film Festival, we could collaborate on a great ending song."

Cameron loved the song Eric had previously put forward, New Divide, and had even watched the entire first Victoria's Secret Fashion Show tape. Hence, he had no doubt about Eric's ability to come up with an ending song for Titanic. However, he remarked, "Eric, if he were in Los Angeles that might be feasible, but it's unlikely James can come to Italy. He is currently working on the score for Edward Zwick's Legends of the Fall. Speaking of which, if you have some inspiration, why don't you create something yourself?"

Eric shrugged and replied, "You know what I've been up to lately. I might be able to come up with lyrics and melodies, but I can't spare time for the arrangement and recording."

Cameron said, "Eric, while James might not be able to come right away, as long as you can provide the lyrics and melody, Europe is vast, and we can surely find excellent musicians to help with the arrangements. Even if the result isn't perfect, the film isn't scheduled to release until the end of the year, so we have plenty of time to make adjustments, right?"

"In that case, the Venice Film Festival screening would probably be too rushed, wouldn't it?"

"Think of it as a surprise for the audience," Cameron said. "Of course, this only works if you write something truly excellent. Otherwise, I won't use it; I don't want a lousy song ruining the entire film."

By the end, Cameron's tone had turned critical as was his habit.

Eric narrowed his eyes and nodded slowly before stating, "Alright, let's talk about the film's length."

Cameron could easily tell that Eric was countering his previous remark, but he nearly jumped up, saying, "Hey, Eric, you're not that petty."

"Of course not, so..." Eric patted Cameron on the shoulder. Seeing him perk up with wide eyes, he stopped for a moment before taking a breath, saying, "I don't think we need to change a minute. Let's just release this version."

"Ha! I knew it!" Cameron instantly transformed his worry into joy, a tinge of smugness rising up as he nearly blurted something out, but he quickly refrained.

He had intended to say that since you approved this version, if it underperformed at the box office, it shouldn't all fall on him. But he quickly realized that saying such a thing would be quite irresponsible. Suppressing those thoughts, he raised his fist and gave Eric a light punch on the shoulder, saying, "Eric, I've been catching up on some Spider-Man comics recently and have some interesting ideas. If... you still want me to direct it, just let me know."

"Whatever happens, this project is yours; we agreed on that," Eric replied. "Or, I can have Los Angeles send over the contract tomorrow."

Cameron was always an open person. Reflecting on Eric's unwavering support since last year, he couldn't help but feel a strong sense of camaraderie. "Eric, I can only promise you I'll do my best."

Eric, not good at having deep conversations with a guy like him, tried to lighten the mood, saying, "It's still early; how about we head to the bar downstairs for a drink?"

Cameron quickly brushed aside his emotions, nodding casually, "Sure, but first, I need to personally deliver the copy to the bank vault. The copy we have is worth two hundred fifteen million dollars. If something goes wrong, we might end up wasting the last two years."

As they chatted, they both stood up and left the screening room.

...

Christina Aguilera had been on the set for a week. She arrived in Italy on August 1st, and the entire crew comprised over 200 fixed staff and actors, spreading across several different hotels. Since she joined the crew last minute, she wasn't placed in the same hotel as Eric but was a street away.

Christina had very few scenes in Venice. Her character, Angela Lynd, was kidnapped by a ghost gang, who threatened her sister Vesper Lynd to hand over a huge sum of money. Since she only had a brief moment tied to a chair to prove her sister was still alive to Vesper, she would be sent back to England shortly after, which meant she didn't even have lines, and nobody really had time to focus on her.

However, with her crew member badge, even though it was only a week, Eric had only had time to quickly say hello, and yet Christina could enter the film set every day to watch Eric direct from the sidelines.

After seeing Eric orchestrate the massive crew like a king, Christina felt more and more small, inevitably fostering a sense of admiration towards him.

Another day of shooting came to an end. In the evening, Christina and her assistant, Miliya, left the set early to find a restaurant, where they enjoyed dinner while discussing the recent gossip. Although Miliya was ten years older, she was quite the chatterbox, going on and on about, "I heard Pierce Brosnan got scolded by Mr. Williams again. Seems like he can't keep up with your sister's pace, and many media outlets in North America are still saying your sister isn't pretty enough. But I think when the film is released, many will be surprised. I wonder how Mr. Williams found such an actress; she hasn't even starred in a single Hollywood film."

Right before filming began, the announcement that Cate Blanchett was cast as the new Bond girl sent many media outlets into a frenzy. Most comments claimed that Cate Blanchett wasn't stunning enough to fill such a glamorous role. While Cate eventually garnered support due to her powerful professional photographs as a Bond girl, the tide of opinion largely suggested she was unsuitable.

However, during recent shoots, Cate's performance as Vesper Lynd was stealing the spotlight, often overshadowing Pierce Brosnan.

Surely, if this Bond girl were just another pretty face, Pierce Brosnan's charisma would remain unchallenged. But Vesper Lynd was a character with a striking personality, providing Cate an excellent platform to showcase her amazing skills.

This was still a James Bond film. Even though Eric hoped for Cate to shine, he couldn't allow her to completely overshadow Pierce Brosnan. So while he adjusted Pierce's performance, he, regrettably, had to reign in Cate's brilliance.

While the fact of the lead actor being upstaged was kept tightly under wraps, many knew it within the crew. As for the news reaching the media, most considered it part of the crew's promotional strategy, so it didn't receive much attention.

Christina absentmindedly fiddled with her spoon while eating ice cream. Listening to Miliya, she replied, "Miliya, could you stop saying 'my sister' like that? It sounds odd; I've only spoken a few words with Ms. Blanchett."

"Hey, I'm just trying to help you get into character," Miliya replied. "Just think about it; even Pierce Brosnan got scolded. If you don't perform well in the future, Mr. Williams probably won't go easy on you either."

Christina had memorized her thin script thoroughly and had gone over the lines with Miliya countless times. At this point, she could recite them effortlessly. With her years of experience from the Mickey Mouse Club, although she was worried about her performance, she didn't feel too anxious.

"Eric is a really nice person. I don't think he would scold me," Christina said somewhat uncertainly, indulging in the fantasies of a little girl.

Miliya, appearing a bit carefree, certainly wouldn't touch on certain sensitive subjects, like her employer's relationship with Eric Williams.

So when Christina mentioned Eric, Miliya kept quiet, but with her greater experience, she knew that most directors in Hollywood exhibited two different personas -- one on set and another in private.

No matter how gentlemanly they were away from the camera, once in directorial mode, these individuals often become strict and volatile. The more talented the director, the more intense they tended to be.

Eric might have been gentle with Christina in private, but if she performed poorly during filming, disrupting the crew's progress, receiving scolding would be a near certainty. According to Hollywood rumors, several years ago while filming Pretty Woman, Julia Roberts had been reprimanded multiple times by Eric Williams. There were even whispers that it had impacted her.

After a moment, Miliya changed the subject, saying, "Let's drop that; tomorrow, wake up early. I heard there's an explosion scene in the morning. That should be quite thrilling; I've never seen one."

As Christina was about to respond, a man in his thirties walked through the restaurant door. Both girls glanced over, vaguely remembering him as one of Eric's assistants.

Before they could react, he approached them. "Miss Aguilera, there you are. I've been looking for you."

Christina quickly stood up and asked, "Oh, is Eric looking for me?"

"Yes. Oh, let me introduce myself; I'm Peter Rich," he said, giving a brief introduction and greeting Miliya before adding, "Come with me; Mr. Williams is waiting for you."

"I, oh, okay," Christina wanted to ask what Eric needed her for, but seeing Peter already turning to leave, she dropped the thought and hurried after him.

Miliya quickly paid the bill, grabbed Christina's bag, which she had left on the seat, and followed.

https//Sayonara816.

[Chapter 804]

Outside the hotel room where Eric lived, Peter Rich knocked on the door. After receiving a response, he pushed the door open and said to Christina Aguilera, who was following behind him, "Miss Aguilera, go on in. Mr. Williams is waiting for you."

Christina instinctively glanced back at her assistant, Miliya Antin. Peter noticed her look and added, "Oh, this is..."

"Miliya Antin," Miliya quickly introduced herself.

Peter nodded and said, "Miss Antin, you can head back to the hotel for now."

"Oh, of course," Miliya said, feeling a bit disappointed that she couldn't join Christina to meet Eric. She turned to leave reluctantly as Christina stepped inside.

Christina assumed Eric was the only person in the room, but once she walked in, she discovered Eric was chatting with another middle-aged man near a piano by the balcony.

Cameron first noticed Christina entering. Seeing the petite girl with a sweet appearance, he instinctively asked, "Eric, is this little one the singer you were looking for?"

Although Christina knew about the Terminator series and heard the buzz surrounding Titanic in the media over the past six months, she didn't recognize Cameron. However, she quickly gathered that he must be a close friend of Eric, given his wrinkled shirt and messy hair as he leaned against the piano.

Despite Cameron's somewhat doubtful tone, Christina smiled back, and when Eric turned to her, she said, "Eric, you wanted to see me."

Eric, who was sitting next to the piano, didn't seem inclined to stand up. He just nodded and said, "Yeah, come over."

Christina obediently walked to the other side of Eric, casting a curious glance around. On the piano and in front of Eric, there were several sheets of paper, presumably sheet music. Both Cameron and Eric were holding pencils, and the pages were filled with annotations.

Noticing Christina's eyes darting around, landing on Cameron, Eric smiled and introduced them, "This is Christina Aguilera. Oh, and here's James Cameron; you've definitely heard of him."

"Of course," Christina nodded. Though she had instinctively moved to the other side of Eric, she reached her little hand out and said, "Hello, Director Cameron. I really like your movies."

"Oh, really?" Cameron shook her tiny hand and joked, "You don't look old enough to watch my films."

Before Titanic, all of Cameron's films, except for the less successful The Abyss, were rated R, requiring those under 17 to be accompanied by an adult. He didn't believe that this girl, who seemed barely over five feet tall, had seen his movies, or if she had, she likely didn't enjoy them.

As they spoke, Cameron's focus shifted back to Eric. Since Eric had called her over, he realized this must be the singer he was talking about.

For the past few days, Eric had spent his evenings composing the music and lyrics for My Heart Will Go On. Today, they had essentially finished the work, and although both he and Cameron could hum the tune, two grown men were unlikely to capture the essence of My Heart Will Go On. Therefore, Cameron suggested finding a female singer to try it out, and Eric immediately thought of Christina, who had just joined the team a few days prior.

In this timeline, Christina was already recognized for squeezing into the "100 Greatest Singers of All Time" list at such a young age. From the moment she started her musical journey, she emulated legendary singers like Whitney Houston and Mariah Carey. While she might not have the ethereal voice of Celine Dion, her vocal skills were more than capable, arguably surpassing Celine, who had a more limited musical style.

Eric organized the scores in front of him and explained, "Jim, we're just looking for a girl to try out the song's effect. I can assure you, Christina is definitely the best singer in our entire crew."

"Well, I hope so," Cameron said, not taking it too seriously since it was just a trial.

Eric smiled and asked Christina, "Do you know the theme song from The Bodyguard that Whitney Houston performed four years ago?"

"Is it I Will Always Love You?" Christina asked.

Eric nodded and waved to Cameron, grinning, "Show Jim a couple of lines."

Though the singing style of I Will Always Love You differed from My Heart Will Go On, both songs belonged to the ballad genre. Moreover, the difficulty level of I Will Always Love You was even higher than that of My Heart Will Go On, and Cameron, being a music lover himself, would undoubtedly recognize this.

Having performed frequently since she was eight, Christina felt no stage fright. Taking a couple of steps back to gather her emotions, she began to sing:

If I should stayI would only be in your waySo I'll go, but I knowI'll think of you every step of the wayAnd I will always love youI will always love youYouMy darling, you, mm-mm

...

Cameron initially appeared amused, enjoying the show. But as the powerful tones, nearly identical to Whitney Houston's, erupted from the petite girl's mouth, he quickly shifted his expression from indifference to astonishment, studying Christina with newfound respect, as if trying to understand the immense power emanating from such a small frame.

With a long list of tasks ahead, Eric soon lost patience waiting for Christina to finish the song. As Cameron's expression began to transform, Eric cheerfully interrupted her, saying, "Alright, that's enough for now."

Christina paused, hurriedly quieting her voice, worried she had sung poorly. Blinking her eyes, she stood there, momentarily at a loss for what to do.

This time, Cameron began to come to Christina's defense, saying, "Hey, Eric, why don't you let Christina finish? That's pretty rude."

Eric ignored this guy's sudden shift in tone and turned to Christina, saying, "It's alright, you sounded great. We just have a bit of a time crunch. Come on, let's take a look at these scores and sing for us later."

Realizing there was no issue on her part, Christina relaxed and politely smiled back at Cameron, walking over to take the scores from Eric's hand.

"This is a theme song I just wrote for a movie. Jim wanted to hear how it sounded, so I asked you to come over," Eric explained as he saw Christina studying the scores beside him. He turned to Cameron, who was leaning against the piano, and said, "Hey, buddy, could you bring a chair over for our little singer?"

"Ah, it's okay, I can manage," Christina, who had already started humming softly, quickly replied. She didn't want such a big director like Cameron getting a chair for her.

Before she could even make a move, Cameron had already handed over a chair from behind him, saying, "Here you go, little one -- oh no, Christina, here you go."

It was a heavy wooden chair with a high backrest. While Cameron had no trouble lifting it, it was a bit of a struggle for Christina to receive it. Eric quickly stood up, helping her position the chair behind her.

Once Christina sat down and began carefully reading the sheet music, Eric knew they would have to wait a while. Taking the opportunity, he walked over to the fridge and poured two glasses of whiskey and one of juice. He returned and handed them to Cameron and Christina while holding one for himself. He casually chatted with Cameron, saying, "I was thinking that for the opening arrangement, we should consider using the Scottish bagpipe. That instrument has appeared several times in the story and aligns beautifully with the female vocals at the end of the film."

"Scottish bagpipe," Cameron pondered for a moment, then said, "Oh, I remember. Did James really say we had one here?"

"I'm not sure if you can buy one in Venice, but if you want to hear how it sounds, I can have my assistant look for one tomorrow," Eric replied.

Cameron nodded, then noticed Christina still diligently reading the score line by line. He said, "Eric, this is taking too long. Why don't you sing it to her? I bet Christina will learn it after hearing it a couple of times."

Eric glanced at Christina, who nodded, and then took the score. "Alright, I'll sing it once; listen and see what you think."

Christina's musical talent truly shone. With just a soft rendition from Eric, she could follow along with the lyrics. Eric directed her on some pronunciation techniques, and with a few practice runs, accompanied by Eric's piano playing, they were soon treated to a rendition of My Heart Will Go On from an actual professional singer.

Christina deliberately kept her voice subdued, refraining from showcasing the more fierce, almost masculine edge she generally displayed. Thus, her rendition of My Heart Will Go On carried a distinct Celine Dion-like charm, which left both Eric and Cameron thoroughly satisfied.

As Christina finished her third round, Cameron clapped his hands excitedly and said, "That was great! Absolutely fantastic! Eric, I've made my decision. We're using this song as Titanic's closing theme. I believe I should have it done before the Venice Film Festival because this song is a perfect match for the film. I don't want to wait another moment; I'll fly back to Los Angeles tomorrow to have James arrange it. We need to wrap this up before the festival opens."

Such a song was indeed labor-intensive, and after Christina finished, she took small sips of her juice, still surprised that this song would actually be the theme for Titanic. Despite many doubting the project's success, considering it a potential flop like Waterworld, it was still a $215 million blockbuster. If she could perform the theme song for such a film, then...

With these thoughts, Christina subtly set her cup down and looked at Eric with her wide, innocent eyes twinkling in anticipation.

"With twenty days left until the opening ceremony, I think it's feasible if we push a bit," Eric remarked, also nodding. Initially, Cameron had planned to take his time producing the song, but now caught in Eric's enthusiasm, he didn't oppose the idea of making Titanic's premiere even more spectacular at the Venice Film Festival. Eric noticed Christina's expectant expression and chuckled, reaching out to pinch her cheek playfully. "Don't think about it too much. This song isn't for you -- you can't go down the path of sentimental ballads. Firefly Records is preparing a single for you by the end of the year, so just focus on the route the company has set for you."

Christina shrank back a little but showed no resistance to Eric's slightly affectionate gesture, smiling as she replied, "Okay, I understand, Eric."

Cameron, however, noticed the subtle interaction between them. He shifted his gaze to his watch and realized, without noticing, that it was already a quarter past nine.

"Alright, Eric, I'll head back to prepare for my flight to Los Angeles tomorrow," Cameron said as he finished his whiskey. He straightened up and waved to Christina, "Good night."

"Good night, Mr. Cameron," Christina politely answered.

Eric got up to walk Cameron to the door.

Seeing that Christina hadn't followed them, Cameron pulled Eric outside and quietly asked, "Hey, Eric, I'm not trying to meddle in your personal affairs, but..." pointing back inside, he lowered his voice further, "How old is she?"

Eric shrugged, helplessly saying, "Sixteen."

"Really?" Cameron said, somewhat incredulous, given Christina's petite stature, which was quite short, only about 5 feet tall.

"Absolutely," Eric affirmed, nodding. "And by the way, Jim, I haven't touched her. All in all, I consider myself quite a respectable person."

Cameron understood that Eric had no reason to lie about such matters, shrugged, and suddenly made a pinching gesture in the air, joking, "You really haven't touched her?"

Eric laughed, playfully punching Cameron on the shoulder and said, "Alright, go book your flight. Get back to Los Angeles and get to work."

"Hey, you," Cameron replied, not annoyed, and they shared a few more casual exchanges before he left.

...

Eric returned to his suite and found Christina still sitting in that chair, diligently studying the score, looking just like an innocent girl.

Walking up to the piano, Eric casually played some keys and said, "Come on, Christina, let's head back. You're staying at the hotel across the street, right?"

Initially engrossed in her act, Christina looked up with rosy cheeks and bravely said, "Eric, can I stay a little longer?"

"Hmm, how old are you?" Eric asked absentmindedly.

"Sixteen," Christina replied with twinkling eyes and a giggle, mimicking Eric's tone from earlier.

Eric smiled and reached out to gently pinch her cheek, saying, "It's not a good habit to eavesdrop on others' conversations."

This time, Christina boldly grasped Eric's hand and pressed it to her chest, batting her eyelashes and gazing up at him with an even deeper blush, "Then, Eric, how about you punish me?"

https//Sayonara816.

[Chapter 805: The Buyer]

Feeling vaguely that someone was watching her, Christina Aguilera opened her eyes and happened to notice Eric smiling at her from the open door.

"Good morning, Eric," she greeted softly.

"I saw you sleeping so soundly that I wasn't sure whether to wake you," Eric said, coming in. "Why don't you rest here for the next few days? Your place isn't as nice as this. I ordered breakfast for you, so when you get up, just call room service. They'll bring it up. If you need anything else, you can also call my assistant," Eric said, placing a small card on the nightstand. "Here's his number."

Feeling a little downcast, Christina looked at Eric and asked, "Are you going to work?"

"Yeah, it's already eight o'clock. Hundreds of people are waiting for me," Eric replied.

Christina nodded obediently, saying, "Okay, then, goodbye."

"Goodbye," Eric leaned closer and kissed her cheek. Christina, feeling bolder, lifted her head and kissed him back, playfully sticking out her tongue to give his cheek a quick lick.

Eric didn't mind at all and laughed, "You're just like a little kitten."

Christina giggled, "Eric, you seem to really like cats."

"No, I don't like cats. I like women who are like cats -- docile, lazy, mysterious, but also wild and untamed at times."

Christina blinked rapidly, asking, "Then can I be your little kitten?"

"Sure thing," Eric chuckled, pinching her cheek playfully. He stood up and said, "I'm heading to work. When I have some time off this week, I'll take you out. Where do you want to go?"

Excitement lit up Christina's face, but she hesitated, saying, "I'm not familiar with Venice. I'll go wherever you go, Eric."

"That won't work. The Venice Film Festival is about to start, and with us filming here, there are too many reporters around. We'll definitely get mobbed. We need to get away a bit. How about Paris?"

Christina's mind didn't quite catch up. Of course, she wanted to go to Paris -- what girl didn't dream of it? But with the crew only having one day off a week, was it realistic to go that far?

Seeing the confusion on her face, Eric chuckled, not needing to explain further. "Then it's settled, Paris it is. I'm off to work, so you just keep sleeping. Wake up whenever you like."

She waved her hand at Eric as he left, and once she heard the faint sound of the door closing, she waited a moment before finally getting out of bed.

...

Christina first called her assistant, Miliya, and vaguely explained that she had stayed over at Eric's hotel last night. She told her assistant to manage her schedule for the next few days as she hung up, then ordered breakfast from room service to fill her stomach before crashing back on the bed.

When Christina finally woke up, it was already evening, and the thick curtains let little light through.

Hearing faint voices from the living room, she tiptoed to dress and opened the door, finding only Eric in the living room on the phone.

Noticing Christina had come out, Eric nodded and pointed to the couch opposite him.

Christina walked over and sat down, dressed in a fitted T-shirt and jeans, barefoot. The clean floor felt slightly cold without any carpet, so she curled her legs up, hugging a pillow while listening quietly to Eric on the phone.

"If that's the case, we can accept the $300 million price," Eric said, holding the phone while glancing through a blue folder resting on his lap, discussing something important with someone on the other end. "However, we can't budge on the payment deadline. Amblin wants the rights to The Matrix, so they must pay in full as soon as the contract is signed. It's just $300 million, Jeffery. With Microsoft backing Amblin, if they truly want to make this deal, they can manage it."

Christina couldn't help but gasp at the casual mention of $300 million. She knew Firefly was selling the rights to the sequel of The Matrix but hadn't realized it was worth that much.

Eric caught Christina's small reaction and waved his hand at her, signaling her not to be silly.

Christina shrank back, giving him a smile.

"And there's one more thing," Eric continued after finishing up with the Matrix discussion. "I've seen the final cut of Titanic, and aside from the end theme, there's nothing wrong with it. Jim flew back to LA this morning to handle the new end song, which I wrote myself. Can you have the record department coordinate to get it sorted out before the Venice Film Festival opening? And we can kick off the promotional work now. I'm not planning on compressing any further, so have the distribution department come up with a solid marketing plan."

"..."

"Bad Boys II?" Eric hesitated then thought about it. "Let's not release it alongside Titanic. I know you're not confident in this film. We have no say in other studios' plans, but Firefly can't sabotage itself. Let's push it back to next summer. This sequel should be strong enough to hold its own in the summer..."

After hanging up, Eric saw Christina poking her head curiously. He smiled and waved her over.

Christina got up and settled beside Eric, curling her legs and leaning against him while glancing at the documents on his lap. "Eric, what's this?"

Eric knew she wasn't really interested but was just looking for a conversation starter. "Nothing much -- just some copyright transfer agreements."

Christina glanced at the file but didn't pry. "Is it about The Matrix?"

"Yeah," Eric nodded, flipping back to the front page of the file, then feeling Christina lean against him, he chuckled, keeping his gaze on the documents, changing the topic. "What do you want for dinner?"

With Eric shifting the conversation, she absentmindedly replied, "I don't really know... what I had for breakfast was... um, nice."

"Breakfast?" Eric teased. "Never mind. Just call room service and have them send a menu up. Pick whatever you want."

"Okay," Christina nodded.

"Just take it easy and rest for these next few days," Eric said with a smile, gently pinching her cheek. "If you don't want to stay here, you can always go back to that street hotel."

Hearing this, Christina felt relieved and smiled sweetly. "I'm not leaving. I'll just call for the menu."

Saying that, she jumped off the couch and picked up the mobile phone Eric had just set down to start dialing.

Eric chuckled to himself and returned his attention to the documents.

...

Being away from Hollywood had kept Eric from witnessing the wild happenings lately, especially surrounding the sale of The Matrix's copyrights.

It was evident, just as Eric initially suspected, that the studio most interested in The Matrix was Amblin, powered by Microsoft's behind-the-scenes backing. Of course, other major studios were also involved in this copyright competition to varying degrees.

Firefly was certainly not going to hastily sell the Matrix rights without due diligence. In fact, many executives were reluctant to sell it outright, just dragging the matter along in hopes that it would fizzle out over time. Hence, when negotiating with interested studios, Firefly held a firm stance.

In this situation, companies like Paramount with more conservative management progressively withdrew, leaving only Warner Bros., Universal, and Amblin standing their ground.

However, the stringent conditions proposed by Firefly led to Warner and Universal dropping out, leaving only Amblin willing to meet Firefly's demands.

Under the preliminary agreement, Amblin would acquire the rights to the future film production and distribution of The Matrix for $300 million cash. The agreement did not restrict Amblin to just two sequels; in fact, if Amblin ever wanted to reboot the series, Firefly wouldn't object. Of course, most fans of The Matrix already knew the script issues for the trilogy, and it was unlikely Amblin would change it under pressure after this sale.

However, the agreement also stipulated that Firefly retained the development rights for all non-film-related aspects, such as comics, video games, and toys related to The Matrix series, including characters from the sequels. Firefly would not take part in any revenue sharing from theatrical, DVD, or tape releases of The Matrix sequel, while concurrently, Amblin would also have no claim to any of the ancillary profits from the franchise.

Though Amblin had great ambitions, it was still in its infancy and needed to focus on establishing its distribution networks. Thus, it agreed to this deal. Meanwhile, developing peripheral products was precisely what Firefly excelled at.

With The Matrix's first installment grossing around $600 million worldwide, Firefly had earned over $300 million just from theater viewership and tape distribution.

Even if the Matrix sequel didn't repeat past mistakes, Firefly still wouldn't lose out on this deal. With the American economy recovering overall, recouping $300 million in cash ahead of time -- whether allocated to entertainment or tech -- Eric was confident he could multiply that investment several times in the coming years.

Although outsiders viewed Firefly's recent profits as alarming, Eric knew the truth: Firefly had been in a heavy cash burn period for years, quickly turning most of its profits back into further investments within its various subsidiaries.

To minimize tax burdens, Eric began considering making direct investments in Firefly's subsidiaries under the Firefly Group name. This would, although indirectly, lead the 27% minority shareholders into the Firefly system. Still, it would save on many tax liabilities by skipping intermediate steps.

When excess funds directly converted to project investments, Firefly Group's pre-tax profits would significantly drop, allowing for reduced corporate tax obligations. For a company of Firefly's scale, the pre-tax profit tax rate hitting 35% was considerably higher than the 27% for minority shareholders. Investing in shares would also gain favor with these shareholders, reinforcing Eric's control over Firefly and garnering support from the influences they represented. However, if handed over to the IRS, Firefly would gain no substantial return.

Thinking about all this, Eric decided he would address the issue of Clover Holdings -- originally a Disney investment company -- during his next call with Katzenberg. Clover had always operated on a small scale and, unless someone closely examined Firefly Group's balance sheet, many wouldn't even notice its existence.

While Disney had expanded rapidly, it hadn't much interest in outside investments. Clover's most notable project was the $20 million investment aimed at building the Walt Disney Concert Hall in Los Angeles. However, that project had yet to generate any profit since it primarily served to enhance the Disney family's public presence and was largely philanthropic in nature.

Currently, though, this investment company could serve as a direct window through which the Firefly Group could invest externally. American corporate law is quite flexible, not restricting companies to specific fields of operation -- similar to Berkshire Hathaway, originally a textile mill that has evolved into a comprehensive holding group involved in insurance, bookstores, beverages, candy, and entertainment.

https//Sayonara816.

[Chapter 806: Is There Really a Need for This?]

Due to the Charlie's Angels trio being busy with the global promotion of Charlie's Angels 2, they ultimately could not make it in time for the filming of Casino Royale's scenes in Italy. As a result, the originally planned month-long shooting period in Italy wrapped up just two days before the Venice Film Festival commenced. The crew began to shift to the film's final shooting location in the UK, while Eric received an invitation from the Venice Film Festival organizers to stay for the opening ceremony of the 53rd Venice Film Festival and the premiere of Titanic that night.

Cameron had returned to Los Angeles at the beginning of the month and, with the support of Firefly Records, hurriedly completed the recording of My Heart Will Go On in three weeks. The singer was once again Celine Dion. With Eric's remote intervention over the phone, this song remained largely unchanged from the original version. The new print of the film, featuring the modified ending song, was delivered the day before the opening on September 28th.

During those days, with the Casino Royale crew filming in Venice, Titanic -- historically the most expensive film -- premiering at the festival, and the Venice Film Festival itself, the city had become quite the spectacle. Large numbers of media journalists who had little interest in the festival suddenly flocked to Venice for these various reasons.

Additionally, Cameron wasn't alone upon his return. Katzenberg happened to be visiting France to handle some business regarding Disneyland Paris and decided to tag along. However, Katzenberg and Cameron were not on the best of terms; both were hot-tempered and stubborn. Eric wasn't particularly eager to bring them together. He just hoped they wouldn't get into a fight. After all, their issues weren't personal; one was focused on the company while the other on the film. As long as Titanic performed well at the box office, Eric figured he could mediate their differences later.

...

On September 28th, the premiere of Titanic, as the opening film, was arranged for 7 p.m. local time. After attending the festival's opening ceremony during the day, Eric made a brief appearance at the subsequent reception before hurriedly leaving to join preparations for Titanic's premiere.

Just past six in the evening, outside the Casino Palace on Lido Island, a long red carpet was already flanked by a throng of media journalists and fans. The atmosphere appeared even livelier than that of the opening ceremony earlier in the day. Although most of Firefly Group's management held little faith in Titanic, with Eric's strong support, the company had still invested a significant promotional budget for the film. To make the premiere more exciting, everyone, including Eric, tried to contact stars who could attend the event.

The guest list included most of the jury members of the Venice Film Festival, the entire creative team behind Titanic, as well as heavyweight Hollywood and European stars like Liam Neeson, Dustin Hoffman, Pierce Brosnan, Nicolas Cage, Bridget Fonda, Holly Hunter, Sophie Marceau, and Juliette Binoche. Even though many were predicting doom for Titanic, the sight of these stars on the red carpet still elicited screams from fans and frenzied photography from the press.

As the host, Eric appeared on the red carpet with Katzenberg and Cameron. The three crossed the red carpet, took pictures in the media area, briefly answered a few questions, and then entered the Casino Palace to welcome the guests who had come to support the film.

"Hey, Liam, I'm glad you could make it. I heard the jury really liked your movie Michael Collins. Good luck!" Eric greeted.

"Oh, Bridget, you still look beautiful... Of course, I'll definitely reach out to you for future projects if possible," he mentioned.

"Nicolas, I thought you might not have time to make it," Eric added.

After exchanging pleasantries with Nicolas Cage, Sophie Marceau approached, wearing a long black gown and exuding a relaxed demeanor. Sophie had hardly changed from a few years back -- her smooth black hair, watery eyes, and delicate features, her smile extremely pleasant.

"Hey, Sophie, long time no see," Eric stepped forward, extending his hands. After the success of Braveheart, although Sophie had taken a few roles in Hollywood, they hadn't crossed paths many times. This time, Eric had tentatively called her, expecting a rejection due to their long silence. However, Sophie surprised him by agreeing to come.

After a gentle hug, Sophie pulled back, displaying a hint of dissatisfaction on her face. "Eric, I was almost going to ignore you."

"Oh, may I ask why?" Eric feigned surprise.

Sophie rolled her eyes. "Do you remember what you promised me back then?"

Eric put on a clueless expression. Seeing her mockingly wrinkling her nose, he quickly replied, "Alright, I remember. The Bond girl! But I sincerely apologize, Sophie. The production plans for the 007 series have changed significantly. This sequel doesn't feature a villainous Bond girl role, so you'll have to wait for the next one."

"Fine, for the fact that you finally remembered, I forgive you," Sophie waved her hand and then broke into a smile. "I initially thought you just said those things to charm women and would forget."

"Oh, thinking that way really hurts my feelings," Eric pretended to be hurt and said, "But alright, this was my fault for not notifying you in advance. How about giving me a chance to apologize?"

"I'm curious about how you plan to apologize," Sophie shot him a teasing glance and added, "Mr. World's Richest Man, you better be sincere."

"No problem," Eric replied cheerfully. "I'll buy the Eiffel Tower tomorrow and have it delivered to your house."

Sophie showed a face of disdain. "I don't want second-hand items."

"Fine, I'll just build a new one in your yard then."

"Ha ha," Sophie laughed, and seeing more guests arriving at the entrance, she waved goodbye. "Go on and greet your guests; I'll head in first."

Eric nodded, adding, "Let's grab a meal sometime."

Sophie agreed, saying, "Sure, as long as you have time. I know you're a busy guy."

"For a beauty like you, I can make time no matter how busy I am."

"Ha, sweet talk," Sophie chuckled, lightly tapping Eric playfully, and without saying anything more, she turned and walked inside.

Eric turned his attention back to the guests, this time greeted by the Weinstein brothers, Harvey and Bob.

Daniel Day-Lewis and Julia Roberts had just wrapped filming Shakespeare in Love, and post-production was underway to target the Oscars. This project didn't relate to the Venice Film Festival at all.

However, as award veterans, Miramax definitely wouldn't miss out on the Venice Film Festival. Their film featured there was titled Basquiat, a biopic about American street art, boasting an impressive cast including David Bowie, Dennis Cooper, Willem Dafoe, and Gary Oldman.

While Titanic was the opening film, it was purely an exhibition piece, not competing for any awards at the festival. Thus, many famous figures attending to compete for awards felt free to come support, and the Weinstein brothers were among them.

After chatting briefly with Harvey Weinstein and welcoming several more guests, the time quickly arrived at 7 o'clock.

...

Entering the screening hall, Cameron took to the stage with Leonardo and a few key creatives for a short address before the film officially began.

As the lights dimmed in the screening room, Eric's gaze fixed on the big screen, and Cameron soon emerged from backstage, sitting beside him.

Being Titanic's first public display, though he maintained an outwardly easy demeanor, Eric noticed Cameron gripping the armrest tightly.

"Hey, Jim, relax a little; I bet everyone will love this movie."

"Let's hope so," Cameron muttered quietly, then turned to Eric and raised his voice a bit. "Anyway, Eric, thank you."

Eric nodded slightly, not responding verbally, just giving Cameron a reassuring pat on the shoulder.

As the images illuminated the large screen, the three hundred invited guests, journalists, and fans concentrated intently on the unfolding visuals, all eager to see what a $215 million blockbuster would turn out to be.

However, during the opening subsea treasure hunt sequence, most viewers felt somewhat let down.

It seemed rather ordinary after all.

This sense of mild disappointment persisted until the older Rose appeared, memories playing out onscreen. The sight of the Titanic's colossal form at the British harbor and the stunning entrance of young Rose, played by Rachel Weisz, somewhat eased the audience's discontent.

Industry insiders familiar with the film production process secretly sighed at the impressive realism on display, which indeed showcased a hefty budget. Yet, they couldn't help but wonder: Was such extravagance really necessary for a film?

As the plot advanced, the lengthy buildup of over an hour reached a point where even the iconic scene of Jack and Rose standing at the bow of the ship felt ethereal to anyone watching; however, it still couldn't deter many media and industry professionals from labeling it a cliched love story involving a princess and a stable boy.

Consequently, even with the film frequently shifting into tear-jerker mode in its latter half, many journalists and filmmakers felt that aside from some refined special effects, there weren't many standout features in the movie. Some even thought the only thing truly captivating about it came when the closing song, My Heart Will Go On, played, with everyone realizing that this was probably the only truly appealing aspect of the entire film.

...

Throughout the screening, Eric had been attentively observing the audience's reactions. The focus was largely on a small group of fortunate ordinary viewers. When he noticed two girls in the back left corner embracing and weeping openly during Jack and Rose's farewell, Eric could finally exhale. The film primarily targeted a youthful demographic, and Firefly's marketing plan for Titanic was crafted with this group in mind.

Eric wasn't overly concerned about critics' opinions; as long as the media reviews weren't overwhelmingly negative, Titanic stood a chance at realizing a miracle similar to those of the past.

As the closing song came to an end and the lights in the hall brightened, applause erupted, not too cold but also not overly enthusiastic. Many attendees were still whispering to those beside them while clapping.

As the audience began to disperse, Eric waved for his assistant Peter Rich, who was sitting nearby. "I forgot to ask, do we have any audience surveys for this film targeting ordinary moviegoers?"

Peter Rich shook his head, "No, Mr. Williams. Including tonight and the three shows tomorrow, tickets mainly went to media and film critics. Only fifty tickets were allocated for ordinary fans through promotional giveaways."

That made sense. Only fifty ordinary viewers would mean it wasn't surprising that they hadn't arranged a survey.

Titanic was only allocated four screenings at the Venice Film Festival. Because of the influx of media personnel from all over the world, securing tickets for these four screenings was highly competitive, leading to a sad supply of tickets for average viewers.

The decision to limit it to four screenings primarily aimed to carefully select and refine the viewer group, aiding Firefly in post-screening promotional strategies. After all, this was a super intention of over $200 million. Even with his confidence, Eric had no intention of expanding the number of screenings.

"Fine, fifty tickets it is," Eric contemplated. "Forget about tonight; arrange for whatever remains for ordinary viewers during tomorrow's screenings, but I want to see the surveys from these people the day after tomorrow."

Peter Rich didn't ask further questions, nodded, and hurriedly left.

...

Katzenberg, Cameron, and a few others stood not far away. Seeing Eric wrap up his conversation with his assistant, they approached. Katzenberg said, "Eric, let's head to the banquet hall; everyone is already waiting there."

Eric nodded and left with them toward the location where the crew had organized a reception for the guests.

In the banquet hall of the Lido Island Hotel, Eric mingled among the crowd, greeting guests and chatting casually. After an engagement of a solid half-hour, he managed to slip away to the terrace outside for some fresh air.

Located on the hotel's second floor, overlooking the sea, one could gaze far into the brightly lit main city of Venice.

On the terrace stood a figure -- a woman dressed in a black evening gown, holding a glass of red wine, leaning against the railing, quietly admiring the sky.

Eric walked over, leaning against the railing beside Sophie Marceau, grinning and saying, "A beauty all alone -- it's a shame no one's trying to talk to you."

Sophie gave a slight smile, her expression somewhat forced, and murmured, "Eric, you're the fifth one. Besides, I'm hesitating whether I should let you stay as the fifth."

In the dim light, Eric noticed a hint of melancholy in Sophie's expression. He asked, "Why are you suddenly feeling down?"

https//Sayonara816.

[Chapter 807: What Do You Think?]

Sophie obviously didn't want to talk about this topic, so she shook her head and said, "Nothing."

Eric stared at Sophie's profile for a moment and then realized something. He suddenly laughed and said, "I thought actresses who often starred in romance movies wouldn't care for this kind of story."

While some films had a particularly artistic flair, starting from La Boum, most of Sophie's films were actually fresh takes on love stories.

Sophie frowned at Eric's argument and replied, "You made a romantic film too. According to your logic, if you didn't have any feelings about that film, how did you write My Heart Will Go On?"

"Oh, I didn't expect you to notice that I wrote the ending song. That's an honor," Eric said.

Sophie rolled her eyes at him and decided to ignore his cockiness.

Eric didn't defend himself. Instead, he stood quietly beside her, both of them looking out at the dark sky and enjoying this rare moment of tranquility together.

After a while, Sophie couldn't tolerate the silence any longer and asked, "Why don't you speak?"

"I'm thinking about something," he replied.

"How to trick me into coming back to your room tonight?" she pressed.

"Uh..."

Sophie caught Eric's stunned expression and finally smiled, a hint of pride in her playful prank, as if she had turned the tables on him. Although time had passed, Sophie still vividly recalled how Eric had coaxed her into bed twice before. So tonight, she was determined not to let this guy succeed again.

Well, okay, even though after watching Titanic, she suddenly craved someone to hold onto.

But as she glanced at Eric again, she reminded herself that she wasn't so easily pleased.

However, noticing the mischievous glint in Sophie's eyes, Eric chose to act instead of speak. He set down his wine glass and reached out to embrace her.

"Ah, you," Sophie exclaimed, suddenly realizing things weren't going according to the planned rhythm. Shouldn't he have said something sweet next? Why had he suddenly changed course? Her mind buzzed momentarily, and she eventually managed to respond. She lifted the arm that held the wine glass aside and said with a trembling voice, "Eric, the red wine is going to spill on me. Uh, you..." After a long pause, she finally added, "...bad guy."

...

It was the third time in a not-so-little while that Sophie woke up in the arms of the same man, prompting her to ponder a profound question.

Why was this happening?

Maybe it was because he held her so tightly in his sleep, creating a sense of security.

Or maybe it was because he had various identities mixed together, making him instinctively difficult for women to resist.

Or perhaps this infuriating guy was some sort of legendary wizard who had cast a mysterious spell on herself.

Feeling the large hand around her waist start to stroke her gently, Sophie realized Eric was awake, so she turned to look into his eyes, her own bright with curiosity.

Eric leaned over and kissed her on the cheek. Noticing the confusion and inquiry in her eyes, he smiled and said softly, "Actually, I know a guy named Cupid. Whenever I like a girl, he shoots an arrow at her, and then she can never escape my grasp."

Sophie blinked rapidly a few times and burst into laughter.

In that moment, she realized that the guy in front of her wasn't a wizard or anything else. He simply knew how to read women's minds well.

She was a sentimental woman. While watching the movie last night, she had abandoned her filmmaker mindset and simply immersed herself as an audience member. She was profoundly moved by the straightforward love story. As she reflected on her own experiences over the years, a wave of melancholy washed over her. So, in this moment of vulnerability, she found it easy to be influenced by someone.

"Eric, I think you should stop doing this," she said.

"Who knows what will happen in the future," he said, kissing her on the lips again.

Sophie responded instinctively. After a moment, they pulled apart, but Sophie sat up and began putting on her clothes.

Eric looked at Sophie and asked, "You're not going to leave like this again, are you?"

Sophie picked up Eric's watch from the bedside table and noticed the time was 8:15. Even though she was eager to stay, she didn't have time for breakfast with Eric. She set down the watch and said, "Yes, I have an appointment with someone at 9 o'clock to discuss a film contract at the Palace Hotel." Seeing disappointment cross Eric's face sparked a bit of childish pride in her. She added, "Otherwise, do you think I'd come to Venice just for you?"

Eric lay back on the bed, holding his forehead and said, "How ruthless! Shouldn't a good woman take care of a man's vanity?"

"Haha," Sophie laughed, putting on her clothes. She leaned over and kissed Eric on the cheek, saying, "If I were a good woman, I wouldn't be so easily tricked into bed by you. Bad guy, I'm leaving now."

Eric started to get up after Sophie went into the bathroom to wash up briefly, then she pushed the door open and left.

...

There was a lot to get done.

Considering the time difference, the reviews for Titanic in North America should have been released around noon, but the European media must have already started reporting.

Apart from tracking the media response for Titanic, during his two days in Venice, he also needed to discuss Clover Holdings with Katzenberg. The contract for The Matrix was about to be finalized, and Eric hoped to invest as soon as he secured the $300 million in funds.

Additionally, FFM was set to launch online in mid-September, and he needed to discuss the pay cable TV station with Harvey Weinstein.

On top of that, there were unavoidable social engagements, so Eric had to plan his schedule down to the minute for the next two days.

...

After getting up and heading to the restaurant, Katzenberg and Cameron were already waiting. Several newspapers lay on the table before them, but their expressions did not seem relaxed.

"Good morning, Jeffrey, Jim," Eric greeted them, taking a seat next to them.

"Good morning, Eric." Katzenberg glanced at Cameron, sitting across from him, and pushed a few newspapers toward him. "Take a look first. The comments from Europe don't seem very good."

Eric opened the top newspaper, which was in Italian and whose name eluded him. The section about Titanic was specially marked in red, with an English translation note beside it.

"A cliched love story set against a disaster backdrop. While the film excels in special effects, cinematography, and music, it is overall mediocre."

Furrowing his brow, Eric opened the next newspaper and dove into the translation.

This time, it was a praise piece: "James Cameron delivered a grand disaster movie with a smooth narrative, sturdy structure, and stunning special effects. The love story amidst catastrophe is particularly heart-wrenching."

After skimming through several newspapers, Eric noticed a polarization in the film's reviews. Some critics praised it while others slammed it.

After reviewing the media's take, Eric looked up at Katzenberg and Cameron and smiled, saying, "Let's wait for news from North America. You know the European media. They prefer more artistic and profound films. Now, let's have breakfast first."

With that, Eric waved to summon the waiter, maintaining a relaxed demeanor and inquiring about what his serious companions wished to eat.

...

After breakfast, Cameron headed off to handle three screenings of Titanic scheduled for that day, while Eric engaged Katzenberg in discussion about Clover Holdings.

"I expect Firefly Group to spend at least $1 billion in overseas investments each year for the next five years, mainly in the rapidly growing Internet sector. To play it safe, we'll focus solely on equity investments and not get too involved in the operations of the companies we invest in," Eric laid out.

Katzenberg listened attentively, taking a sip of coffee before responding, "Eric, if this occurs, the company's profit scale will significantly decrease, which isn't exactly fair to me."

Katzenberg's employment contract with Firefly included a fixed annual salary of $750,000, along with a bonus of 2% of the group's annual operating profit. For most Hollywood film companies, the annual returns from such contracts could typically range between $10 million to $20 million. However, due to Firefly's strong profitability in recent years, Katzenberg's total earnings last year surpassed $50 million, placing him among the highest-paid CEOs in North America.

However, if Firefly's profits dropped sharply due to Eric's investment plans, Katzenberg's annual earnings could shrink considerably, possibly dropping to less than half of what he previously earned.

Katzenberg understood that Eric's strategy aimed to mitigate tax losses throughout the investment process. Trusting Eric to present a satisfactory resolution, he listened to Eric's plan without showing any excitement, being transparent with his thoughts.

Eric leaned on the table, looking into Katzenberg's eyes, and said, "Jeffrey, your contract expires at the beginning of next year. We've had a very pleasant partnership over the past few years, so I don't think there's any doubt we'll renew the contract."

Katzenberg smiled and nodded, "Of course."

"I'm sure you know my investment intentions. The Nasdaq index rose from just over 700 points last year to 955 points now. We're on the verge of breaking through the 1,000 mark. Everyone says the Nasdaq is slightly inflated, but I'm very optimistic about its future trend. Of course, risks exist. Even Buffett wouldn't make any hasty judgments about the stock market. So, I can offer you two options."

Katzenberg's curiosity piqued.

Eric paused, then continued, "Your contract remains unchanged, with the 2% annual profit bonus intact, but there are two calculation rules for the bonuses. First, we can create a separate remarks clause and include funds invested in Clover Holdings in your bonus calculation. You wouldn't have to bear the investment risk, but any profits wouldn't contribute to your bonus share. The second option is that since we're making equity investments, as long as we achieve an appropriate rate of return, the company will sell its holdings. In that case, you can forfeit the bonus share for Clover Holdings, and our remarks clause would state that during your tenure as CEO of Firefly, all stocks purchased with funds invested into Clover Holdings will still grant you a 2% income from that investment whenever they are sold, regardless of your position in the future."

Katzenberg considered for a moment, then asked, "Eric, may I know which companies you're planning to invest in?"

"Cisco, AOL, Microsoft, Intel, IBM, Verizon, Sprint..." Eric casually listed a few companies. "I'll provide a detailed list when the time comes because the total investment will be so substantial that we can't just purchase stocks from a single company."

The companies Eric mentioned were primarily popular in the IT and communications sectors in recent years.

Katzenberg had witnessed firsthand how the companies under Firefly Investments, like Yahoo, Cisco, and AOL, climbed to the peak of their industries. However, he also knew that the price-to-earnings ratios for such high-tech companies were alarmingly high. The higher the ratio, the more optimistic the market was about the company's growth prospects. However, it also meant the risks associated with investing in these stocks would be correspondingly high.

After hesitating for a while, Katzenberg turned to Eric and asked with a smile, "So, which plan do you recommend I choose?"

Eric smiled in response, "Of course, it's the second one."

A few years ago, Eric discussed CEO salary issues with Tina Brown and others. If a manager could only generate $10 million in profit annually for the company, Eric wouldn't agree to pay him $10 million. Yet, for a manager who could bring in billions, an annual salary surpassing $100 million seemed understandable to him. Katzenberg was undeniably a capable manager. Though the rapid growth of Firefly could be attributed to Eric's exceptional insight, it equally stemmed from Katzenberg's outstanding management skills. Thus, Eric was comfortable with Katzenberg participating in and sharing the prosperity of the forthcoming Internet boom.

Katzenberg stared at Eric's expression for a few seconds, then smiled broadly and said, "Alright then, I'll go with the second option."

Katzenberg realized that even if his income halved, it would still comfortably secure him a lavish lifestyle. Hence, choosing the second contract represented an investment in his future. He wasn't concerned about Clover Holdings holding stocks for an extended period post-investment; that would merely indicate those stocks' worthwhile investment value. Even if it took ten or twenty years, or perhaps longer, the earnings at that time could serve as a solid retirement fund for him.

https//Sayonara816.

[Chapter 808: Just Not Selling]

Around noon, reviews for Titanic began arriving from North America in Venice.

Compared to Europe, Eric and the upper management at Firefly Group placed a greater emphasis on how the North American media would rate the film. After all, Titanic was typically slated for a North American premiere before any overseas releases, and its box office performance in that market significantly affected its international success.

However, the news from North America regarding Titanic was similarly pessimistic. While various newspapers, such as USA Today, The New York Times, and The Hollywood Reporter, praised the film, The New York Times even declared it "a masterpiece on par with Gone with the Wind," other outlets like the Los Angeles Times and The Washington Post were unreservedly critical, calling the film a mediocre story with a lengthy runtime. The Los Angeles Times even openly questioned whether the film was truly worth its $215 million budget.

Eric only remembered the immense acclaim Titanic received after its release in his previous life; he had little understanding of the hurdles it faced before its debut, aside from the creative struggles director James Cameron endured, which were reported by the media. As for the pre-release buzz surrounding Titanic, Eric was not well-informed.

Thus, witnessing the film's split reception in Europe and North America made him feel anxious.

Eric recalled many movies that had similarly polarized reviews, which shared a common trait: they were fan-driven films adapted from novels or comic books. Typically, such films enjoyed a strong opening weekend due to aggressive marketing, even if they struggled to maintain momentum afterward. However, Titanic certainly did not belong to that category. Given the current polarizing reviews, its future became even more uncertain.

Fan films could still leverage their source material's existing popularity to rake in significant box office revenue during their opening weeks, even if their legs were weak. But Titanic lacked that advantage; it couldn't score fan-like high earnings in the weeks preceding its release. If reviews remained divided post-release, its total box office earnings would likely be far worse than a traditional fan film, given its lower potential for strong late-period performance.

The following day, Peter Rich presented Eric with the survey results from dozens of average moviegoers who attended a screening. The majority provided positive feedback on Titanic, though a few complained about its lengthy runtime and excessive setup.

...

On July 29, in the afternoon, Eric prepared to board a flight to London at 7 PM. This would be the Titanic crew's final meeting. The film was definitively set for a Christmas release on December 20, with public promotion already announcing the date, leaving no room for further changes. At that moment, Eric sat in his suite's living room at the Lido Island Hotel alongside Jeffrey Katzenberg, James Cameron, and other mid-level executives from Firefly Group.

"The situation is certainly not great right now," Eric addressed the executives, "but I want you to follow the established marketing strategy, focusing on young audiences." After glancing at Katzenberg and a few other senior executives, he recalled some details from his previous life and added, "One more thing -- regardless of what others say about Titanic, I don't want any undermining comments from within Firefly. If I find out any executive is carelessly expressing opinions to the media, they should prepare to pack their bags. That's all I have to say -- anyone else?"

"Mr. Williams, it's like this," spoke one executive from the distribution department. "I received a call yesterday from an executive at Toho International in Japan. They want to buy the Japanese distribution rights to Titanic, covering theater distribution as well as video and DVD rights."

Eric raised an eyebrow. That executive seemed to assume he was unaware of Toho International and continued, "Toho International is one of the major distributors in Japan."

"I'm aware of that," Eric nodded. Although he felt uneasy, he had no intention of selling the rights off early like Fox did in his previous life. Still, his curiosity led him to ask, "What did they offer?"

"3 billion yen," the executive glanced down at his memo, "which is about $25 million."

Upon hearing the bid, Katzenberg quickly calculated in his mind. Due to the Terminator franchise, Cameron was very popular in Japan, which likely explained Toho's early interest in Titanic. Moreover, the film's astronomical budget and its current mixed reviews were significant factors compelling the Japanese company to make a move. They were clearly looking to take a gamble, believing Firefly would probably accept this "bet."

$25 million was surely just the opening offer; the Japanese likely aimed for around $30 million. Being a complete buyout of the Japanese distribution rights, they'd probably expect a domestic box office of about $60 million to recoup their investment and turn a profit.

While $60 million might not reach the heights of Jurassic Park's $120 million, it would still surpass the average box office for a Hollywood blockbuster in Japan. For Hollywood distributors, owing to the 35% overseas split, recouping $30 million in Japan would require about $100 million in box office receipts. Of course, this calculation didn't account for the revenue from VHS and other mediums, but such overseas rights and their operational timelines could often prove longer than those in the US. Selling the entire Japanese distribution rights could still be very lucrative.

After some quick thinking, Katzenberg said, "Eric, I think it might be worth considering. I believe we could negotiate a price close to $30 million."

"No," Eric shook his head after a brief silence. "We're not selling. If anyone else approaches us wanting to buy the distribution rights to Titanic, just turn them down."

Seeing the puzzled looks from the attendees, Eric spread his hands and plainly stated, "That's how it is. You might want to explain it, but I can't find a suitable explanation other than 'we're not selling.' Now that we've reached this stage, let's go all in, regardless of the outcome."

The other executives were somewhat stunned by Eric's response. Cameron, who had been quiet, appeared a bit more animated, while Katzenberg could only shake his head in bemused disbelief, witnessing this childlike stubbornness from Eric. He was still a young man, after all.

However, given the circumstances, relying on advance sales of distribution rights to recover costs had become utterly impractical; it would only attract opportunists looking to take advantage of the situation, further feeding negative media sentiment.

Therefore, no matter the outcome, they might as well go all in. After all, Firefly Group was more than capable of handling this failure. This setback could be used to revise their somewhat aggressive production strategies, during which Eric likely wouldn't object.

...

Following the afternoon meeting, Eric flew to London, while Katzenberg headed to Paris. Cameron, along with the Titanic crew and Firefly's distribution team, would return to Los Angeles the next day to begin preparing for the film's official promotional campaign.

At 7 PM, the private jet took off from Venice, landing at London's Heathrow Airport two hours later. Eric disembarked with his final group of attendants, immediately feeling the cold.

While Venice was still warm like spring, London in late August and early September had temperatures around 10 degrees Celsius at night. Barbara Broccoli and Michael Wilson, producers of the James Bond series, came to greet him, and after some small talk, they all drove toward Pinewood Studios, which wasn't far from Heathrow.

Speaking of the 007 series, it was impossible to ignore the Broccoli family, who created this legendary franchise, as well as Pinewood Studios, located just northwest of London.

Since the release of Dr. No in 1963, most interior scenes for Bond sequels had been filmed at Pinewood Studios. The 007 series had become a primary financial driver for Pinewood, allowing it to survive the decline of the European film industry amidst the rise of television. Due to the significance of the 007 series, Pinewood boasts several structures named after elements of Bond, with key roads in the studio park named "Broccoli Avenue," "007 Avenue," and "Goldfinger Avenue."

...

That night, the crew settled in the nearby town, and the next morning, the Broccoli siblings escorted Eric into the studio grounds. There were no filming plans that day, so Eric's purpose was to familiarize himself with the shooting locations for the next two months.

Walking through the roughly 30-hectare premises, they checked a few sets that had been arranged for Casino Royale. Barbara Broccoli mentioned, "The temperature in London will keep dropping over the next two months, so we scheduled the underwater scene between Bond and Vesper for three days from now. Eric, let's go check out the water tank."

Pinewood Studios had Europe's largest underwater filming facilities, capable of holding 1,200 tons of water, created specifically for the Bond series.

Eric retained the original scene in which Bond and Vesper share a fateful underwater goodbye after their building in Venice collapses, but this scene could not be filmed in Venice; it would instead be shifted to Pinewood's underwater facility.

Nodding, Eric followed the Broccolis into a soundstage.

At first glance, the soundstage resembled a huge swimming pool, but it was much more complex. Any studio around the world could construct a simple indoor pool. However, Pinewood's underwater filming facility boasted a full array of specialized underwater filming equipment and methods.

Veterans in the film industry understood that whether shooting above or below water, the complexity of filming increased dramatically. Just look at James Cameron's The Abyss or Kevin Costner's Waterworld, and even Titanic's exhaustive resources were allocated due to the filming with water.

While the crew was resting that day, several Casino Royale staff members were busy in the underwater set. Eric spotted his trusted cinematographer, Nicole Frank, standing wet beside the pool while discussing something with another diver.

As Eric and the Broccolis arrived, everyone greeted them, and Nicole approached with another person, saying, "Eric, this is David Rees, the underwater cameraman from Pinewood."

"Hello, Mr. Rees. I may need your help over the next few days," Eric smiled and shook hands. Over the years, Nicole had become one of Hollywood's top cinematographers, but due to inexperience with underwater shoots, they would largely depend on Pinewood's specialty underwater cinematographers.

David Rees smiled as he shook Eric's hand. "Mr. Williams, it's an honor to work with you."

Eric approached the pool's edge and tested the water temperature, asking, "What's the temperature like now?"

"About 20 degrees Celsius, roughly room temperature," David explained. "But during filming, we can activate the warm water circulation system to regulate the temperature to a more suitable level."

Squinting as he looked into the depths, Eric couldn't see the bottom and asked, "How deep is it?"

"This area is the deep water section, six meters deep," David replied. "That metal cage is over two meters. To avoid any visibility issues, the underwater sets for Casino Royale are primarily in this section."

After chatting for a few minutes, Nicole asked, "Eric, we've set up the underwater scenery. Do you want to see it?"

Eric nodded. David took Eric to the changing room, and after donning a wetsuit, Nicole and David further explained a few details. The three of them slowly descended into the water.

The cold enveloped him, but Eric's robust physique quickly acclimated.

Though the water's surface appeared mysterious and deep from above, descending revealed the surroundings, illuminated by some lights.

The decor mimicked the wreckage of the building in Venice, with remarkably realistic pieces strewn about, giving the impression that a structure had just sunk beneath the water.

After swimming around the set for a few minutes with Nicole and David, they resurfaced to discuss more details. As Eric prepared to have David fetch an underwater camera to test the filming effects, his assistant, Peter Rich, approached from a distance, waving a phone at him.

"Everyone hold on, I need to take a call," Eric said, moving up the ladder to exit the pool. He took a large towel handed to him by a crew member, wiped off some water, then walked over to Peter Rich.

https//Sayonara816.

[Chapter 809: Music Copyrights]

The call came from Kelly, who was in Los Angeles, regarding an MP3 player. The Firefly Electronics company's RD center in San Francisco had finally developed a finished MP3 player utilizing microdisk technology for storage.

After talking with Kelly for a while, Eric said, "Well then, let's have someone send a sample over to London for me to take a look. As for the sales and promotional plan, let the electronics company work together with Yahoo to come up with a suitable proposal."

"..."

"About the music copyrights?" Eric hesitated before adding, "Sony Records definitely won't easily grant us a license. Besides their own music resources, we can focus on negotiating with Warner and Universal Records. Have Yahoo start working on this for now, and when I return to Los Angeles in November, we'll assess the situation again."

"..."

"Ah, Caroline, since she is heading back to London for a vacation, let her bring the sample with her... Okay, that settles it. Goodbye."

After hanging up, Eric stood in place, contemplating.

...

To effectively promote the MP3 player, the primary challenge remained securing music copyright resources. Sony initially invested heavily in acquiring Columbia Records and other smaller music companies to promote their Walkman, ultimately merging them into what became Sony Records.

When they lured the team from JIVE Records to Firefly Records, the label had released hugely popular teen pop artists like the Backstreet Boys over the past two years, plus they held the soundtrack distribution rights for all the movies under Firefly Group. However, compared to established music giants like Sony Records and Warner Records, Firefly Records' overall strength was still vastly inferior.

Especially in the music copyright library, while those legacy labels boasted millions of song licenses, Firefly Records' collection barely amounted to tens of thousands, which simply wasn't substantial enough to support the Yahoo Music Store initiative.

Eric intentionally separated the MP3 player from the Yahoo Music Store, with each product belonging to Firefly Electronics and Yahoo Network Corporation individually. This strategy aimed to establish Yahoo Music Store as a monopoly in online music sales. Firefly Electronics didn't have plans to tightly control the MP3 player patent. By this time, Nokia had already secured all technical licenses and set up a department for developing Nokia Music Phones. Going forward, the MP3 player would similarly be licensed out to more stakeholders affiliated with Firefly.

Eric's plan was that in the future, all companies acquiring MP3 player patents would have to purchase music albums exclusively from the Yahoo Music Store. In the end, although the MP3 player was simply a transitional product with a shorter popularity cycle, the Yahoo Music Store could sustain itself long-term. Once users became accustomed to buying music from that store, even amid rapid updates to electronic hardware, the Yahoo Music Store would continue to maintain a strong industry position, generating substantial profits over time.

...

After a brief day of adjustment to familiarize themselves with the Pinewood Studios' shooting environment, the crew resumed operations the next day.

Most of the outdoor scenes had already been filmed in the Bahamas, Czech Republic, and Italy. The filming during the final two months would mostly wrap up inside Pinewood Studios.

Pinewood Studios was also among the earliest filming locations in Europe to undergo digitization. As filming progressed, initial post-production work commenced on-site at Pinewood as well.

London was continuously cloaked in dreary weather, with fine rain drizzling outside the car window. Caroline Wilson had returned to London the previous evening and drove out to Pinewood Studios early that morning.

The Wilson family estate was located on the banks of the Thames in the western suburbs of London, only ten kilometers away from Pinewood Studios. Caroline drove carefully, making it there in under twenty minutes.

The navy blue mini car left the highway and turned onto Pinewood Road, heading north. It soon arrived at the parking lot of Pinewood Studios. Caroline picked up a small locked briefcase from the passenger seat, locked the car, opened her umbrella, hesitated momentarily, then carefully bent down to tidy her voluminous blonde hair before walking towards the studio.

Since it wasn't too far from her home, Caroline had visited Pinewood Studios multiple times before. She was familiar with the layout of the area. The iconic 007 filming stage was positioned at the northernmost part of the complex and was the largest soundstage in the studio. However, when she called the night prior, she had learned that today's shooting wasn't happening in the 007 stage but rather in the underwater filming base.

Navigating confidently to the soundstage of the underwater filming unit, a security guard at the entrance noticed the petite blonde girl approaching with a briefcase, feeling somewhat curious but finding it hard to feel any wariness. He approached and asked, "Excuse me, miss, who are you looking for?"

"Sir, my name is Caroline Wilson. I have an appointment," Caroline said politely while putting her umbrella away.

The guard was a middle-aged man in his forties, slightly balding and a bit overweight. Perhaps it had been a long while since he had heard a respectful address like "sir" from someone, and Caroline carried an air of aristocracy that automatically prompted a little more respect from him. He nodded cheerfully, "Miss, please hold on a moment; I'll check."

...

Moments later, Peter Rich emerged from the soundstage. "Caroline, it's great to see you again! Come with me."

Caroline followed Peter Rich, asking, "Is Mr. Williams in there?"

Everyone in Eric's assistant office knew about Caroline's feelings for Eric. Peter Rich noticed Caroline's deliberate change in how she addressed him and smiled, nodding, "Of course, he's in there. However, everyone is quite busy, so you might have to wait until noon. In fact, you could have come here at lunchtime."

"I... I really didn't have much to do at home, so I thought I'd come early," Caroline explained with a blush, stealing a glance at Peter Rich, a bit worried he might tease her.

Peter Rich wouldn't do that. He casually changed the topic, leading Caroline to the shooting site within the stage.

Around the central pool, approximately fifty people were bustling about. Large green screens surrounded the pool, and it was evident people were working underwater. The atmosphere was surprisingly orderly, with the occasional noise from moving props and the director's voice amplified over a megaphone breaking the stillness.

Arriving at a designated waiting area, Peter Rich gestured around and said, "We'll have to wait here."

There were a few simple chairs, several large towels, and a steaming coffee pot on a long table -- a resting area. Two middle-aged men, wrapped in towels, sipped coffee and chatted. They noticed Peter Rich arriving with a petite girl and exchanged curious glances, nodding in acknowledgment.

Caroline politely returned their gaze, scanning the area for Eric but not spotting him. She turned to Peter Rich in confusion.

Peter Rich laughed and pointed towards the water.

Caroline understood right away. Just then, several figures emerged from the water, and she instinctively raised her hand but didn't wave because Eric wasn't looking at her; he was saying something to the crew by the edge of the pool. People on the shore jumped into the water, pulling those who had just surfaced back to safety.

Peter Rich offered Caroline a cup of coffee and invited her to sit. "The shoot started just an hour ago, so it's expected to last until noon. If you're bored, you might as well stroll around the area; there's a cinema over by Goldfinger Avenue."

Caroline placed the small briefcase on her lap and accepted the coffee with a grateful smile, saying, "It's fine; I'll wait here."

Peter Rich nodded, glancing at the small briefcase on her lap. He asked, "Do you need help storing that?"

Caroline shook her head, "No, thank you."

Peter Rich knew what was in the case and didn't press. Noticing Caroline's gaze frequently wander over towards the filming site, he casually remarked, "They've been shooting this scene for three days now, and we should wrap it up today. Underwater scenes can be tricky; Mr. Williams has been diving down himself each day. The day before yesterday, we filmed a scene where a cage fell into the water, and someone almost got hurt."

Caroline's heart leaped nervously. "Is everyone okay?"

"Of course! We had lifeguards watching closely underneath the surface. However, some in the crew caught colds since the weather has been a bit chilly," Peter Rich chuckled, saying, "A few lucky fellows were sent home for the day to avoid catching anything. I heard they sneaked off to London before dawn."

"Haha," Caroline giggled softly.

"And you?" Peter Rich asked, "How long is your vacation? A month?"

"Half a month," Caroline replied, "I need to be back in Los Angeles by the 20th. If I rest too long, I might fall behind on work."

Since the release of The Matrix, many within the Firefly system felt that the staff at Eric's assistant office resembled the Agents from The Matrix. They didn't directly participate in any of the companies' operations within the Firefly group but gathered and organized major operational information to provide professional assessments directly to Eric.

Thus, they acted as Eric's eyes monitoring the Firefly economic empire.

After years of refining, Eric's assistant office had established a highly effective workflow. While many viewed the department as somewhat inconsequential, those employees were actually quite busy daily. Assistants like Peter Rich, who were able to stay close to Eric, had it easier compared to others involved in the grueling day-to-day operations.

After Caroline spoke, Peter Rich glanced back at the pool, smiling as he said, "Mr. Williams and I have discussed it, and next year, I might transition to FFM TV."

FFM TV was a cable project that would become a major partnership between Firefly, MGM, and Fox over the next few years. From what Caroline read about it, she could understand Eric's level of attention and importance he placed on the network. Hearing Peter say this meant he was getting a promotion, and Caroline naturally congratulated him.

"Congratulations, Peter!"

Having recently been at Eric's side for the last six months, Peter understood better than Caroline just how high Eric's expectations were for FFM. Moving to FFM for mid-level management was certainly a significant career leap, but Peter smiled and said, "Caroline, that's not what I meant. My point is that next year when I transfer, it's likely Mr. Williams will need a new assistant. You know, Ms. Haynes can't stay with Mr. Williams long-term; maybe you should give it a shot."

Caroline's cheeks flushed bright red as she stammered, "W-well, that's entirely up to Mr. W-williams himself, right?"

Caroline's warm, polite, and genuinely kind-hearted nature endeared her to all the employees in Eric's assistant office, treating her like a younger sister. Given her British aristocratic lineage, they also felt that if anyone deserved to be with her, it would likely be their boss.

Over the past six months around Eric, Peter Rich had gained a decent understanding of Eric's character. Though Eric was charming, he was also quite considerate of the feelings of the women around him. In other words, if Caroline were to be side by side with him, Peter felt certain that Eric's flirtations would diminish, and perhaps over time, Caroline could become the official lady of the house.

However, observing Caroline's bashful demeanor, Peter Rich merely smiled and chose not to pursue the topic further. After all, no matter how fond he was of the girl beside him, revealing his observations about their boss's character would breach workplace etiquette -- something everyone understood but no one openly confessed to.

...

In the underwater filming area, Eric noticed Caroline shortly after she arrived, though he didn't have time to greet her.

They had been filming Bond's underwater farewell scene with Vesper for four days now. The thrilling sequences involving a cage dropping into the water were completed; only a few dramatic dialogues were left to shoot. However, these final scenes were among the most pivotal turning points in the film for Eric.

Vesper's death marked Bond's transformation, returning him to his cold, ruthless form as the top agent 007, embarking on a path of vengeance.

As the splashing sounds rang out, several people emerged from the depths once more.

Eric took off his diving mask and breathing apparatus. This time, they weren't pulled out of the water immediately. Instead, he instructed the camera crew to swap the film in the underwater camera before waving to Pierce Brosnan and Cate Blanchett, who were rapidly fitted with life rings nearby. Once they were close, he said, "Pierce, next, we'll try a different effect: Bond doesn't understand why Vesper suddenly betrayed him, so your next challenge is to portray a pure but calm expression, wanting to rescue Vesper first and understand what happened."

Pierce Brosnan contemplated for a moment, questioning, "So, I don't need to show too much expression?"

He sensed that Eric's expectations had lowered considerably, explaining the simpler request.

Regarding the previous shot, Vesper, sinking with the cage, had felt sadness and reluctance when she saw Bond diving in to save her. She was a stubborn and obsessive woman who realized she had ruined everything. Not only did she fail to save her sister, but she also lost $150 million and betrayed the man who loved her desperately, resigning herself to death. Bond couldn't grasp Vesper's resolve to embrace death; he didn't yet understand the situation clearly. In his frantic attempts to break open the cage, anger and urgency pushed him to save her first before unraveling everything, but Vesper was uncooperative.

Cate had proven herself worthy of being Meryl Streep's successor, demonstrating her exceptional talent even on her first underwater shoot, achieving the performance Eric needed perfectly. Unfortunately, with Pierce Brosnan, the cameras had rolled for seven takes, and none gained satisfactory results.

Eric nodded in frustrated agreement with Pierce's observation; the debonair British actor simply didn't have the innate talent for conveying character emotion through subtle facial expressions -- especially underwater. After numerous attempts, he decided to lower his demands.

As they discussed, nearby, Cate floated on the surface, sipping from a hot coffee cup given to her by the crew. She looked at the two of them and cautiously interjected, "Eric, can I share my thoughts?"

Eric smiled, nodding in encouragement, "Of course."

He hadn't noticed the emotional difference in how he conversed with Pierce and Cate, though that likely mirrored the dynamics of school teachers' attitudes towards their best and struggling students.

Cate handed the coffee cup back to a crew member and stated, "I think, while shooting, Pierce could focus on me -- just like this."

As she spoke, Cate reset her expression, pursed her lips, and fixated her determined gaze on Eric. Perhaps caught up in the moment, she reached for a life ring in front of Eric, as though trying to forcibly pry apart a nonexistent cage door.

In an instant, Eric felt if he didn't let go of the life ring before him, Cate would rip him apart along with it. He quickly released his grip, and Cate, without hesitation, snatched away the life ring.

While Cate didn't display many subtle emotions, that simple yet firm intent in her eyes conveyed a sense of urgency, despair, and fear: "Woman, you can't die on me!"

'Oh, how I lost my train of thought.'

Brushing aside those disordered musings, Eric excitedly turned to Pierce Brosnan. "Pierce, did you see that? Just like that!"

https//Sayonara816.

[Chapter 810: ARM]

British labor protection laws were much stricter than those in North America. Any slight violation of the work schedule could lead to an investigation by the union. At noon, the crew stopped promptly for lunch.

Eric instructed Peter Rich to prepare two lunch boxes and then headed toward the office exclusive to the 007 crew with Caroline.

Carrying a small case for Caroline, Eric looked at the girl walking beside him and asked, "I saw you come in so early this morning. You don't live around here, do you?"

Caroline felt a bit awkward following Eric with empty hands, but she was too shy to ask for the case back. She occasionally glanced at Eric and nodded in response, "Yeah, I live by the River Thames."

Caroline was clearly used to describing her home location this way, while Eric had no idea where the River Thames was but assumed it was nearby. He decided not to pry further and asked, "How are your parents doing?"

"They're good, but Dad is as busy as ever, just like... just like you. My brothers are also busy, so Mom is often home alone."

Eric smiled and said, "Well, you can take this time to spend some more time with your mom."

Caroline nodded obediently. "I will."

...

They soon arrived at the temporary office, where Caroline opened the case with a password. Inside were three neatly arranged rectangular boxes.

Eric opened the box and revealed an MP3 player slightly larger than an old-fashioned lighter, featuring a beautiful sky-blue lacquer finish, a circular dial for operation, and a pure white display. The box also contained headphones, a charger, and a data cable.

Seeing Eric skillfully turn it on and casually open the computer on the desk, Caroline quietly introduced, "This is the latest product from the RD center, using a 512MB micro hard drive and a rechargeable lithium battery. The display screen is made from the latest generation TFT technology, allowing for eight hours of playback on a single charge, and data transfer uses a USB cable."

Eric tried operating it for a moment. The player had preloaded a few songs, and he put on the headphones, enjoying the pleasant music coming from them.

He took another box out of the case and handed it to Caroline. "You should try it out."

"Me? Is it okay?" Caroline asked uncertainly. Seeing Eric pushing it toward her, she accepted and opened it carefully. Even though she carried these samples from Los Angeles, good manners prevented her from opening them beforehand, despite her curiosity.

This one happened to be pink, and Caroline knew the final model would be pure white. The finalized MP3 player from the RD center would come in three colors: sky blue, pure white, and pink.

Caroline followed the developments at Firefly Electronics but was using an MP3 player for the first time. Not as familiar as Eric, she needed to read the manual to operate it properly.

Seeing Caroline struggling with the MP3 player, Eric chuckled. Noticing the computer was already on, he connected to the internet.

Yahoo had started to expand internationally over the past two years and established branches in major English-speaking countries, as well as in Japan, Germany, and France. They began to operate portal services, Yahoo Mail, instant messaging, and other business avenues.

Eric opened the American version of the Yahoo Music Store, which would launch simultaneously with the MP3 release, currently still in the internal testing phase.

After logging onto the website, Eric reached for the USB data cable on the desk, but when he looked down to connect it to the computer, he realized that the computer didn't have a USB port. He remembered that USB data transfer was a technology standard only recently promoted by IT giants like Intel, IBM, and Microsoft, meaning only the latest personal computers had USB ports.

The two mainstream data transfer standards available were Apple's FireWire and the USB. However, since last year, Apple's market share had been rapidly declining, projected to account for only 5% of North American personal computer sales this year. Even if Steve Jobs returned to Apple later on, Apple Computer wouldn't be a mainstream personal computer anymore. Eric, therefore, didn't pursue any technology investment in that direction.

With this computer unable to facilitate data transfer, Eric decided to postpone testing until he was back home that evening when his laptop had a USB port.

At that moment, Peter Rich entered, carrying two lunch bags, placing them on the coffee table in the lounge area. Noticing Eric had no further instructions, he nodded to Caroline and left.

Caroline had just figured out how to play songs when she saw Peter Rich bring in lunch, quickly taking off her headphones.

Eric and Caroline sat down on the couch. "Time is tight, so we can only grab a quick lunch here. Is that all right?"

"It's fine," Caroline shook her head and took out the lunch from the bags.

The lunch was simple -- sandwiches, roast beef, small cakes, and vegetable salad. It looked decent, but anyone who tasted it would know the truth.

Eric had grown weary of commenting on British cuisine. He just wanted to fill his stomach. With the crew's one-hour lunch break, he didn't bother cooking something special. Watching Caroline's accustomed demeanor, it was clear that she usually ate this kind of food.

How pitiful.

Caroline pulled out two cups of apple juice, handing one to Eric. Noticing Eric's expression, she curiously asked, "Eric, what's wrong?"

"Nothing," Eric shook his head, calmly taking a bite of his cheese sandwich.

Caroline blinked her big eyes and giggled softly, "Eric, do you think British food is bad?"

Seeing that Caroline didn't seem to mind, Eric nodded seriously.

"Hehe," Caroline chuckled, not offended, but still slightly countered, "We just pursue simplicity!"

From the moment he met Caroline, Eric could sense a subtle pride in her as a British girl. He decided not to pursue that topic further and switched subjects, "The MP3 player is done. How's the progress on the e-reader?"

"It mainly depends on the processor chip. ARM has focused on developing mobile phone chips with Texas Instruments over the past two years and isn't able to provide us with much technical support. So, the RD center had to use the technology provided by ARM to design it by themselves. Although it's not as complicated as mobile phone chips, developing the control chip for the e-reader is still much more challenging than the audio decoding chip for the MP3 player..."

As Caroline spoke, Eric suddenly looked up and interrupted, "ARM?"

"ARM is a company based in Cambridge that focuses mainly on licensing the core design technology for microprocessor chips," Caroline explained. Noticing Eric deep in thought, she asked, "Eric, is there a problem?"

There certainly was a big problem.

Eric lamented inwardly that Microsoft and Intel's dominance in the personal computer market was irreversible. Besides their lead in the internet through Yahoo, AOL, and Cisco, he had also been considering and implementing strategies for the future of smartphones and the mobile internet age.

Qualcomm, Nokia, Yahoo, and investments in the mobile communications company Sprint were all significant pieces in Eric's plan for the next decade. However, considering the Wintel alliance, it was clear that to secure dominance in the mobile era, it was essential to focus on mobile operating systems as well as mobile processor chips.

In the previous timeline, ARM chips controlled over ninety-five percent of the mobile smart devices market, with virtually all electronic manufacturers, including Apple, Qualcomm, and Samsung, using ARM chip technology. However, more than a decade later, due to the widespread and sometimes excessive licensing of ARM technology and mainstream manufacturers like Apple and Samsung developing their own chip solutions once they matured technologically, while ARM controlled a massive number of core patents, achieving a monopoly akin to Intel's in the PC processor industry was now entirely out of reach.

But as of now, everything was just beginning.

If they could secure ARM early on, even if new mobile chip technology standards emerged later, the proven superiority of ARM's technological solutions, combined with support from industry giants like Qualcomm, Nokia, and Sprint in terms of channels and markets, could lead to ARM once again unifying the mobile chip landscape. Achieving a status akin to Intel in the PC chip market was not impossible.

Realizing this, Eric looked up to find Peter Rich but instead encountered Caroline's puzzled gaze.

Taking a moment to calm down, Eric remembered that Peter Rich would certainly be nearby to help with his daily affairs. Since there was someone right in front of him, he asked, "Caroline, how long is your vacation?"

Caroline, unsure of why Eric was asking, replied, "Half a month."

"Let's extend your vacation. How does a month sound?"

"Hmm?" Caroline was even more confused.

Eric continued, "It so happens that I suddenly thought of something. Since you're already here, there's no need to bring someone over from Los Angeles. During this time, I want you to help me gather information on ARM. Since you have prior experience collecting data for Qualcomm, you should be quite familiar with it. I need everything about ARM, including management information, shareholders, business status, partners, etc."

Remembering Qualcomm, Caroline began to understand Eric's intentions. "Eric, are you planning to acquire this company?"

Eric nodded. "You might need to make a trip to Cambridge. I'll arrange for a driver for you."

"No, no need," Caroline quickly shook her head. "I can drive myself. I also know many people in Cambridge."

"Then never mind. If you need any help, you can contact Peter or call me directly," Eric said, noticing that Caroline's expression had changed and no longer appeared as relaxed as before. He realized, "Is this disrupting your vacation? If you don't want to do it, I can call Kelly to send someone over."

"No, no! I want to!" Caroline quickly shook her head.

The truth was, she was just thinking that if she could spend a month in the UK and have a specific job to do, it would mean finding excuses to see Eric more often.

Thinking of this made Caroline feel a little flushed.

The two enjoyed their lunch while discussing some details. Before leaving, Eric gifted Caroline the pink MP3 player.

Although Caroline was excited about the player, she protested, "This is a sample! How can I take it?"

"Samples are meant for trial use," Eric laughed as he stuffed the box into her hands. "I'll have someone send you a Yahoo Music Store account tonight, but you might need a newer computer with a USB port to download music. I can't help with that. When you finish using it, feel free to write a user report."

"Well, okay," Caroline finally accepted the player.

An hour was actually quite brief. Caroline glanced at the clock, realizing it was already 12:55 PM, and bid farewell.

Eric instructed Peter Rich to send the remaining two MP3 players to his place and briefed him on assisting Caroline in gathering ARM data before starting his afternoon work.

...

Since Kate joined the cast, she had always been quite cautious as a newcomer, especially as an outsider from Australia. However, after Eric accepted her suggestions that morning, she gradually became more open and began expressing her ideas more boldly.

After Kate joined the cast in Italy, Pierce Brosnan had been feeling a bit frustrated because he kept having trouble keeping up with her pace. But with Eric's support from behind, plus the fact that no matter how outstanding Kate performed, she was still just a Bond girl, which didn't impact his standing in the crew too much. Thus, Pierce Brosnan had managed to maintain a relatively positive demeanor, except for occasionally showing a bit of tension during scenes with Kate, while the rest of the filming went smoothly.

The underwater photography portion wrapped up successfully in the afternoon, and most of Kate and Pierce Brosnan's scenes were completed. The remaining shots for Kate would be with Christina Aguilera, who played her sister. This storyline was entirely separate from the original version and naturally had little screen time since this was a James Bond film, where James Bond was always the core focus. Although Eric obtained absolute control of the Bond series, he wouldn't make drastic changes to the overarching style of the James Bond franchise.

https//Sayonara816.

[Chapter 811]

As September rolled in, Eric was busy shooting Casino Royale in the UK, while the North American summer movie season came to an official close.

Firefly Group had released three films during the summer, The Matrix, The Rock, and New Line's Final Destination, which collectively grossed $420 million. Although these films were still playing sporadically in North American theaters, their box office revenue of tens of thousands each week had negligible impact on the overall totals.

Compared to previous years when they led the box office by a wide margin, Firefly Group's box office revenue this year not only lost that advantage completely but also saw Universal Pictures snatch the summer box office crown with a slight lead of $435 million. With The Mummy II and The Nutty Professor leading the pack, Universal also found success with two other films.

Following Firefly's performance, Warner Bros. released six films during the summer. While none were major blockbusters, they still managed to secure $380 million due to their sheer number of releases, trailing Firefly closely.

Perhaps due to Firefly's sharp decline in summer performance, the competitive landscape shifted in favor of Universal, Warner Bros., and later Paramount and Fox, among other major studios, which all saw a noticeable increase in summer box office revenue compared to previous years.

Once Variety magazine officially released this year's summer box office figures along with related commentary articles, other media quickly followed suit. Many professional outlets openly stated that Firefly's declining performance signaled Hollywood's return to a more balanced state among the "Big Seven" studios. Before Firefly's rise, the seven major studios maintained a relatively equal market share based on their fixed production scales and distribution channels, occasionally producing blockbusters but generally balancing their market presence according to overall strength.

Even though the Big Seven had been integrating into media groups, the film business still accounted for a significant share. As the notion of Firefly returning to "normal" gained acceptance among the media, the capital markets reacted swiftly. Stock prices of companies like Time Warner, Viacom, and MGM rose by more than 10% within a few days. Even Sony, despite the box office flop of Jumanji 2, experienced a slight uptick in shares.

However, the sudden deceleration of the once fast-moving Firefly Group's media empire drew keen media interest regarding their internal reactions. To get some feedback from Firefly's higher-ups, some outlets even resorted to provocatively challenging the company. Yet, after wrapping up work on The Matrix sequel, unless responding to blatantly false smear campaigns, Firefly's PR department remained notably low-key.

As for Hollywood, most observers maintained a spectator's mindset, especially after the poor reviews for Titanic's premiere at the Venice Film Festival. Many anxiously awaited the year-end release schedule.

With a production cost of $215 million and $50 million in distribution expenses, plus a runtime exceeding three hours, Hollywood saw little reason to believe in Titanic's box office success.

While Firefly's competitors were still content to watch from the sidelines, Wall Street already gleamed with anticipation. Should Titanic suffer a significant loss, it would not only consume profits from other successful Firefly films but might also impact Firefly's closed production system, compelling it to conform to industry norms rather than persist with their self-sufficient model.

If Firefly opened even a small gap by seeking film financing from capital markets like other studios, Wall Street would have sufficient confidence to widen that gap step by step, ultimately absorbing Firefly and placing it under similar capitalist control as most Hollywood studios.

...

Despite heightened scrutiny from outside, everything within Firefly remained orderly. On September 15, after more than six months of preparation, the FFM Network -- a collaboration between Firefly, Fox, and MGM -- officially launched. FFM offered more high-quality film content than the previous incarnation of the network and implemented various promotional activities, managing to retain almost all of the original users from several pay cable channels, bringing the total user base to 4.1 million.

Since FFM was positioned similarly to HBO, Time Warner naturally regarded it as a significant threat. Warner Bros. Cable even breaching contracts by completely cutting off the signals of the 300,000 users who had previously subscribed to FFM's predecessor. Time Warner adopted a total blockade approach against FFM.

While both Firefly and Time Warner avoided an outright public confrontation, there were minimal restraints among subsidiaries. The moment Warner Bros. Cable severed the user signals, FFM promptly sued the cable giant in federal court for engaging in unfair competition due to its market position. Warner Bros. knew this lawsuit could only help FFM gain notoriety, yet they had no choice but to respond, as FFM clearly would not agree to settle privately.

As a veteran media player, Weinstein quickly stoked the flames of controversy, and FFM's profile surged in the process.

With FFM's launch coinciding with the beginning of the television fall season in September, ABC's Friends, ER, and Survivor made their returns, along with Lifetime's popular shows such as Sex and the City, Project Runway, and America's Next Top Model.

...

When someone was busy, the days flew by. By the time Firefly's television department delivered the September ratings report to Eric, it had somehow become October.

London's weather had cooled further, and the filming of Casino Royale reached over 80% completion. With just a month left, the most important scenes involved Bond teaming up with the Charlie's Angels to rescue Angela Lind.

Kate, Charlize, and Penelope needed another week before joining the set. The recent days had been more relaxed for the crew, mainly focusing on dialogue scenes involving Bond, M, Vesper, and a few villains.

After finishing a scene between the sisters Vesper and Angela that morning, Eric sat in the cafeteria of Pinewood Studios. After finishing lunch, he had some time left and started to read the newly arrived ratings report from New York.

On ABC, Friends, ER, and Survivor continued to lead in viewership. This year, Friends was in its eighth season, with plans to conclude by the tenth. ABC had already announced this before the season started. Although the six main actors appeared slightly younger than in past life, ten years of filming had made them weary of continuing.

This time, Aniston hadn't rallied the other stars for a million-dollar pay dispute, but Firefly was generous nonetheless. The salary for each of the six leads had doubled to $600,000 per episode for the final three seasons.

As the most popular medical drama in recent years, ER maintained remarkably steady viewership, averaging over 20 million viewers per episode. Meanwhile, Survivor, which had peaked at an average audience of 30 million over its first two seasons, began to see a significant drop in viewership due to competition from other reality shows airing on different networks.

However, because Survivor's production costs were low, even if ratings drop below 10 million, the network would remain very profitable. Moreover, the first three episodes of this season averaged 17 million viewers, which hardly reflected failure, positioning it among the leaders of North American reality programming.

In addition to the three leading shows, ABC also welcomed a new dark horse this year -- a sitcom called Everybody Loves Raymond. This family-centric show soared past the 15 million mark for its premiere episode.

During its peak, its ratings compared well to Friends. With a opening viewership of 15 million, it was merely a starting point. It was expected that once Friends wrapped up, Everybody Loves Raymond would reach its own peak viewership, perfectly positioned to take over Comedy Night.

In memory, Everybody Loves Raymond was CBS's flagship sitcom. However, Eric had not been involved in it; he only discovered it after seeing the new show list submitted by ABC in May. The transition of Everybody Loves Raymond to ABC resulted mainly from David Letterman producing it. ABC had revamped its late-night programming over the past two years, moving CBS's Late Show with David Letterman to their network, which naturally led to ABC securing Letterman's television projects.

After reviewing ABC's ratings statistics, Eric was about to turn to Lifetime's data when Christina Aguilera approached with a small tray.

The girl stood across from Eric and sweetly asked, "Eric, may I sit here?"

With a smile, Eric cleared some paperwork from the table and nodded to her. Christina happily placed her tray down and took a seat.

While they had become close, Christina was far from clingy and never publicized their relationship. Her discreet and intelligent behavior pleased Eric immensely.

Since the entire day's scenes involved Christina, her sitting beside Eric would only make people assume she wanted to discuss film matters with the director, not raising any suspicion.

Watching Christina pick up her utensils and eat a small portion of the vegetable salad, Eric smiley asked, "What have you been up to? Why did you take so long to come to the table?"

Christina replied sweetly, "My mom called from Los Angeles, and we talked for a bit longer."

"Oh, were you feeling homesick?"

"Not really," Christina shook her head.

She truly wasn't homesick. Having grown up in a single-parent household, Christina was much more independent than Britney. She had no desire to attend school and relished the opportunity to travel the world with her work.

Eric smiled and turned his attention back to the papers in front of him, but Christina then spoke up, "Eric, I... suddenly feel like Angela isn't that cool."

Eric raised an eyebrow, "What do you think would be cool then?"

Having seen Charlie's Angels, Christina immediately replied, "Definitely like Kate Beckinsale's character, Selina! But Angela seems more like a bookish tech geek who loves tinkering with machinery. I think that if Charlie's Detective Agency actually existed, they would surely overlook Angela Lind."

In the script for Casino Royale, Angela Lind was depicted as a tech-savvy geek obsessed with precision instruments, influenced by her father during childhood.

"Thinking Angela Lind isn't cool might stem from the fact that Casino Royale is a James Bond film, and the role isn't given much room for development. However, that character is well-rounded and is akin to Q in the 007 series, who will eventually provide the Angels with all sorts of cool high-tech gadgets. You know, after the film is released next year, Marvel Entertainment will publish comics related to Angela Lind, and you'll get to see it then."

Initially, Eric had handed that character to Christina without sharing too much information. There was a time when Christina thought Angela might just be a minor character in the Casino Royale series.

Now hearing Eric say this, Christina's eyes sparkled, and she asked, "So, Eric, does this mean I could appear in the movie again in the future?"

Eric chuckled, "Your character will definitely feature in the comic stories; Marvel has already started on that. As for whether you can appear again in MGM's spy movie universe, there are too many factors -- your career development, audience feedback on your character, the storyline needs, and so on. I can't make any promises right now."

https//Sayonara816.

[Chapter 812: Many Bridges]

Cambridge was located roughly seventy kilometers northeast of London.

On October 5th, a Saturday, Eric woke up early and took Caroline to Cambridge. To avoid being followed by the paparazzi that constantly surrounded Pinewood Studios, they flew in by helicopter.

Caroline had spent the last month gathering extensive information about ARM and had even contacted ARM's president, Roger Wilson or Sophie Wilson since 1994. Upon realizing Eric's interest in ARM, she expressed great enthusiasm, and they agreed to meet today.

Although they shared the Wilson surname, Sophie Wilson had no relation to Caroline's family, much like Barbara Broccoli's half-brother Michael Wilson. Wilson was a common British name.

Eric took a keen interest in this and casually discussed it with Caroline during the helicopter ride. She merely stated that her family was from the Buckinghamshire Wilsons. While she spoke without any sense of pride, her tone conveyed a certain entitlement.

This historic city of Cambridge lacked tall buildings, filled instead with ancient-looking structures that appeared to be at least a few hundred years old. It would have been a more enjoyable experience had it not been for the modern cars parked along the roads, which disrupted the quaint atmosphere of the quaint historical town.

They were set to meet Sophie Wilson at two o'clock in the afternoon, so Eric and Caroline decided to wander around Cambridge in the morning. Although they planned to enjoy a leisurely day, the two of them attracted attention, not due to their good looks, but because of their height difference. Even in high-heeled boots, Caroline barely came up to Eric's shoulders.

Dressed in matching black trench coats, despite her coat being several sizes smaller than Eric's, they still resembled a couple.

...

Eventually, they passed a women's clothing shop. Eric had an idea and led Caroline inside. When they emerged, Eric still looked the same, but Caroline had switched to a pink women's hoodie paired with light pants, replacing her high-heeled boots with white sneakers.

After tossing the clothes Caroline had changed out of to a nearby assistant, Eric looked her over and said, "This looks a lot better on you."

Noticing the mischievous grin on Eric's face, Caroline shyly replied, "Eric, you're up to something, aren't you?"

Eric shook his head, "Not at all! Now we won't attract any attention. Everyone will just think you're my sister or something."

Caroline scrunched her nose in frustration and said, "I don't want to be your sister."

Eric replied casually, "Then how about a cousin?"

Once Caroline realized Eric was merely joking, she stopped arguing, though her mind wandered to legal and genetic questions.

As they continued to stroll through the narrow streets of Cambridge, they passed a boutique. Eric spotted a light gray deer stalker hat and decided to buy it. He also tucked away the plain glasses he had been wearing as a disguise.

Seeing Eric fiddling with the hat, Caroline clumsily teased, "You don't look anything like Sherlock Holmes."

Eric pulled the brim down and joked, "Is it because I'm too handsome?"

Caroline laughed, "Not at all! The original Sherlock was an older man with a mustache."

Eric mused, "Who knows? I might invest in a younger version of Sherlock Holmes, set in the modern era. Charlotte and Watson could have a gripping storyline!"

Caroline chuckled at the thought of Eric ruining a classic and said, "Ha! That would definitely be chaotic."

Eric laughed along, "Maybe people would actually love it."

...

Cambridge University boasted over thirty colleges and research institutes scattered throughout the southwestern part of the city. Caroline took Eric on a tour of a few of the more renowned colleges and even visited the dormitory where she used to live with Rachel. At eleven that morning, following Caroline's recommendation, they grabbed lunch at a pizza place and then wandered to a small park opposite Queen's College, which wasn't too far from the cafe where they had arranged to meet with Sophie Wilson. The small park lay alongside the famed River Cam, known for its many charming bridges.

As noon passed and their plans to explore further dwindled, Eric requested the ARM materials from their bodyguard. He settled on a bench that overlooked the river and called Caroline over to sit next to him.

The autumn sun carried a slightly chilly pallor that easily evoked emotions. Fortunately, sitting in the noontime sun brought some warmth.

With his legs crossed and the documents resting on his lap, Eric inhaled the light fragrance that wafted from Caroline. He casually flipped through the pages of the information he had already read several times, committing crucial details to memory.

Interestingly, the emergence of ARM processors was born from a single issue: poverty.

In the early 1980s, as personal computers gained traction, the BBC aired a documentary on microprocessors that sparked strong viewer interest. Subsequently, the BBC decided to partner with Acorn Computers, which could be considered ARM's parent company, to produce a low-cost PC for eager viewers.

Acorn Computers was financially strapped and lacked the resources of industry giants like IBM or Intel to develop complex instruction set (CISC)-based high-performance processor chips. Instead, they could only produce low-cost, low-power processors based on reduced instruction set (RISC) technology, which required fewer transistors.

However, as the entire PC industry was focused on producing more powerful processors, Acorn experienced a brief period of success, only to quickly decline.

In 1990, Apple took notice of ARM's technological advantages and collaborated with engineers from Acorn Computers to establish ARM, working on processors for Apple's Newton Tablet. Although the Newton had advanced design concepts, its practicality was limited, and it came at a steep price. After several model iterations, it was teetering on the brink of discontinuation.

Following the failure of the Newton, ARM faced several years of slump until the resurgence of digital mobile phones allowed it to find its direction again. ARM was currently collaborating closely with Texas Instruments to develop phone chips based on ARM technology.

Coincidentally, this chip was commissioned by Nokia from Texas Instruments. While Nokia had a strong advantage in digital communications, its in-house chip development was just beginning, having relied previously on processors from companies like Texas Instruments.

At that moment, ARM didn't attract much attention in the industry yet as its first mobile chip had yet to be officially launched. ARM was also not publicly traded, with a relatively simple ownership structure mostly divided between Apple and ARM's parent company. Acquiring ARM would likely cost around $80 million.

The licensing situation for ARM's technology wasn't as rampant as in the past, with only a few companies like Apple and Texas Instruments holding licenses. Acquiring ARM would make it easy to control the dissemination of ARM technology.

However, careful consideration was necessary for the next strategic moves regarding ARM technology.

https//Sayonara816.

[Chapter 813: The Apparent Reason]

At 2 PM, Eric arrived at the agreed-upon cafe with Caroline. Sophie Wilson was already waiting there.

Sophie Wilson was around forty years old, tall in stature, dressed in a light gray suit, wearing rimless glasses, and her hair was meticulously styled.

After polite introductions, they found their seats and ordered coffee. Once the waiter left, Sophie Wilson discreetly sized up Eric and said, "Mr. Williams, how is the filming of 007 going? Everyone is very excited!"

Eric nodded and replied, "Of course, everything is going smoothly. And Sophie, you can call me Eric."

"Alright, Eric," Sophie Wilson said with a smile and nodded, "Actually, we were quite surprised to hear you were interested in ARM."

Eric chuckled to himself, recognizing that Sophie was still the focused tech engineer she always was, transitioning quickly to the main topic.

When the waiter brought their coffee, Eric paused briefly, waiting until the waiter was out of earshot before saying, "I have always been very interested in the IT field. To me, ARM technology has a broad application potential, which is why I asked Caroline to gather technical materials about ARM."

Sophie pondered for a moment and asked, "Eric, can I know your specific expectations regarding ARM technology?"

"Certainly," Eric nodded and glanced at Caroline. The girl took out a Newton tablet from her bag and placed it on the table.

Eric powered on the tablet and said, "I hope to acquire ARM and continue to focus on the development of application software chips."

Acquiring ARM required a sound reason; otherwise, the technical team would not follow a directionless owner.

The reason Eric wanted to buy ARM was straightforward: he aimed to prevent the widespread diffusion of ARM technology and even cut off technical licensing to potential competitors.

However, this monopolistic reasoning would surely not sit well with outsiders. As for mobile chip development, Eric already held interests in Nokia and Qualcomm. With complete authorization of ARM technology, these companies could far exceed ARM's own development capabilities in mobile chips.

After careful consideration, Eric decided to focus on tablets.

Sophie Wilson took the Newton tablet from Eric and operated it briefly, but her expression turned somber as she remarked, "Eric, I spoke with Apple's CEO, John Sculley, last time. They might stop production of the Newton tablet next year, so this product should be considered a failure."

Sophie Wilson's subtext was clearly implying that Eric's choice to develop a handheld tablet was not a wise one.

But Eric disagreed with Sophie Wilson's perspective. He stated, "Sophie, the Newton itself is an outstanding product. Its failure was simply due to not finding the right price and market positioning. According to the data I've gathered, last year's total shipment of handheld computers reached three million units, and in the first half of this year, that figure has already reached 2.6 million. This market is growing rapidly."

Sophie Wilson quickly calculated in her mind. If Eric was right, at an average price of $500, this year's market for tablets could reach about $2.5 billion. Although this number seemed insignificant compared to the over one hundred billion-dollar personal computer market, it was enough to demonstrate the value of tablets.

ARM was originally founded to develop processors for Apple's Newton tablet, and both Sophie Wilson and most of the ARM engineers had strong sentiments toward tablets.

After some thought, Sophie Wilson asked, "So, Eric, what kind of tablet do you want to create?"

Eric replied, "I plan to develop this tablet as an accessory hardware product for Yahoo! If we can cooperate, ARM will be responsible for chip development while Yahoo! will develop a dedicated operating system for the tablet, integrating services like the Yahoo! browser, instant messaging, and email into the tablet. I want this product to emphasize both entertainment and practicality, so it should be able to connect to the internet, read books, listen to music, and more."

"From what you're describing, it sounds like a mini handheld PC terminal," Sophie Wilson remarked. "However, Eric, have you considered the connectivity issue? The biggest advantage of a tablet is its mobility; you can use it anywhere. But if it requires dragging a long network cable around, I think most people would find that less convenient than a laptop."

"That's easy to solve," Eric chuckled. "Earlier this year, I had Firefly Electronics acquire the complete patent for a wireless local area network technology called Wi-Fi. This technology allows for device connectivity with the internet over short distances. Although the range is only a few dozen meters, it's sufficient for a person to use the internet within their home or office."

"That sounds quite similar to the Bluetooth technology introduced by Ericsson," Sophie Wilson replied. "But, Eric, while we might integrate Wi-Fi into the tablet, where will the signal transmitter come from?"

It wouldn't be until a decade later that wireless routers integrated with Wi-Fi technology would start to become popular. Although Firefly held significant shares in Cisco, the primary business area for Cisco was enterprise-level routers, not personal consumer terminals. Eric wouldn't interfere with Cisco's business strategy.

Since Cisco couldn't provide any assistance in this area, it would be challenging for Eric to leverage Firefly to push other router companies to develop wireless routers.

However, this problem was not insurmountable.

Eric said, "As long as someone has internet connectivity at their home, creating a signal transmitter, or what you might call a 'hotspot,' is quite easy. We just need to supply this tablet with an accessory that has a Wi-Fi chip and signal transmitter. Compared to the potential hundreds of dollars price tag for the tablet, the production cost of this mini Wi-Fi signal transmitter would only be around ten dollars. Therefore, like the tablet's charger, it wouldn't significantly affect the overall cost or price, making it a highly viable option."

https//Sayonara816.

[Chapter 814: The Smartphone Era]

No company was willing to settle for being just a technology licensing vendor. Eric spent the entire afternoon talking with Sophie Wilson and had basically solidified the intention to acquire ARM. Next, Firefly only needed to persuade ARM's major shareholders to transfer their stakes.

ARM's market capitalization was around $80 million, and it didn't show any astounding growth potential. As long as Eric offered a reasonable price, acquiring the company wouldn't be difficult.

The autumn skies of London were short, and the helicopter landed at a helipad in Playa Vista studio as dusk settled in. Eric stepped off the helicopter first and smiled, reaching out as he watched Caroline carefully step onto the platform. "Come on, let me carry you down."

Caroline didn't mind being carried down at all. However, the smile on Eric's face and the tone of his voice made her feel like a child, which was exactly what she disliked. After all, she was only a year younger than Eric; she was twenty-five this year.

"I can do it myself, thank you," Caroline said, already jumping down, her body wobbling somewhat. Eric caught her just in time.

Once Caroline steadied herself, Eric said, "Let's go grab some dinner; the restaurant here is pretty good. I'll take you back afterward."

Caroline had driven herself here during the day. However, it was now dark, and even though Wilson Manor wasn't too far away, Eric didn't feel comfortable with Caroline driving back alone. This was the outskirts of London, and the roads were mostly rural farmland. Driving alone at night was definitely a bit unsettling.

As Caroline walked beside Eric, she said, "Eric, I can drive back by myself. Plus, I promised my mom I'd be home for dinner."

"Well, if that's the case, let's scrap the dinner plan. I'll drop you off instead," Eric replied, noticing Caroline was about to say something more, and added, "No arguments. I really can't let you drive home alone right now. I'll have someone bring your car to Wilson Manor tomorrow."

Caroline lowered her head slightly and said softly, "Okay, fine then."

...

After they exited the helipad, the driver had already prepared the car. Eric politely opened the car door for Caroline and got in himself.

Eric didn't think much of it, believing that personally driving Caroline home would be the polite thing to do; besides, it wasn't far. But sitting next to Eric, Caroline felt a little flustered; her mind began to race.

Eric was going back to her place.

That thought felt off somehow.

How should she entertain him?

What would her parents think about this?

Eric casually chatted a few times with Caroline and noticed she seemed somewhat distant; so, he went quiet.

They were on the road, and the driver was clearly faster than Caroline had been during the day.

Fifteen minutes later, as they passed over a stone bridge, Eric took a glance outside in the glow of the bridge lights. The view showed a deep river about ten meters wide. This must be the Thames that Caroline mentioned.

Wilson Manor was right across the Thames, and as they crossed the stone bridge, the car soon stopped in front of a grand estate.

...

Eric and Caroline got out of the car and curiously looked around. Beyond the iron fence walls, they could see the spacious lawn and the distant castle illuminated.

With its long nobility history, England had countless castles. However, due to the high maintenance costs, most were in disrepair. Even Windsor Castle, home to the British royal family, required state funding to maintain. Nobles who could still maintain their ancestral estates in this era were truly steeped in heritage.

Standing beside Eric, Caroline felt a little out of place. She wanted to invite Eric inside for a bit but was unsure if he would be up for it, nor did she know how her parents would feel about it. After all, she had never mentioned to her mom and dad that Eric would be visiting.

At that moment, the manor's doorman spotted the young lady and a man getting out of the car and approached them. It wasn't until he got closer that he recognized Eric.

Realizing someone was walking over, Caroline snapped back to attention and introduced, "Eric, this is Mark."

Eric politely extended his hand and shook hands with Mark. "Hello, I'm Eric Williams."

"Hello, Mr. Williams," Mark said, shaking Eric's hand somewhat formally before turning towards Caroline. "Miss, do you want me to notify your parents?"

"Uh, about that..." Caroline looked towards Eric.

"No need to trouble them; I was just dropping Caroline off since it's getting late," Eric said, shaking his head at Mark. He then turned back to Caroline. "I'll head back now. Please give my regards to your parents."

"Okay," Caroline nodded, feeling uncertain whether it was disappointment or regret.

The driver presented two bags to Eric. He remembered that they were Caroline's coat and shoes from earlier. He handed them to Mark, standing beside Caroline, and said, "Well, I'm off. See you."

"Goodbye," Caroline waved at Eric as she watched the car's lights fade away. She turned her gaze back to Mark and took the bags from him. "Mark, I'll manage."

Mark was utterly unclear about the situation until he found himself watching the young lady walk alone into the manor, at which point he realized he needed to call the count and countess.

...

When Countess Edith Wilson heard from the doorman, she hurried out to meet her daughter, observing her dressed in a pink hoodie and flat boots, a stark contrast to her outfit from earlier in the day. Her gaze flickered for a moment before she regained her composure. She took the bag of clothes from Caroline and handed it to a waiting maid. Then, holding her daughter's hand, she gently asked without mentioning Eric, "Sweetheart, how was your day?"

"Good, Mom," Caroline nodded and replied, "Eric drove me back personally, but it's a shame he didn't want to stay."

The countess looked at Caroline's puzzled and disappointed expression and smiled. "Mr. Williams seems like a gentleman; he might just not want to impose."

Despite this, the countess couldn't help but sigh inwardly. Over the years, she and her husband had always adored their youngest daughter more than anything, and even Caroline's three older brothers treated her with great care. They initially hoped Caroline would find a suitable partner, like many young noblewomen, leading a calm and happy life.

Unfortunately, several years ago, after graduating from Cambridge, when her father began organizing matchmaking opportunities for her, Caroline surprised them by showing strong resistance, even going as far as to run away from home.

Later, Caroline incidentally met Eric Williams, and her parents thought that if the two got together, it would be a good match.

Yet, things didn't go as hoped.

Afterward, Caroline boldly expressed to her parents that she didn't want to continue living the way she had, and she left to attend Harvard Business School, eventually finding herself working for Eric Williams almost by accident.

Over the years, as Eric's fame rose, the count and countess learned more about his accomplishments. They came to realize that it was becoming harder for Eric and Caroline to reconcile, which is why they had not issued any invitations while Eric was filming Casino Royale nearby at Playa Vista studio this time.

But...

Looking at her daughter with a mix of pity and concern, the countess suddenly recalled many years ago.

Though everyone around said Caroline was weak, as a mother who knew her daughter best, she recognized certain stubborn traits hidden beneath Caroline's delicate exterior, which mirrored that of a woman from years ago. Fearing that Caroline might repeat the mistakes of the past, the couple allowed her to live life according to her own desires in recent years.

After all, this was their cherished daughter, and while the traditions of nobility were certainly important, they paled in comparison to her happiness. Having three well-regarded sons, the couple didn't expect Caroline to inherit the family estate.

As long as their daughter found happiness, that was enough.

Noticing her mother looking lost in thought, Caroline asked, "Mom, what are you thinking about?"

The countess shook her head. "Oh, it's nothing. Your father is waiting for us to have dinner together, so let's go inside."

...

Returning to Playa Vista studio after a simple dinner, Eric went to the study in his residence.

These days, in between filming, he had been contemplating the future landscape of mobile internet and the smartphone era. Today's confirmation of interest in acquiring ARM meant he was about to take control of another crucial piece of the puzzle.

However, there was still a long road ahead.

Over the years, companies like Nokia and Qualcomm -- investments from Firefly Group -- had thrived and developed according to the established trajectories set by their management teams.

Given his absolute controlling interest in Nokia, Eric had the power to shape the direction of this mobile industry giant as he wished, and the same went for Qualcomm, which he had a significant stake in, as well as the emerging Yahoo.

However, this meant Eric would need to invest lots of energy into managing these companies, which was clearly not possible since Firefly Group already occupied most of his time and effort. Dividing his focus to manage the industries under Firefly Investments would likely just exhaust him, leaving him at a dead end. Therefore, he decided to maintain a broad strategic direction while leaving the finer details to the professional managers of these companies.

Currently, Nokia would only continue on its trajectory in a world that was set to transition. The development approach that they had in place was very viable before the rise of smartphones, but once that shift happened, it was inevitable that Nokia would face decline.

After days of deliberation, Eric had begun to outline another viable path.

...

In the study, he connected to the internet and opened the YCR chat software on his desktop. Chris in New York and Yahoo CEO Ian Gurney and CTO Steve Mitnick in Boston were already online.

Creating a separate temporary chat room, Eric invited everyone in and summarized the outcome of his meeting with Sophie Wilson today.

The four of them then began discussing topics they had been addressing for days, focusing on Eric's alternative development plan divided into three stages.

This plan mainly involved Yahoo and Firefly Electronics over a decade.

With Yahoo's assistance, Firefly Electronics would concentrate on the research and development of three products over the next ten years.

From 1996 to 2000, Firefly would primarily focus on promoting MP3 players, while privately developing the tablet computer Eric discussed with Sophie Wilson earlier in the afternoon.

They had already named the tablet computer YahooPad.

Under this plan, ARM, Yahoo, and Firefly Electronics itself would be crucial components in developing the YahooPad.

Over the next four years, ARM would focus on developing application chips for the YahooPad, while Yahoo would be responsible for developing its operating system, with Firefly Electronics managing the overall architecture of the product.

Steve Mitnick had come up with the idea of developing a brand new PC operating system a few years ago, but with Windows having taken off, breaking Microsoft's monopoly in the PC domain was nearly impossible, so Eric had turned down Steve's proposal.

However, now Steve's original concept could be applied to developing a mobile operating system. Over the past few days, Eric had shared many impressions based on his previous life regarding Android and Apple's operating systems with Steve.

The future mobile operating system would embody Eric's ambitions in the mobile internet space; this time, he would not allow the scenario of Android and Apple splitting the market as they had in his previous life.

With four full years of research and development time, the YahooPad would officially launch in 2000 when the mobile communications market would also shift toward democratization.

From 2000 to 2005, while promoting and selling MP3 players and the YahooPad, Firefly Electronics would leverage the technological know-how accumulated in the previous years, focusing rapidly on smartphone development with the cooperation of Qualcomm and Nokia. Additionally, thanks to the investment in Sprint, promoting this phone in the mobile communications market would not be an issue.

In ten years, Firefly Electronics would officially enter the smartphone era in 2005.

The advantage of this plan was that Eric wouldn't have to disrupt the existing trajectories of Nokia, Qualcomm, and Yahoo. These companies could continue climbing based on their established paths.

At the same time, Firefly Electronics -- a significant piece outside of conventional strategy -- could gradually complete Eric's major layout for the imminent mobile internet era.

Once the timing was right and Firefly Electronics showcased the corresponding potential, Eric could easily license the relevant technologies to Nokia and others, enabling a smooth transition from feature phones to smartphones.

https//Sayonara816.

[Chapter 815: Bond vs. Charlie's Angels]

In the updated storyline, Vesper, just before her death, handed a necklace to Bond. The pendant featured a photograph of Vesper and her sister, Angela Lynd.

Bond used the pendant along with other clues left by Vesper to piece together the situation and embarked on a quest for revenge to rescue Angela Lynd.

Meanwhile, Charlie's Angels agency had been scouting around the world for girls with special abilities to join their ranks. Angela Lynd, who had been influenced by her father, a high-level mechanical engineer, and had a fascination with intricate mechanical designs, caught their attention.

Charlie's Angels agency utilized its foundation to provide a scholarship for Angela Lynd, selecting her as a key candidate for their Angels program.

Following the events of Casino Royale, Angela Lynd was kidnapped by an offshoot organization of the Spectre, aiming to force Vesper Lynd to hand over the $150 million that Bond won gambling.

Angela's disappearance alerted Charlie's Angels agency, and since Selena, Jill, and Lucine were in the UK at the time, they received the task of finding Angela Lynd.

Because of this storyline, which did not belong to the official organization, Charlie's Angels found themselves entangled in the Spectre's web, officially merging MGM's spy movie universe. The script for the upcoming third installment of Charlie's Angels planned to incorporate a subplot where the Spectre organization retaliated against Charlie's Angels, ultimately compelling them to collaborate with official agencies to strike back against the Spectre.

...

After Eric and Sophie Wilson confirmed their intention to acquire ARM, Chris took over the subsequent acquisition negotiations.

Over the years, despite Eric continuously injecting large sums of money into Firefly Investment Company through various equity incentives, Chris's stake in the company remained at the promised 3%.

This holding percentage might seem insignificant, but considering Firefly Investment's current asset scale, Chris's worth had already exceeded $600 million. If the news leaked, he would undoubtedly become one of North America's highest-paid executives. Moreover, in the coming years, with the NASDAQ index expected to soar, that 3% stake could easily appreciate by more than tenfold, potentially reaching a valuation of $10 billion, which wouldn't be surprising; certainly, the market cap of Firefly Investment would also become extraordinarily massive.

Chris watched as Firefly Investment Company grew, making him acutely aware of the value of his 3% stake. His exceptional work ethic warranted the compensation Eric provided, allowing Eric to take a back seat in day-to-day operations while he focused on defining the company's overall direction and entrusting the finer details to Chris.

...

With ARM's matter settled, Eric wholly immersed himself in the final stages of filming Casino Royale.

In the following week, Kate, Charlize, and Penelope joined the set to start filming the crossover storylines. After years of experience, the three had shed their initial naivety, and although their roles weren't extensive, everything progressed smoothly.

While Eric filmed the primary Bond-related scenes, a second director took Kate and the others to Italy to complete some shots that had been left unfinished due to scheduling conflicts.

The final scene of this version of Casino Royale took place on a small island in the English Channel. However, the crew did not plan to shoot on that island. Aside from necessary exterior shots, most of the scenes would still be filmed in the soundstages at Pinewood Studios.

After Vesper's death, Bond followed various clues and eventually located the Spectre organization's lair on that small island in the English Channel, where Angela Lynd was also trapped.

Simultaneously, Selena and the others arrived at the island. The island's security was incredibly tight. The trio's sole intention was to rescue Angela without confronting the Spectre directly, so they planned to sneak in through the ventilation ducts to quietly extract Angela Lynd.

Bond, on the other hand, had vengeance on his mind while rescuing Angela, charging straight into the base. By inadvertently drawing a large number of villains away from the Angels, he inadvertently aided Selena and the others in their mission to rescue Angela.

However, due to Bond causing chaos in the base, the route the Angels used for entry was accidentally blown up, forcing them to exit through the front. This set the stage for the first direct confrontation between Bond and Charlie's Angels.

The scene was action-packed, even somewhat audacious.

Neither side recognized the other, and upon encountering, they naturally engaged in a fierce battle.

The thought of James Bond battling Charlie's Angels was exhilarating; Eric had long since decided that after refining this plot point, he would incorporate relevant shots in the trailer.

Of course, a great idea doesn't always translate to an easy shoot.

According to the detailed script, after Bond charged into the base, he would first encounter Selena, and in the urgent situation, neither side could afford to explain themselves, resulting in an immediate clash.

As the powerhouse among the trio, Selena's fighting capabilities had already shone in the previous two films.

In fact, if one looked closely at the detailed settings, under life-and-death circumstances, Bond might indeed struggle to best Selena relying solely on his fists.

While filming previously, Bond hadn't showcased a particularly impressive fighting style, but as a MI6 top agent, he undoubtedly possessed significant skills. Moreover, standing over 6 feet tall, Bond naturally held a considerable advantage over the relatively petite Selena, and applying the principle of force, both sides should equally match in combat.

...

At Pinewood Studios, the set for Bond's 007 series had been buzzing with activity over the past few days.

Having made a significant impact in recent years, Charlie's Angels' popularity rivaled that of Bond. Consequently, the plot featuring Bond clashing with Charlie's Angels attracted considerable attention, drawing anyone with access to the soundstage in attendance.

In front of him laid a set depicting a corridor's corner.

Bond aggressively entered, while the Angels escorted Angela Lynd out, leading to their encounter.

To achieve the best effect, the three girls wouldn't appear simultaneously. Selena would first face off against Bond, creating this installment's most iconic fight scene.

Eric had specific requirements for Selena's choreography: straightforward and fierce. After extended discussions with the action director, they determined that to make the fight visually appealing, they would significantly showcase Selena's leg techniques since, as a woman, her punches against someone as tall as Bond might lack visual impact. However, her leg work would be an entirely different story.

A fight may seem continuous on screen, yet the actual filming required breaking down each shot.

In front of the monitors, Eric, along with cinematographer Nicole, the action director, and the Broccoli siblings who'd stopped by, reviewed the footage and discussed before summoning Pierce Brosnan and Kate Beckinsale from their rest.

"Pierce, Kate, we need to reshoot that last scene," Eric announced, pressing replay to elaborate on the necessary reshoot requirements. "If you just pin Kate against the wall, it's unlikely you can actually hold her back. So, I want you to catch Kate's ankle when she kicks high and push her against the wall."

Eric continued, disregarding the curious expressions from Pierce Brosnan and Kate, and turned to the action director from Hong Kong. "Mr. Yuen, could you and Miss Lee demonstrate?"

"Sure," came the response as they called over an Eastern girl whose build resembled Kate's; she was the stand-in they had arranged.

Watching the two demonstrate, Kate couldn't help but roll her eyes at Eric, whispering, "Eric, don't you think this feels a bit too flirty?"

Eric replied with a chuckle, "We want to create that chemistry between Bond and Selena for the audience. If the reaction is positive, we could set up more interactions between them in future episodes."

Kate frowned slightly, "You mean, tying Bond and Selena together?"

"That's not a certainty; perhaps the eventual conclusion will address the audience's wishes, but before that, it'd be best for Bond and Selena to maintain a somewhat ambiguous relationship. Many facts demonstrate that this effect often works best."

"But," Kate glanced again at Miss Lee, who effortlessly executed the high kick.

Following her gaze, Eric quietly asked, "Have you slacked off on your training these past two years?"

"Me?" Kate's cheeks flushed a bit. Despite not quitting her workouts for the role, her rising fame over the years meant she no longer trained with the same intensity as when Eric originally scheduled their training.

After a moment's thought, Eric asked, "If we break that shot down, could you do the splits?"

Kate considered, then nodded.

"Alright, let's go with that," said Eric as he approached again to finalize a plan with the action design team before filming continued.

...

As Eric readied everyone for the next scene, background actors playing the villains found their spots, lying on the floor as if defeated, illustrating the aftermath of Bond's recent clash with the villains.

The initial portion of the action was soon completed; after a brief preparation, the script supervisor yelled 'Action!'

In the shot, Kate emotionlessly swept a high kick towards Pierce, who reached for her but unexpectedly missed, end up getting his face kicked despite the force being light, leaving him in a slightly awkward position.

Eric stepped forward, watching the medical staff check on Pierce and asked, "Pierce, do you need a moment?"

"Nope," Pierce shook his head, smiling gallantly at the apologetic Kate. "It's alright, Kate, no need to worry about it."

Occasionally, taking a few hits during fight scenes was unavoidable. Seeing Pierce was fine, Eric quickly resumed filming.

After a few more takes, Pierce finally completed the intended action successfully.

Dressed in a tight black leather outfit, Selena lifted one leg high, pinned firmly against the wall by Bond, unable to move.

In this shot, the camera focused on their intense gaze; after a brutal struggle, Bond managed to subdue the fierce 'little wildcat' before him, his expression slightly grim. Selena, though captured, remained composed and indifferent, but due to their somewhat intimate positioning, their gaze created a spark that was electrifying.

Echoing footsteps soon disrupted their peculiar standoff as Jill and the others appeared.

Seeing Selena subdued by Bond, Jill promptly raised her gun, aiming it at him. Almost simultaneously, Bond freed one hand to deftly draw his own weapon, targeting Jill.

At that moment, both sides seemed to recognize a deeper issue; hence, no communication or further combat was initiated.

Lucine kept Angela safe in the periphery, just able to glimpse the intersecting corridors, her eyes sweeping over scattered Spectre goons. "Hey, everyone, why do I suddenly feel like we're on the same team?"

Jill, close to Lucine, noted the similar scene in both corridors: the goons they faced were from Selena's recent battle while the ones on the opposite side matched the one in front of them. Since they shared a common enemy, Jill slowly lowered her gun.

While Bond's wariness had not entirely faded, he recognized Angela and noticed how Lucine was protecting her, prompting him to gradually relax his hold on Selena.

Casting a glance at the trio, Bond took Vesper's necklace from his pocket and handed it to Angela. "Your sister sent me to rescue you."

Angela accepted the necklace, her expression confused. A very clever girl, she already sensed that the recent events were unusual, looking up at Bond to ask, "Where's my sister?"

Bond's face darkened slightly, but before he could explain, footsteps echoed in the distance.

"Get her out of here. I'll find you," Bond warned vigilantly, pulling his gun from his waist.

The Angels, who initially aimed only to rescue Angela without an intention to engage the Spectre organization, couldn't fight alongside Bond for no reason. Thus, they made a hasty withdrawal.

Bond eliminated several reappearing goons as he made his way toward the main villain responsible for Vesper Lynd's death, determined to settle the score.

https//Sayonara816.

[Chapter 816: Reverse Public Relations]

Along the coastal highway, a black Buick LeSabre pulled over to the side. Lucine casually sat on the hood of the car, legs crossed, presenting a relaxed and alluring demeanor. Selena and Jill leaned against the side of the vehicle, all three women dressed in similar tight-fitting outfits, their stunning faces and figures enough to make any man watching want to be the Buick parked beside them.

At that moment, the women gazed toward a nearby farewell taking place between two individuals -- a man and a woman, one older and one younger. It was none other than Bond and Angela.

With everything settled, Bond, as Vesper's lover, felt the responsibility of looking after Angela. However, he understood that his life, fraught with instability and danger, would not provide Angela with the peace she deserved. After considering this deeply, Bond decided to entrust Angela to the Charlie Detective Agency, which was also her request.

The camera captured Angela, who seemed to grasp the situation, handing the necklace back to Bond and saying, "I think you might need this more than I do."

Bond took the necklace, hesitated for a moment, then held it in his hand and told Angela, "Take care of yourself. If I have the chance, I'll come back to see you."

"Okay," Angela nodded obediently.

Not lingering, Bond nodded toward Selena and Jill, then turned and walked toward his Aston Martin. Angela watched him leave and suddenly remembered something crucial, calling out, "Hey, you still haven't told me your name!"

Bond raised a hand and waved, but without turning back, replied, "Bond, James Bond."

...

As Pierce Brosnan delivered that iconic line, customary in every 007 film, Eric smiled and nodded from behind the camera, raising his voice, "Good! I officially announce that the shooting of Casino Royale is wrapped!"

Everyone gathered for this scene spontaneously burst into applause, exchanging nods, hugs, and farewells. Eric shook hands with Michael Wilson and embraced Barbara Broccoli, saying, "Barbara, I hope we get a chance to work together again."

"Of course! I'm looking forward to our next endeavor," Barbara Broccoli smiled back.

After nearly a year, the Broccoli family had mostly accepted the reality that MGM had regained control of the 007 series. They no longer fixated on this, understanding that while they had lost control, their share of profits from the series had not been diminished by MGM. With Eric at the helm, the Broccoli family could actually benefit more.

Eric exchanged a few words with Barbara Broccoli, then turned to Pierce Brosnan. After completing Vesper's scenes, Cate Blanchett had already left the set ahead of schedule. Without the pressure of Cate's acting, Brosnan found the final stretch very relaxed, and the earlier minor tensions dissipated.

After chatting with everyone on set, the crew departed from the beach to return to Pinewood Studios, where a grand wrap party awaited them.

...

It was now November 3rd, just after Halloween in North America.

Following the wrap party, Eric headed back to Los Angeles with the post-production team and filming materials for Casino Royale. With just two weeks remaining until Thanksgiving, the release date for Mission: Impossible 2 was set for November 22.

During the post-production of Casino Royale, Eric's first task was to incorporate the Casino Royale Easter egg into the ending of Mission: Impossible 2. This practice had begun with the Easter egg from the first Charlie's Angels added to GoldenEye and had become customary in MGM's spy film universe. Fans had grown increasingly curious about every Easter egg in the series.

By November, winter had settled over London. When Eric left, the city had already seen its first snowfall of the year, while Los Angeles, located on the West Coast of the U.S., was still warm and spring-like, with daytime temperatures around a pleasant 68 degrees Fahrenheit. Even at night, temperatures rarely dipped below 50 degrees.

At Playa Vista, Firefly Studios, Eric emerged from the post-production studio with the film's editor.

Editing the movie's Easter egg wasn't an easy task. Unlike trailers, which can be lengthier, Easter eggs are often only a few brief shots, barely lasting a moment. Thus, how to provide the audience with enough information and intrigue without revealing the main plot became a considerable focus for both the director and editor.

Eric planned to set the scene where M would introduce 007 to the Phantom Protocol details he received from Ethan Hunt, but the specific content needed careful consideration. After two days of discussion in the editing room, he had roughly drafted a plan for a ten-second clip.

...

By the evening, after saying goodbye to the editor, Eric didn't leave the studio immediately but instead headed to Jeffrey Katzenberg's office in the lot. Earlier that day, Katzenberg had called, hoping to discuss upcoming Thanksgiving and Christmas movie releases. From his tone, Eric anticipated it was related to Titanic.

This holiday season, Firefly was slated to release two films: New Line's Rush Hour and Firefly's own Titanic.

Rush Hour had already undergone several test screenings, receiving positive feedback. The film was set to premiere on November 15th and was in its final stages of promotion. With a budget of only $30 million, it was less than a seventh of Titanic's budget, meaning the company didn't have to worry too much about it.

Upon arriving at Katzenberg's office, Eric waved off the secretary's call for him, walked in, and found Katzenberg looking up from some documents. Katzenberg nodded at Eric, checked his watch, and said, "Eric, let's head to the cafe outside to talk."

The two exited the administrative building and made their way to the studio cafe.

...

They casually ordered coffee and some snacks. Katzenberg began, "Eric, yesterday someone spotted Jim West dining with Theo Kinnard at Morton's." Before Eric could inquire further, Katzenberg continued, "Jim West is Sherry Lansing's assistant at Paramount, and Theo Kinnard is a member of the Hollywood Foreign Press Association."

Hearing Theo Kinnard's name made Eric understand the situation. Kinnard might be an ordinary Golden Globe judge now, but years later, he would become the youngest chairperson in the history of the awards.

"They truly wish for Firefly to fail," Eric sighed, shaking his head.

Eric knew the company had been working on PR for Titanic's Golden Globe nominations. The nomination criteria were similar to those for the Oscars; however, the Golden Globe nominations were generally announced around December 10th, whereas Titanic's wide release was set for December 20th. Before that, there would be a few limited screenings to satisfy the nomination requirements, but serious campaigning was needed to secure actual nominations.

Typically, other Hollywood studios refrained from engaging in reverse public relations against competing films. Such tactics almost invariably backfired, and the retaliatory strikes could be fierce. The competition tended to target their rivals' weaknesses and attack them publicly to deter judges from voting for a film. Rarely did any studio engage in outright reverse public relations, especially as Firefly faced this unprecedented situation with Titanic.

Eric understood that Firefly had taken a hard stance against the other major players in recent years. Even though the film market was growing, the overall size remained somewhat fixed; he couldn't hold back Firefly's box office performance simply to spare his competitors' feelings.

Katzenberg wore a serious expression and added, "We're also trying our best, but aside from Paramount, Warner Brothers and Universal are also making moves. Chances are, Titanic will only receive a few inconsequential nominations at the Golden Globes."

"We can only do our best," Eric replied. "Moreover, we must be cautious about using any extreme measures. So many eyes are watching; if we get caught, it would stir even more trouble."

"I certainly know," Katzenberg replied, nodding. He understood that extreme measures referred to voting manipulation tactics. Universal and Paramount were going all out against Firefly. At a time like this, it would be foolish to provide them with even the slightest excuse.

"Before you came back, Paramount moved Star Trek: First Contact from its Thanksgiving slot to December 13th, just a week before Titanic releases. They claimed it was to avoid competition with Mission: Impossible 2, but we all know the real reason," Katzenberg continued.

"With this move, there will be nine films premiering over three weeks around Titanic, each set to screen over 2000 theaters on average -- three films each week."

As Katzenberg spoke, he handed Eric a file he had just brought from his office.

It was a release schedule for films.

Upon reviewing the schedule, Eric noticed that in the weeks surrounding Titanic's release, there were one or two prominently marked films every week.

On December 13th, in addition to Paramount's Star Trek: First Contact, there was Sony's Jerry Maguire, starring Tom Cruise. Then on December 20th, going head-to-head with Titanic was Warner's Mars Attacks!, featuring Jack Nicholson. The following week would also see Universal's comedy My Fellow Americans.

On top of these, Fox and MGM had their new releases timed for the holiday season. Despite being allies, these studios couldn't afford to back down for the benefit of Titanic, which many believed wouldn't fare well.

Eric examined the film schedule, while Katzenberg continued sharing 'bad news', saying, "As for overseas releases, the only countries that can coincide with North America are the UK, Spain, and Australia. French and German distributors have little faith in Titanic's box office prospects; they only want to give us a slot around February, which I've turned down. Japan initially aimed for a simultaneous release with North America, but since we rejected Toho's offer for Titanic's distribution rights, things have soured. Plus, Sony's influence might play a role here. In sum, we're encountering roadblocks in Japan too, where they proposed a mid-March release, which is even later than what Germany and France offered. Additionally, the overseas distributors we're negotiating with are hoping we provide more guarantees, essentially wanting us to lower the profit-sharing ratio."

Eric couldn't help but rub his temples; the influx of information was quite overwhelming.

Katzenberg didn't say anything further; Eric treated him well, and putting pressure on his boss was not the right move.

"How about this?" After a moment of silence, Eric suggested, "If next month Titanic doesn't meet expectations at the box office, I'll call a senior management meeting to discuss it and propose a stricter budget policy for the company."

"Eric, you absolutely don't need to do that. Film companies need to try larger productions," Katzenberg quickly interjected.

During Michael Eisner's leadership at Disney, Katzenberg held significant responsibilities in the film studio. Much of his work often involved shielding Eisner from critique. If a movie that Eisner was involved in struggled, the criticisms would usually fall on Katzenberg to bear. To maintain Eisner's reputation, Katzenberg avoided explaining things too much.

Hollywood highly valued authority; Eric's proposal to apologize could damage his standing.

Everyone understood that over the years, Eric had been the soul of Firefly. Without his sharp vision for film production, Firefly couldn't have grown to its current scale.

"Let's settle on this for now," Eric said, shaking his head as he turned down Katzenberg's offer. "But before that, I expect all departments to remain undistracted by external information, focusing on marketing and releasing Titanic. And overseas? If we can't secure a good release date, and given that these distributors want to negotiate a lower revenue share, we can revisit this after the film releases."

If the box office in North America fell short of expectations, Firefly would need to lower its revenue share for overseas distribution; alternatively, the advantage would revert back to Firefly.

"No problem, I'll personally oversee this," Katzenberg assured him with seriousness.

https//Sayonara816.

[Chapter 817: How Could Elves Not Be Beautiful]

After discussing Titanic with Katzenberg, Eric rode back to Liberty City Manor.

As dusk settled, he entered the villa, walked through the hall, and arrived at the glass wall where he spotted Nicole lazily sitting on the sofa, engrossed in a comic book.

Yes, it was indeed a comic book.

Around the sofa, where Eric often rested, there were thousands of various comics stacked high. Back in America, while working on the post-production of Casino Royale, Eric had also begun preparations for the Marvel Cinematic Universe. Although the first Marvel superhero film, Spider-Man, wouldn't debut until around 2000, he needed to start strategizing for the entire Marvel Cinematic Universe plan. Eric was keen on avoiding the same mistakes that led to the rushed launch of the DC movie universe, which ended up with a string of box office flops and critical failures.

The main responsibilities for setting up the Marvel Cinematic Universe rested with Marvel itself. However, Eric wanted to be involved in its creation, so he needed to thoroughly understand the comic book characters under Marvel.

The thousands of comics before him had all been pulled from the New York Marvel archives. When Eric called for these comics, Stan Lee had repeatedly reminded him to return them after reading, as many had become valuable collector's items over the decades. Many Americans were avid comic collectors, and superfan Nicolas Cage had spent millions on his collection. Thus, this pile of comics, some appearing somewhat outdated, certainly could tempt any seasoned comic enthusiast into theft.

Noticing Eric's arrival, Nicole looked up, smiled, and removed the earbuds hidden in her hair, saying, "Eric, you're back."

Eric nodded, took off his coat, and walked over. Nicole shifted slightly to make room as they both squeezed onto a single-person sofa.

He put on one of the earbuds Nicole had just taken off and asked, "Where's Famke?"

With Thanksgiving just around the corner, that girl had been busy promoting Mission: Impossible 2. Eric was planning to spend Thanksgiving with Nicole and Famke. After Thanksgiving, once Mission: Impossible 2 was released, he would take the young girl to New York to enjoy Christmas with the women and kids.

Nicole recently had taken a liking to the new pocket-sized MP3 player developed by Firefly Electronics. She slipped the other earbud on and enjoyed the music, then said, "She went to the supermarket. By the way, before you came back, Ms. Haynes had someone deliver a few documents from New York."

Eric wrapped his arm around Nicole's slim waist, leaning back in the chair. "Let's leave them for now; I don't want to see any company documents today."

After hearing a string of bad news about Titanic that afternoon, Eric had no mood to deal with company affairs.

Nicole understood the immense pressure that Titanic had brought upon Firefly recently. She had noticed the fatigue on Eric's face and didn't bring it up again. She picked up the thin comic resting on her lap, leaned against Eric, and said, "Eric, I found something interesting: Peter Parker's parents were both CIA agents, and they even saved Wolverine!"

Eric knew Nicole was intentionally choosing a lighter topic and replied with a smile, "If you read all these thousands of Marvel comics around you, you'd find that almost every character in the Marvel universe can connect to one another. Creating plot crossovers for popular characters is a great gimmick used by comic companies to boost sales."

"That sounds a lot like MGM's spy movie universe," Nicole tilted her head and remarked. "Or maybe the inspiration for the spy movie universe came from the comic book companies?"

Eric nodded in acknowledgment. "That's right."

Nicole didn't expect her random guess would hit the mark and felt a bit excited. She waved the comic in her hand and asked, "So which superhero do you plan to shoot first?"

"Spider-Man has been confirmed, but in addition to that, I will collaborate with MGM and Fox to initiate several other projects. In the future, I plan to bring all the popular characters from the Marvel universe to the big screen."

As the most popular superhero in the Marvel universe, Spider-Man would certainly remain with Firefly. However, Eric hadn't figured out which superheroes MGM and Fox would each be responsible for yet. The allocation of Marvel superheroes in the original timeline couldn't simply be replicated, so a detailed plan would be necessary.

Compared to DC, which had already developed several successful live-action superhero films, Marvel had little to no popularity as a foundation in films. Thus, Eric had determined that bringing successful superhero characters from the original timeline to the big screen first -- like Spider-Man, Iron Man, and the X-Men -- would quickly open up the Marvel Cinematic Universe. After establishing sufficient market interest with these characters, new superheroes could be introduced, improving the likelihood of box office success.

Nicole didn't know Eric's detailed plans but couldn't help but exclaim. Although she'd only been casually reading comics recently, Nicole had developed some understanding of the Marvel characters. If Eric's plan could fully come to fruition, it would undoubtedly be grand in scale.

"Well, if all of them hit the big screen, it might be dozens of films," she said.

"Of course," Eric remarked, glancing at Nicole as her lips parted slightly in surprise. He reached out and gently touched her, laughing, "You've been reading comics for several days now. Are there any characters that interest you?"

Nicole pretended to bite his hand as he instinctively withdrew. "Not really," she said. "By the way, it seems Marvel doesn't have a female superhero as popular as Wonder Woman from DC."

"Popularity is built gradually. If a female superhero from Marvel had a successful TV series like Wonder Woman, she would definitely be quite popular now," Eric explained. He chose not to dwell on this topic further. Even if Nicole expressed interest in a female character, it wouldn't be so easy for her to join in. Nicole's current salary was already more than $15 million, the highest for actresses, which didn't align with Eric's plan for the Marvel franchise to primarily feature second- and third-tier Hollywood stars.

Suddenly reminded of something, Eric continued, "Speaking of which, I have a character I hope you could support."

Nicole displayed a puzzled expression, keenly catching a keyword in Eric's tone. With a teasing smile, she asked, "Support?"

"Yes, it's a trilogy series, which might evolve into a six-part series. There's a character with a key role, not much screen time, but crucial. Among all the actresses I know, I think you're the most suitable. However, I could probably only offer $3 million for it since it's an ensemble cast, and while your role is important, you're not the protagonist."

Nicole blinked her light blue eyes and smirked, "Three million for a trilogy? I think if I agree to this, Pat might go crazy. But since you say I'm the one you think is perfect for it, I'll accept. So, what role is it?"

Given Nicole's current value, her manager, Pat Kingsley, would indeed likely flip at the news. It wasn't just about the commission being significantly reduced, but the contract posed an unpredictable risk to Nicole's status as a top-tier actress.

Eric gently cupped Nicole's chin, admiring her flawless face. Nicole was 29 this year, at a woman's most vivacious time. Her long eyelashes, rounded face, petite nose, and luscious lips were all so perfect.

Unable to resist, Eric kissed Nicole's lips before saying, "Your character is an elf, Galadriel. Know her?"

"Oh, it's from The Lord of the Rings," Nicole promptly realized.

Eric nodded. The actress who originally portrayed Galadriel in the films was Cate Blanchett. While Cate was certainly a stronger actress in terms of craft, Nicole's beauty far surpassed hers.

To Eric, as the embodiment of nobility and elegance, how could elves not be beautiful?

"MGM will unveil their plans for The Lord of the Rings series next fall. The trilogy will be filmed back-to-back and will take over a year in New Zealand, but your scenes should only take two or three weeks, so it won't take too long."

From this summer's blockbuster season to next summer's premiere, MGM planned to release three heavyweight films as part of its spy movie universe. As long as these three films performed well at the box office, MGM would have enough confidence to announce The Lord of the Rings trilogy, an ambitious project involving $300 million. With the support of the spy movie universe's performance, other MGM shareholders wouldn't strongly oppose.

Nicole had heard some rumors about The Lord of the Rings trilogy, but she hadn't paid much attention. Instead, she focused on Eric, curiously asking, "If I play Galadriel, who would play Arwen?"

Eric didn't hide his answer, squeezing her chin. "Diane Kruger. What do you think?"

"You really have a thing for gorgeous women," Nicole teasingly retorted.

In the past couple of years, the Victoria's Secret Angels had frequently appeared in Hollywood films, sparking much conversation. Everyone knew who was pushing this, leading to countless versions of gossip and speculation about Eric and the Victoria's Secret Angels, with some exaggerated rumors claiming he had "captured" the whole group.

The woman next to him had teased him about it more than once, but Eric didn't mind. "I just want this film to be perfect. Since it's about elves, they should ideally be beautiful. Plus, the earliest legends about elves were originally from Germanic mythology, and Diane is German. It fits the character perfectly."

"I really don't want to hear your explanations," Nicole shot him a look and took the earbud back from his ear, just as Famke Janssen walked in, carrying two overflowing shopping bags while clacking in her high heels across the hall.

Seeing the cozy scene of Eric and Nicole on the sofa, Famke teased, "I run out to get food, and you two are cozy here."

"Ha, come on, let's get in on the fun!" Eric said, pulling Famke beside him as she set the bags down.

Famke sat down on the armrest of the sofa on Eric's other side and asked, "So what were you two just chatting about?"

Eric casually replied, "Speaking of you, what plans do you have after New Year?"

The seventh season of The X-Files was airing on Fox, marking the end of this classic sci-fi series. Despite Fox offering generous terms, both Brad Pitt and Famke Janssen, the two leads, were unwilling to renew contracts. Brad wanted to seize the chance to enter film, while Famke had grown weary of the grueling schedules that required her to spend months in Canada each year as they filmed to save budgets.

Sci-fi TV shows were usually completed in one go, so even though the show was still airing, Famke had completed all her work and was in a resting phase.

"Not really any plans at the moment. I'm thinking about taking a year off to do some charity work. I plan to visit refugees in Africa with a charity team after New Year."

Eric immediately displayed a worried expression, taking Famke's small hand. "Honey, please don't go adopting any African kids like some Hollywood actresses do. If you want one, we can have our own -- maybe next year?"

Famke's face flushed. Initially, she thought Eric was going to convince her not to go to Africa, feeling touched, but upon hearing his words, she smacked his hand away. "You heartless jerk! I'm going to ignore you for the rest of the day. Nicole, could you help me take these into the kitchen?"

"Of course, it's time to prepare dinner," Nicole shot Eric a gleeful look, got up, and grabbed one bag while Famke took another as they headed to the kitchen.

Eric watched the two women's tall figures whispering to each other as they walked away and chuckled to himself. He leaned over and flipped through the comics until he found an interesting one to read.

The cover prominently displayed a few striking words:

Phoenix Rising.

Jean Grey, the strongest and most complex female superhero in the X-Men universe, held depths far richer than DC's Wonder Woman.

https//Sayonara816.

[Chapter 818: Golden Globe Nominations]

Thanksgiving in 1996 fell on November 28, a bit later than in previous years, but the Thanksgiving box office season had already begun on November 15.

Rush Hour, which premiered in November, didn't stand out much among the month's releases. While the earlier release of Rumble in the Bronx had garnered a decent response in North America, movies starring Asian leads were considered niche in Hollywood. Although the critical reception following test screenings was positive, the industry had set box office expectations at only $60 million to $80 million. Part of this skepticism stemmed from the fact that one of the two lead actors was Black; Black actors had slightly more recognition in Hollywood than Asians but still faced challenges.

On November 15, Rush Hour opened in over 2,600 theaters across North America, competing against Warner Bros.' hybrid live-action and animated film Space Jam, starring the legendary Michael Jordan and Bugs Bunny. The story revolved around cosmic monsters attempting to kidnap all Warner Bros.' animated characters for a space amusement park. To avoid being captured, both sides ultimately decided to settle their fates with a basketball game. The space monsters learned various NBA stars' skills, forcing Bugs Bunny to seek help from NBA superstar Michael Jordan.

In 1988, the live-action and animated film Who Framed Roger Rabbit had a production budget of $45 million and took in $150 million at the North American box office. Warner's Space Jam was clearly trying to replicate that success, and the industry expected very high returns.

However, upon simultaneous release, the box office performance of Rush Hour and Space Jam turned out to be quite contrary to industry expectations, shocking many. Rush Hour achieved over $42 million in its opening week, surpassing its $33 million budget and easily taking the box office crown. Even based on the box office curve of Rumble in the Bronx earlier in the year, Rush Hour's total earnings could approach $100 million. Audience appreciation for this film, filled with witty humor in its dialogue and action scenes, notably exceeded that for Rumble in the Bronx. Following its release, the media quickly adjusted the North American box office expectations for Rush Hour to between $120 million and $140 million.

On the other hand, Space Jam only garnered $32 million in its first week, falling $10 million below Rush Hour and significantly below Warner Bros.' initial projection of $50 million for its opening. Yet, Space Jam's production cost was over twice that of Rush Hour, reaching $80 million. According to its current box office trajectory, while it might recover costs through international releases later, Warner Bros.' ambitious plans to turn this into a series were effectively shelved.

Then, on November 22, Mission: Impossible 2 officially premiered in 3,000 theaters across North America. This super-spy movie was arguably the most anticipated film of the year's end, with a production budget second only to Titanic. Paramount had recently moved Star Trek: First Contact from the Thanksgiving slot to Christmas, ostensibly to avoid competition with Mission: Impossible 2. However, one could sense the underlying intentions for countering Titanic.

Driven by the popularity of its predecessor and the might of the MGM spy movie universe, Mission: Impossible 2 lived up to expectations, raking in $82.7 million in its opening week, shattering previous Thanksgiving box office records. On the 1996 North American opening weekend box office chart, it ranked just behind The Mummy 2 during the summer blockbuster season. Both films were the only two new releases that year to garner over $80 million during their first week.

Since MGM announced its spy movie universe plan, the sequels of the series, including Charlie's Angels and Mission: Impossible, had all achieved remarkable success. Additionally, with strong faith in Eric's work on Casino Royale, after the release of Mission: Impossible 2, MGM's stock surged again, hitting over $18.50 per share, easily pushing the company's market valuation beyond $8 billion.

Despite the media industry's rapid growth over the past two years, MGM's valuation was still on the lower end among the Big Seven, just slightly better than Sony Pictures. However, compared to two years prior when it was only valued at around $1 billion, MGM's growth rate had been the highest among the Big Seven.

...

Eric spent Thanksgiving in Los Angeles with Nicole and Famke. As December approached, the two women flew back to Australia and the Netherlands, respectively, to spend Christmas with their families. Eric temporarily paused post-production on Casino Royale, taking Drew with him to New York to celebrate Christmas with Joanna and others.

At the estate in Southampton, fine snowflakes were falling outside while warmth filled the interior.

It was December 12, and the time was evening. After making a phone call, Eric returned from the living room to the cozy area. The television was on, but the family was gathered around the glass table in the center of the room, bustling with activity. The table was adorned with many beautifully printed holiday cards.

Joanna, kneeling on the thick carpet, turned her gaze from her daughter, who was busy writing and doodling on one of the cards, to Eric, her eyes questioning.

Eric glanced at the TV, noting that the Golden Globe nominations would be announced at 8 PM. He observed Joanna's expression and explained, "That was Chris on the phone. He wants to discuss something with me in Manhattan tomorrow."

Virginia then asked, "Will you be coming back tomorrow?"

"Of course," Eric nodded, settling down on the carpet, picking up his son and holding him close, writing on the holiday card with his little hand.

These exquisite cards were prepared for the senior executives and friends of the Firefly Group.

...

Following Firefly's merger with ABC, the company's presence had significantly expanded. Important divisions were now located along the East Coast, West Coast, and even in many inland states. Places like Florida's Disney World and Connecticut's ESPN were among them. Most gift distributions were done via mail.

In that process, a package meant for ESPN Chairman Steve Bernstein went missing in transit. The previous year, after Firefly had completed its merger with ABC, Steve had received a New Year's gift from Eric, but the following year he got none.

Steve, curious, found out that his assistant had received a gift from Eric. He became increasingly anxious, fearing that Eric was unhappy with his work at ESPN and that he might lose his job. Approaching the New Year without receiving a gift heightened his worries. Unable to control his anxiety, he flew to New York to inquire with Robert Iger about whether Eric intended to dismiss him.

Since Steve took charge of ESPN, the network's rapid growth had been undeniable. Yet, it was a time of personnel adjustments within Firefly's television business after merely over a year following the merger, and it was not uncommon for some executives to be replaced by personnel from Firefly's headquarters. Robert Iger, being inclined towards Steve Bernstein, made a holiday call to Eric to probe his feelings about Steve.

Eric found it bewildering that Robert would even mention Steve Bernstein, as he had no intention of firing the manager who had led ESPN's remarkable ascent. Robert, however, commented favorably about Steve's work.

Seeing that Eric didn't seem the least bit inclined to fire Steve, Robert cautiously ventured into the issue of New Year's gifts. After some back-and-forth, the situation was clarified: Eric hadn't anticipated that the missing gift would cause such distress among senior executives. Consequently, he began to take these matters more seriously.

...

Since last year, Eric had ensured that gifts sent to Firefly Group executives were managed by a more professional delivery service. His assistants tracked each gift's delivery, confirming it reached the intended executive.

In contrast, the delivery expenses far exceeded the gifts' value. This year's gift was a box of maple cookies handcrafted by women, alongside a holiday card. Executives receiving these personally delivered New Year's gifts from Eric were at least at the general manager level of various subsidiaries. Given their income levels, they wouldn't be concerned about the gifts' actual value; rather, they appreciated the broader significance of Eric's gesture.

To convey sincerity, the cards were handwritten by everyone. Kevin, Hawaii, and Emma, the three little ones, merely participated for the fun of it, and Eric wouldn't give out their crookedly written cards.

The two youngsters would soon turn four, and since celebrating their third birthday in early January, Virginia had stopped working and even hired several educational consultants to create an early education plan specifically for Kevin.

In comparison to the already exceptionally bright Hawaii, Kevin's cognitive development had always been Virginia's concern. Neither Eric nor Joanna doubted that Kevin was perfectly healthy and could speak and walk without any issues expected of a three to four-year-old boy. What more could they ask for?

Virginia's worries about Kevin's cognitive development stemmed only from the comparison with a sibling who was unusually advanced.

Upon arriving in New York, Joanna secretly informed Eric that Hawaii had already read through three volumes of the Encyclopedia Britannica this year, an achievement made possible primarily through Joanna's careful management of her daughter's reading time. Even more astonishingly, Hawaii could recite extensive sections verbatim. Eric felt he lacked such a memory skill; over the years, even his former life's incompleteness began fading away with time, causing him to feel that his daughter held a strange gift.

With these thoughts, Eric looked up to see Hawaii sitting beside Joanna, seemingly oblivious, her beautiful blue eyes wandering curiously across the room, studying her doppelganger twins across from her. Hawaii still maintained a slight fear of Drew but displayed great curiosity towards the identical Russian twins, as if she yearned to understand how two individuals could look exactly alike.

Drew, sitting between the twins, caught Hawaii's inquisitive gaze and made a silly face in her direction, grinning mischievously.

Eric clearly saw his little daughter shudder slightly before he shot a glare at Drew, who quickly stuck out her tongue at Eric in a playfully guilty manner.

Joanna noticed the interaction, hugging Hawaii reassuringly and glancing exasperatedly at Drew, saying, "Drew, you shouldn't always scare Hawaii."

"Okay, okay, but Hawaii is just too timid. Look at Kevin; he isn't scared at all," Drew replied, making a similar silly face toward Kevin, who was staring blankly at Virginia, seemingly asking his mom what Drew was doing.

It seemed Kevin's reaction time was slower than that of the others. Virginia realized that Drew was teasing her son for being silly. Unlike Joanna, she wasn't as lenient; she rolled up a magazine beside her and whacked Drew gently on the forehead.

Drew, realizing she was at fault, laughed and dodged a bit but quickly exclaimed, "Stop, stop, stop, it's starting! The Golden Globe nominations are about to be announced!"

Everyone knew Eric had been eagerly waiting for the Golden Globe nominations. Virginia put down the magazine while Joanna pulled a squirming Emma closer to her, and they all turned their attention to the television screen.

...

The Golden Globe committee had invited Tim Roth and Mira Sorvino, two Hollywood stars nominated the previous year, along with a prominent NBC host, to announce the nominations.

The first announcements were for television nominations, which, with the rise of reality shows in recent years, the Golden Globes had begun including awards in that category. However, despite being ranked second, the Golden Globes had significantly less influence in the television awards realm compared to the Emmys. The gap between the two was notably larger than that between the Golden Globes and the Oscars. The Emmys were typically announced in late August or early September, coinciding with the kickoff of the new fall TV season, allowing for substantial pre-publicity advantages for new series. Hence, major networks held the Emmys in high regard.

Several flagship series and reality shows from ABC and Lifetime did gain nominations, but everyone seemed distracted.

As the TV nominations began to roll in, the families focused their attention.

While the Golden Globe film categories weren't as broad as those for the Oscars, they still started with the minor awards first.

Tim Roth opened the list of nominees for Best Original Song. As he read through the five nominations, there was an unsettling absence of the title My Heart Will Go On from Titanic.

Even without Titanic's box office miracle, My Heart Will Go On undoubtedly had the power to snag an Oscar. Yet here, it didn't even score a Golden Globe nomination. While Eric wasn't overly concerned with the Globes, he sensed his company's executives' worst fears might become reality.

Eric said nothing, but Drew voiced her frustration, "Even the theme from Batman Forever got nominated for Best Original Song, yet My Heart Will Go On wasn't included? That's just absurd!"

Joanna chimed in gently, "Yeah, My Heart Will Go On is really beautiful."

Eric shrugged and continued watching the TV screen, curious to see just how far the Golden Globe committee would go.

https//Sayonara816.

[Chapter 819: How Could This Happen?]

After the nominees for Best Original Song were announced, it was time for the nominees for Best Original Score to be revealed. Eric realized that since Titanic had already missed out on the Best Original Song category, if the Golden Globe Award voters truly aimed to stifle this film's chances at the behest of certain people, it was likely that they would only symbolically grant it a nomination in the Best Original Score category.

However, as Mira Sorvino read out the names of the five nominated films, Eric still did not hear Titanic mentioned. He tapped his fingers lightly on the glass table and smirked, muttering in frustration, "There was no need to be this harsh."

Feeling suddenly disheartened, Eric handed Kevin, who was nestled in his arms, over to Virginia, reached for a blank greeting card, and began to fill it out. The voices from the television in the living room continued, but the women noticed Eric's agitation and remained quietly cautious not to disturb him.

On the screen, the NBC host and his guests continued to read the long list of nominees, using quips to keep the atmosphere lively. With two nominations that should have been easy eluding them, Eric figured that the Golden Globe voters probably did not intend to give Titanic any nominations at all this year. Letting go of any remaining hope, he patiently adorned the greeting card with cursive letters, trying to calm the brewing irritation he had been feeling lately.

After the Best Foreign Film nominations were announced, the host made some light banter about the nominated films. Mira Sorvino then pulled out another list and read into the microphone, "Next, the films nominated for Best Screenplay at the Golden Globes are: Tom Stoppard and Marc Norman for Shakespeare in Love; Terrence Malick for The Thin Red Line; Ethan Coen and Joel Coen for Fargo; Jan Sardi for Shine; and... James Cameron for Titanic."

Feeling Mira Sorvino's intentional pause, Eric looked up. Hearing Titanic's name, nearby Drew immediately exclaimed, "Eric, we got the nomination!"

Eric nodded slightly, his expression clouded with confusion. He wondered about the Golden Globe's motives. Was it possible that the two preceding nominations were merely coincidences, and that the voters had truly not been swayed, leaving Titanic with a shot at core nominations like Best Picture?

With a flicker of hope, Eric quietly listened to the rest of the nomination announcement, but his rising expectations soon fizzled out. He did not hear another mention of Titanic. The film's one and only nomination was for the Best Screenplay, leaving it embarrassingly empty-handed elsewhere.

Typically, awards like the Oscars and Golden Globes aimed to maintain a semblance of fairness during nomination phases. If this were any other year, Titanic's quality alone would have warranted it recognition. Even if outside pressures influenced the Golden Globes, they would need to weigh the risk of losing credibility.

However, as Eric watched the announcement, he began to grasp that this year's climate was much different than in years past. This year was expected to be a banner year for the Oscars, arguably even a blockbuster one.

Just from the Golden Globe nominee list, it was clear that films like Shakespeare in Love, The Thin Red Line, Fargo, and Shine had all averaged over five nominations -- performing extraordinarily well. Other films like Jerry Maguire and Evita also stood out significantly.

In this context, the Golden Globe voters felt emboldened. With so many excellent films leading the pack, even if Titanic secured a nomination, no one believed that a purely commercial blockbuster could emerge victorious amongst such competition. Since Titanic had little hope of winning any awards, they felt justified in withholding it from the nominations, avoiding any risk to their credibility.

Eric even realized the implications of that Best Screenplay nomination. If Titanic had received Best Original Song and Best Original Score nominations, its strength in score would have allowed it to compete more effectively. Instead, only granting it a comparatively weak Best Screenplay nomination seemed to be a clear attempt to ensure Titanic left with nothing -- a complete shutout, with no chance of a breakout.

"Eric..."

Noticing Eric's extended silence, Virginia gently called out to him.

"I'm fine," Eric replied, bringing himself back to the moment. He looked into Virginia's concerned gaze and smiled, hesitating before mumbling to himself, "I'm just pondering whether Hollywood has too many movie companies."

Virginia didn't catch the hint of resolve in his eyes and asked, "So how many do you think is appropriate?"

"The Big Four, maybe three," Eric shrugged slightly. "Fewer would mean they wouldn't always be looking to see others trip so they could have more for themselves."

Virginia sensed the intensity in Eric's tone and chuckled slightly, responding, "Well, how could that happen?"

Just as he was about to respond, the phone on the glass table buzzed. Eric glanced at the caller ID; it was Jeffrey Katzenberg from Los Angeles.

He picked up the phone, signaled to the women, and stood up, saying, "I'll take this call."

...

As Eric discussed the potential impacts of the Golden Globe nominations with Katzenberg on the other end, Michael Eisner, just finishing watching the live broadcast in his Beverly Hills mansion, felt quite pleased.

Hollywood was a commercial arena; business was war. While the competition between major studios didn't usually reach dire extremes, rivalries ran deep. When an adversary hung on the edge, it was customary to give them a little push. Nobody was ever too gentle.

Eisner had also been involved in manipulating Titanic's nominations for the Golden Globes. However, he would not repeat the mistakes of years past by trusting any loose alliances. Instead, he orchestrated things from behind the scenes. Whether others were in on it or not didn't matter much; what counted was that there were many forces pushing forward from behind the curtain.

Despite a surface-level thaw in relations between him and Eric, he had not forgotten the day he was ousted from Disney. In light of Firefly Group's growing influence in Hollywood over the past few years, Eisner felt that if he hadn't been forced out, the current standing and glory of Firefly may have been his own.

After all, in the past couple of years, Universal's film business had seen tremendous growth, almost rivaling that of Firefly. This past summer, Universal's total box office even surpassed that of Firefly, which Eisner believed solidified his capabilities.

Yet, he also recognized that Universal had reached a bottleneck in its development.

With the rapid expansion of the global film market, Hollywood had come to realize the immense advantages and profits of blockbuster special effects films on a global scale. However, apart from Firefly, which had the resources to produce over three blockbuster films a year, the other major studios struggled. Without Firefly's digital realm for effects support, creating similar films would be nearly impossible unless they drastically lowered their standards for quality.

Warner Brothers, Universal, and Paramount could stretch every resource to produce only one or two major blockbuster films each year, often driven by limitations not primarily connected to funds, but rather to CG effects technology.

Digital Domain, the effects company founded by Eric Williams, had added two subsidiaries in Florida and Australia, boasting a workforce of over 2,300. While finding quality talent was feasible with substantial investment, the crucial advantage Digital Domain had over Hollywood's other effects companies lay in its years of technological expertise in CG effects -- a few years ahead of the curve.

Even as Eisner resisted cooperating with Firefly, Universal still needed to allocate a significant number of high-difficulty special effects shots to Digital Domain for The Mummy 2's production. The reliance on Digital Domain by other major filmmakers also created opportunities for continued technological growth and expertise, allowing Eric's company to pull ahead of the competition.

At this point, the other major studios had started to grasp a harsh truth: if Firefly cut off Digital Domain's external collaborations, they would struggle to produce films with visual effects competitive enough to match Firefly in the coming years.

For the Firefly Group, which boasted over $20 billion in annual revenue, the failure of Titanic would ultimately not have a drastic economic effect. However, many matters couldn't merely be measured in monetary terms.

With Titanic's production and distribution investments totaling an unprecedented $265 million in Hollywood history, such a failure would have a catastrophic impact on the confidence of the Firefly Group's filmmaking divisions.

This is precisely the outcome Michael Eisner hoped for.

Although Eric maintained absolute control over Firefly, he could not completely disregard the voices of the management team and other shareholders. That kind of stubbornness would leave the company in turmoil. Should a mega-project like Titanic fail, shareholders and executives would inevitably reflect on the production and distribution strategies employed in recent years, leading to a period of conservatism that would characterize Firefly's filmmaking direction.

With Digital Domain's 2,300 employees capable of supporting the production of four to six special effects films simultaneously, a more conservative approach to filmmaking by Firefly due to Titanic's box office failure would mean that preventing employees from idleness would rely heavily on accepting external contracts. This would simultaneously eliminate the possibility of cutting off Digital Domain's collaborative projects, giving rival studios the necessary time to catch up in film production and effects technology. By the time Firefly recovered from Titanic's setback, the gap between them and the competition might not seem so vast.

After subtly nudging Firefly during the Golden Globes, Michael Eisner planned no further superfluous actions. The entire industry was already aligning against Titanic -- this sentiment permeated even within the Firefly Group itself, where expectations for the film were low. Titanic's defeat seemed all but inevitable, and Eisner began considering Universal's development plans for the following year.

Making The Mummy 3 posed a considerable challenge. The success of the first two films meant that salaries for everyone from producers to stars had significantly risen. Launching production without either swapping out cast members to lower budgets or increasing budgets to invite the original team would involve substantial risk. Therefore, Eisner decided to initiate the production of the Scorpion King film, something that had been an idea of his for some time.

Sorting through his various thoughts, Michael lost track of time until nearly ten o'clock, when his wife, Jane Breckenridge, urged him to rest. After his quadruple bypass heart surgery two years prior, although he had recovered well, late nights were particularly detrimental to someone with a weak heart, and she monitored this aspect closely.

Hearing Jane's insistence, Eisner rose from the couch and headed towards the bedroom, all the while planning tomorrow's dinner with George Lucas to discuss the collaboration between Universal Pictures and Industrial Light Magic.

Despite the strong backing from Microsoft, Eisner had little faith in the partnership between Spielberg and his colleagues at Amblin Entertainment, which kept Universal from being particularly proactive in competing for the film distribution rights. However, Eisner valued ILM's future prospects. Although they had fallen behind Digital Domain substantially, ILM represented one of the last potential rivals capable of catching up. Eisner understood that only with ILM thriving alongside Digital Domain could both avoid the risk of being pressured by Firefly.

https//Sayonara816.

[Chapter 820: Going with the Flow]

The day after the Golden Globe nominations were announced happened to be a Friday. With Sony's Jerry Maguire and Paramount's Star Trek: First Contact making their wide debuts, it heralded the arrival of the year's most competitive Christmas season.

MGM's December release, Mission: Impossible 2, had showcased a robust performance, opening with over $82 million in its first week. After three weeks, its cumulative box office reached $165 million, with an overseas total surpassing $100 million from the 19 countries where it had already been released. The buzz surrounding it was tremendous.

After taking a significant hit with Waterworld, Kevin Costner made his strong return to the ranks of Hollywood's top-tier stars through the success of Mission: Impossible 2. Given MGM had secured two sequels during Costner's down period after Waterworld, the launch of Mission: Impossible 3 would likely go without a hitch. But with Mission: Impossible 2 outperforming other spy movie series at the box office, it was evident that a potential Mission: Impossible 4, even deeper in plot and character crossover, would inevitably lead to a protracted salary negotiation between MGM and Costner. This predicament, albeit a fortunate one, would be welcomed by any Hollywood studio hoping for similar concerns.

...

New Line Cinema, under the Firefly Group, reported that Rush Hour had grossed $14.38 million in its fourth week since its Thanksgiving opening, with a cumulative total of $101.06 million, becoming New Line's second film of the year to cross the $100 million mark. Given the current box office trend, Rush Hour's total domestic box office would likely reach at least $140 million.

In contrast to Firefly's relatively lackluster box office performance this year, New Line, which specialized in lower-budget films under $30 million, appeared to be thriving.

This year, New Line produced and released a total of 16 films, and if we excluded the delay of Bad Boys 2 to the next summer, the average production cost for the remaining 15 released films only stood at $16 million. By that metric, New Line's total investment in film production this year only amounted to $240 million, a number quite similar to the production cost of Titanic.

In terms of return on investment, New Line's top four performing films this year -- Rush Hour, Se7en, Final Destination, and Rumble in the Bronx --were expected to collectively reach a domestic box office total of $350 million. Though there were some underperforming films among the other 11, with earnings only in the two to three million range, the cumulative total for ten of those films exceeded $120 million.

Typically, mid- to low-budget films displayed strong cultural characteristics that made it difficult for them to succeed overseas. However, with Se7en outperforming its domestic gross by more than two times with $220 million internationally, New Line's films collectively reached $560 million in foreign ticket sales this year.

Overall, New Line Cinema, with a production budget of $240 million in 1996, achieved a remarkable total box office of $1.03 billion worldwide, netting over $200 million in pure profits for the Firefly Group, without counting post-theatrical revenues from video and TV rights.

At the Golden Globe nominations announcement, Titanic only received one inconsequential nomination for Best Screenplay. Although there were numerous critical voices, the media sentiment shifted significantly, making voices pessimistic about Titanic's prospects resound even more.

The news regarding Rush Hour crossing the $100 million mark coincided with the day of the Golden Globe nominations. As the production and distribution company for Rush Hour, New Line's contrasting annual production budget compared to Titanic also grabbed media attention.

With a similar production budget of about $200 million, New Line's 15 mid-budget films had generated over $1 billion globally, while the all-or-nothing Titanic found its future uncertain, leading many to believe that this film might face significant losses.

This stark contrast undoubtedly threw cold water on Hollywood's recent trend toward big investments and large productions. Many reflections emerged in the media, including a lengthy report in the latest issue of The Hollywood Reporter.

...

"Since the early 1990s, Hollywood has seemingly grown increasingly obsessed with blockbusters. No one can deny the substantial profits generated by films like Jurassic Park, The Mummy, and Men in Black for their respective studios. However, we cannot ignore the disastrous consequences that failures of big-budget films like Cutthroat Island, Waterworld, and Cliffhanger have had on investors and studios. The catastrophic flop of Cutthroat Island led to Firefly, still quite small at the time, being swallowed up whole by Disney.

This year, Firefly Group, which had seen nothing but success with big productions, seemed to be headed for an unprecedented 'epic disaster' with Titanic's staggering $215 million investment, reminiscent of the events of 1912. Conversely, companies like New Line and Miramax focusing on mid- to low-budget productions quietly thrived and steadily expanded, gradually capturing more market share.

In particular, New Line, a subsidiary of Firefly Group, leveraged its budget nearly equal to that of Titanic to boost global box office earnings beyond $1 billion. By the first week of December, New Line's share of the $590 million in North American box office for 1996 reached 7.8%, nearly matching the shares of established studios like Sony and Paramount.

As a creative industry, Hollywood surely needed to pursue high-budget projects for innovation in filmmaking techniques and special effects, striving to offer superior content to viewers. Yet, we must also reflect; perhaps Hollywood needs to return to Barry Diller's 'tent pole theory', where a few blockbuster films serve as tent poles, supporting a larger number of mid-budget films acting as the canopy. This approach would represent the classic survival strategy for Hollywood film companies. Alternatively, if a studio attempts to survive solely on a few tent poles while disregarding the existence of canopies, it would be clear that when 'the storm arrives', the results could be dire."

...

Following the publication of this article in The Hollywood Reporter, many media outlets began to echo similar sentiments.

Eric, who found himself in New York, also quickly caught wind of this article. While he had been reflecting on Firefly's trajectory in recent years, he scoffed at the perspective expressed in the piece.

The prevalence of big-budget films was almost an inevitable trend in Hollywood's development, as these films possessed an innate and significant influence. Movies like Jurassic Park not only provided healthy profits from box office, video, and TV rights but also created entire lucrative auxiliary industries involving toys, computer games, and licensing. The potential commercial returns were incomparable to those of mid- to low-budget films.

Even when mid- to low-budget films achieved box office success, the avenues for extracting commercial benefits often ended with video and TV rights. However, films like Bad Boys and Rush Hour, which had sequels in their future, would see their production budgets inevitably double after the first film succeeded, thus entering the realm of big productions.

...

Regardless of external media commentary, the anxious mood at Firefly's management level, or the gloating of other Hollywood studios, the release date for Titanic drew closer each day.

In the final week before release, Titanic was hit with a media blitz of promotional teasers across Firefly's television network. Massive posters for Titanic began to rise at prominent landmarks in major cities across North America, with Cameron, Leo, and Rachel making appearances on mainstream talk shows. Though Eric did not take part in the final stages of Titanic's promotion, he spent nearly two or three hours daily in Southampton communicating with Firefly's management, distribution departments, and creative teams about all aspects.

...

On December 19, rough estimates for the first week of Christmas box office data rolled in. The two new releases, Star Trek: First Contact and Jerry Maguire, managed to pull in $43 million and $24 million, respectively, in their opening weeks. Their box office trajectories indicated that they would not significantly impact the upcoming release of Titanic. A comedy set to release alongside Titanic, Mars Attacks!, also posed little threat, given that while it starred seasoned Hollywood talent Jack Nicholson, it could not compete with Titanic's production budget, pre-release acclaim, or promotional scale.

While other Hollywood studios bore some malice towards Titanic's release, they ultimately respected its substantial status, leading them not to pit heavyweight productions against Titanic directly. The greatest rival for Titanic was itself -- whether it could replicate the strong market reception it enjoyed in its original timeline and create the box office phenomenon it aimed for.

Titanic launched across 2,770 theaters. Firefly had hoped to secure more than 3,000, but due to Titanic's runtime exceeding three hours, and the industry's prevailing skepticism regarding the film, many theaters that did not have close collaborations with Firefly refused to schedule screenings at all.

...

At 8 PM, after finishing a phone call with Katzenberg discussing the promotional strategy for Titanic's opening week, Eric hung up and leaned back, allowing himself not to dwell on the film any further.

He had done what he could, and now, it was time to let fate take its course.

Casually tossing his phone onto the coffee table in the living room, Eric reached for his daughter, who was wide-eyed and glued to the television beside Joanna. "Elia, too much TV isn't good for you. How about I read you a bedtime story instead?"

Hawaii squirmed slightly in Eric's arms, eyes still fixed on the TV screen. "But, Daddy, I'm not tired."

"Kevin's already asleep; you need to get some rest, too. Just listen to a bedtime story for a bit, and you'll feel sleepy," Eric replied. Emma, who had been sitting beside Drew, jumped up with her big eyes sparkling, wanting to join in on the bedtime story and stretching her arms for a hug from Eric.

Emma was about to turn five; however, she seemed to show signs of repeating her previous life's petite stature. Even though she was two years older than Hawaii, she was only a little taller than her.

Eric easily lifted Emma, one in each arm as he made his way to the kids' room, asking, "So, what do you want to listen to?"

As the television faded from view and seeing the inevitability of the situation, Hawaii reluctantly turned towards Eric and said, "Daddy, bedtime stories are so boring. Can we read the Encyclopedia instead?"

Eric chuckled, "Sweetheart, if we do that, I might just fall asleep before you."

Listening to the playful banter between father and daughter, Joanna and the others on the sofa couldn't help but laugh.

Eric had been under tremendous stress recently, which they weren't unaware of. Alongside Titanic's dim box office outlook, the substantial $1.5 billion investment by Clover Holdings, a subsidiary of Firefly, in popular tech stocks for the Nasdaq market caused quite the stir. Only a few days earlier in Manhattan, Eric had argued with board member and shareholder David West regarding this investment, while Buffett had expressed doubt and discontent over the phone.

At that moment, hearing Eric's lighthearted exchange with his daughter, Joanna and the others knew that while his mindset was undoubtedly affected by recent events, he was managing to keep his spirits up, providing them with some relief.

...

The next day started early. Checking the watch on the bedside table, Eric noticed it was just past seven, still dark outside.

No longer feeling sleepy, he carefully disentangled himself from the little girl nestled against him and quietly got dressed, leaving the bedroom.

Last week's snow still hadn't completely melted, and today's sky had turned to a dull gray once more.

The maids in the manor were already preparing breakfast, and today's newspaper lay on the coffee table in the living room. Eric settled on the sofa and began flipping through the pages one by one.

The media had already seemed weary of the Titanic narrative, having gone through too many cycles of discussion. Even after last night's grand premiere, the winter chill and Titanic's lengthy three-hour runtime inevitably resulted in many opting out of the midnight screening. There weren't many film reviews about Titanic in today's paper, and overall assessments remained similar to those during the pre-release stage. A detailed analysis of media sentiment would have to wait for Firefly's marketing department report; based on what Eric could gather from a few newspaper articles, he couldn't discern any clear trends.

As eight o'clock approached, Joanna and the twin girls Natasha began stirring. Just as Eric was placing his newspaper down and heading to the gym, his phone rang.

The call came directly from Katzenberg in Los Angeles, where it was still only 5 AM. For Katzenberg, this was no problem; among the executives at Firefly, two notorious workaholics were known -- Katzenberg being one, and the other was, of course, not Eric, but Robert Iger, who took it further by rising every morning at 4:30.

Their conversation lasted over ten minutes on the phone, after which Eric temporarily set aside his morning workout and headed to the study.

The study had a wall-sized whiteboard where a large heading read 'Titanic', underneath which was a pre-organized table.

Picking up a black marker nearby, Eric calmly jotted down Titanic's midnight screening box office number: $1.56 million.

Uneventful. A lukewarm response.

https//Sayonara816.

[Chapter 821: Opening Weekend Box Office]

As a very common entertainment activity in life, Americans had a mature mindset when it came to watching films. They usually chose which movies to watch based on personal preferences and the film's reputation. The success or failure of a film at the box office always depended on its quality, rather than the size of its production budget. This was evident from the failures of films years ago like Cleopatra and Heaven's Gate to more recent disasters like Cutthroat Island and Waterworld. Despite their astonishing budgets, they all encountered box office flops.

Before Titanic premiered, although it received some positive reviews, the media largely painted a bleak picture of the film's box office prospects. They subtly created a perception among the public that this film would be another overhyped disaster like Waterworld, which wasn't worth the ticket price.

With $1.56 million in midnight screenings, Titanic's opening was just a third of what Mission: Impossible 2 had pulled off the previous month, and even the week-ago release of Paramount's Star Trek: First Contact did better. Undoubtedly, the tepid pre-release buzz and long runtime deterred most curious viewers from braving the winter chill to spend three hours in a midnight screening.

However, the next day, while there were no dramatic turnarounds in the reviews of Titanic, more interested viewers gradually began to flock to the theaters.

...

New York, Manhattan.

At eight in the evening, Simon Peck stood in line at the ticket booth of the Paris Theatre near Central Park, overhearing the quiet discussions of moviegoers around him about the recently released films.

Simon Peck was not a film buff. He didn't even particularly enjoy watching movies, or rather, he didn't have the time for it. As a newly hired financial analyst at Lehman Brothers, having moved from a private investment company to this $68,000-a-year job, he put all his energy into his career in order to escape his lower-middle-class roots. Even now, he was burdened with over $30,000 in student loans from his time at Columbia Business School.

Despite the pressure, with a sense of relief since he'd landed at Lehman, he had recently started dating a great girl named Charlotte Davis, who loved movies. She was the reason he found himself in line today.

When it was his turn, Simon handed over his change and bought a ticket for Titanic, then turned to walk towards his girlfriend, who was waving at him.

"Hey, babe," he said, raising the ticket, "I just heard someone say this movie isn't great and that it's too long -- three hours!"

Charlotte Davis wasn't too fond of disaster films either, but seeing as this was an Eric Williams-backed project, she decided to stick with it.

That random encounter they had years ago had become a deep-seated secret between her and her best friend, Alice. Neither of the girls had shared it easily with anyone else. Yet, because of that moment, they were both subconsciously attuned to Eric's Hollywood moves and chose to support the films he valued. So far, they hadn't been disappointed, so experiencing a bit of disappointment now could be seen as just another experience.

Being Christmas break, Alice went back to Colorado to spend the holiday with her family, leaving Charlotte to catch the movie with her new boyfriend.

Listening to Simon, Charlotte rolled her eyes playfully with a smile and asked, "So, what movie do you think we should watch instead?"

Simon instinctively opened his mouth to suggest a title but found himself blanking on any specific film. Charlotte chuckled, recognizing her new boyfriend as a bit of a movie novice. Ignoring his awkwardness, she handed him a bucket of popcorn and said, "Alright, let's get inside; it's about to start!"

Though it was prime time and the first day of Titanic's release, the theater still felt somewhat empty. The screening room, which could hold a hundred people, had barely filled half of its seats. Charlotte and her movie novice boyfriend took their seats, surrounded by quiet conversations. They could even hear a pair of high school students in the front row -- one girl chastising her boyfriend for choosing this movie. The boy, clearly a die-hard fan of the Terminator series, defended his choice as simply supporting his idol.

Charlotte figured that most of the audience had come to support a great director like James Cameron, or perhaps because of the film's hefty $215 million budget, or simply due to the massive promotional push Firefly Films had given it. Realistically, she suspected that even one-third of the audience wasn't genuinely interested in the story.

...

Most theaters played about fifteen minutes of trailers before the main feature. However, considering Titanic's lengthy runtime, this time, there was only a five-minute preview, and soon the Firefly Films logo appeared on the screen, with an animated girl releasing fireflies.

The movie opened with treasure hunter Brock Lovett searching for artifacts from the Titanic. Most viewers immediately realized that the film was employing a flashback technique.

Most audiences generally have a strong fascination with treasure hunts, so this setup garnered little disdain. Most viewers were captivated, and very few felt the need to critique this part of the narrative.

The elderly Rose appeared aboard the treasure ship, reminiscing about the long-buried past. As the Titanic's massive frame loomed into view at the port of Southampton, everyone let out faint gasps of wonder.

Initially going with no expectations -- merely killing time with his girlfriend -- Simon couldn't help but sit up straight, exclaiming, "Is this for real? It's stunning! I can't imagine how they did this!"

Charlotte was pleased with Simon's reaction and explained, "They say James Cameron built a one-to-one scale model of the Titanic on set."

Watching the hustle and bustle of Southampton's port perfectly captured by James Cameron, Simon shook his head in disbelief. "No wonder it cost $215 million -- just the money spent building a real cruise ship would have been enough!"

In the following hour, the film portrayed Jack and Rose's initial meeting, their growing bond, and their love, capturing the Titanic's grand features from their perspectives. It showcased the extravagance, arrogance, ignorance, and hypocrisy of the first-class aristocrats alongside the simplicity, openness, humor, and optimism of the lower-class passengers. Although there were evident biases, the representation resonated well with the audience's disdain for the elite.

As a seasoned moviegoer, Charlotte felt that Jack and Rose's romantic scenes felt slightly awkward, and much of the dialogue in the first half seemed unnecessary. Yet, as Jack and Rose took to the ship's bow for that iconic 'flying' scene, followed shortly after by a shipmate on lookout crying out, "Iceberg, right ahead!" the audience's impatience melted away, awaiting the inevitable disaster.

Unbeknownst to everyone, through the film's meticulous portrayal of passengers from all classes aboard the Titanic, their emotions became unwittingly intertwined with that great ship. Deep down, they all understood the tragedy was unavoidable, yet some still felt an instinctive hope for miraculous outcomes.

But miracles did not come.

After hitting the iceberg, the Titanic began to take on water; the countdown to sinking commenced.

First-class passengers started to evacuate, while the third-class citizens were left behind. In that moment of disaster, humanity's goodness, tolerance, ugliness, and baseness were laid bare before everyone.

If the ship's sinking stirred emotions, the final twenty minutes of the film unleashed torrents of tears. Hearing Jack encourage Rose to hold on and fight for her life until he could no longer speak, the audience felt a heart-wrenching pain as he slipped silently into the depths. Even after Rose was rescued, that ache lingered.

...

Charlotte clearly heard the faint sounds of sobbing in the theater. She felt tears streaming down her cheeks, unable to dry them no matter how she tried. Instinctively, she leaned into her boyfriend.

Simon didn't say a word, his eyes red. He wrapped his arm around her silently.

Even as elderly Rose drifted into dreams of her past and the closing music began to play, the emotions in the room hadn't eased.

After three hours, if this were any other movie, the audience's first instinct as the credits rolled might have been to hurry for the exits. Yet this time, not a soul moved. Everyone sat quietly in their seats, allowing Celine Dion's heart-wrenching ballad to echo through the theater.

By the time they left, it was already eleven o'clock. The Paris Theatre lobby was still brightly lit. Charlotte leaned softly against Simon, and the two strolled outside, casually glancing around to see numerous couples with red-rimmed eyes, clutching one another just like them. For reasons she couldn't quite explain, this scene tugged at some of Charlotte's emotions, prompting her to smile briefly before anxiety crept back in.

Originally, she had no expectations for Titanic, merely intending to support a film Eric valued. However, now she realized the media critics had been utterly wrong. While there might be some flaws, there was no denying that it was a remarkable film. It certainly didn't deserve the neglect it was receiving -- it absolutely shouldn't.

...

Resolute, Charlotte had Simon drive her back to her midtown apartment. Though he seemed hopeful, she turned down his invitation to stay over, gently sending him home. Once alone, she dialed her best friend Alice, who was back in Colorado, while turning on her computer.

"Hey, Alice, did you see Titanic?" she immediately jumped in as the line connected, multitasking with her computer mouse. After Alice said a few things, Charlotte excitedly pressed on, "No, you absolutely have to see this movie! I can confidently say it's a masterpiece, comparable to Gone with the Wind. Remember what The New York Times said about it a while ago?"

After chatting for a bit, she hung up and turned her attention to the computer screen, where she opened the Yahoo forum dedicated to Titanic.

At that moment, the discussion board was ablaze with comments. Unlike the media, which hadn't even seen the film but universally bashed it, most commenters in the Yahoo Titanic discussion had actually watched it, and their reactions were genuine and visceral.

"Oh my God, I can't believe I cried at such a cliche movie. This can't be real!"

"Rose was absolutely stunning! Why haven't I heard of this actress named Rachel Weisz? Does anyone know what other films she's been in?"

"That ending song was incredible! And did everyone notice? That song was written by Eric Williams himself!"

"I just bought my ticket for tomorrow night! I have to see it again!"

"The scene of Jack and Rose standing at the bow was so dreamy! I want to collect a poster of that. I wonder if Firefly will release merchandise for it. Maybe I'll sneak in a camera next time and get a shot!"

"Get two shots and give me one!"

"Get three shots and give me one!"

"Get four shots and give me one!"

"..."

Charlotte scrolled through the page's posts, equally struck by the iconic flying scene of Jack and Rose. Noticing the thread on this very topic, she clicked on it. Smiling at the synchronized replies, she quickly typed out a playful comment: "Get one hundred and nine shots and give me one!"

After exiting the topic and browsing through the earlier posts on the main page, it was evident that most people were praising Titanic. A few posts criticizing the film were quickly met with backlash from the fans.

After gathering her thoughts, Charlotte opened a new thread to share her own viewing experience. Though she didn't have the knack for film criticism, she felt compelled to share how outstanding this movie was and how no one should miss it.

...

"Before watching this film, I had concerns about its three-hour runtime and wondered why Firefly let James Cameron produce a blockbuster like this.

However, I suddenly realized that every single minute of this movie was essential. Although the sinking portion only constituted a third of the film, Cameron had crafted a perfectly immersive atmosphere of 'you were there.' By spending more than an hour illustrating the various characters and the scenery aboard the Titanic, he brought us back to that epic vessel, and we unknowingly became immersed in it. Thus, when disaster came, we could acutely feel every character's joys and sorrows, which explains why so many were moved after viewing the film.

The disaster scenes in the latter half were profoundly impactful. Jack's simple yet sincere farewell was heart-wrenching, and Rose's gaze at the sky was utterly poignant.

Charming Leonardo DiCaprio and beautiful Rachel Weisz delivered outstanding performances. They are both immensely talented actors, especially Rachel, who exuded a natural nobility that made one wonder if she hailed from an aristocratic British family.

And that song, My Heart Will Go On! Celine Dion's angelic voice was enthralling, and it almost felt like Eric Williams supported James Cameron's lavish spending just for that song, creating a perfect, heartbreaking dream.

I can't praise this movie enough! I sincerely hope everyone can put aside the biases spread by the media and step into theaters. Trust me, you will not be disappointed."

After reviewing her post, Charlotte clicked to submit it. Quickly refreshing the page, she saw a flurry of responses below.

...

At that moment, all across America, fans who were enraptured by Titanic and couldn't wait to recommend it to others were far beyond just Charlotte. Many fans were spontaneously promoting Titanic and sharing it with those around them.

As Titanic began its wide release, numerous North American media outlets shifted their focus away from the film's high-cost budget and directed their attention to the quality of the movie itself.

Word of mouth spread among viewers, and Titanic's reputation started to rebound.

"First off, I must admit that I went into this film with strong prejudices. I've always thought Hollywood had gotten out of control with its big-budget productions. After watching Titanic, I still hold that opinion, yet I can't deny that James Cameron is a genius. Titanic meticulously recreated every detail of that ship to near-perfection and brought us a profoundly emotional and tragic love story."

"Tragedy is showing the beauty of perfection being shattered, and with three hours, James Cameron thoroughly achieved this. Yet, he also didn't take away all our hopes. Throughout the film, the elderly Rose's little life details -- the photographs, that bowl of goldfish -- exhibited her profound love for life."

"..."

...

On Long Island, at the Southampton Estate, Eric overlooked the shifting external opinions on Titanic while enjoying the upcoming Christmas with his women and children.

However, the whiteboard in his study bore daily increments.

19th: $1.56 million (midnight showings)

20th: $8.65 million

21st: $9.67 million

22nd: $9.30 million

By the end of its opening weekend, Titanic accumulated a total box office of $29.18 million.

https//Sayonara816.

[Chapter 822: Setting Sail]

"Titanic bombed at the box office, earning only $29.18 million in its opening weekend, making it unlikely to cross $100 million in North America."

"Eric Williams' cinematic magic fell flat, as the epic film stumbled right out of the gate."

"Firefly Films faced the largest box office failure in Hollywood history, with cumulative losses nearing $200 million."

"Despite some positive buzz, the box office continued to decline; Titanic's North American opening weekend was outperformed by Star Trek: First Contact, even though the production costs of the two films differed by a factor of five."

"James Cameron led the Titanic team at a London promotional event, appearing haggard and visibly distressed, hinting at a potential breakdown."

"Jeffrey Katzenberg, CEO of Firefly Group, released a statement assuring that the company would not fire producer Jon Landau, William Stewart, or other key creatives as a result of Titanic's performance, and they would continue to collaborate with director James Cameron."

"Eric Williams hadn't made any public appearances in days; the post-production for Casino Royale may have already stalled, risking a similar fate to Titanic."

"..."

"..."

...

On December 23, the day before Christmas, as the box office data for Titanic's opening weekend was released, North American entertainment media launched a new round of fervent criticism regarding the film's performance.

For other films, a $29.18 million opening weekend wouldn't have been deemed a failure, but Titanic was different. It had a colossal budget of $265 million, needing to earn $800 million globally just to break even.

Yet here we were, Titanic managed only $29.18 million in its opening weekend, falling short even compared to Star Trek: First Contact, which had been released the previous week. Paramount's Star Trek: First Contact, with a $45 million production budget, earned $30.71 million in its opening weekend and suffered only a 42% drop in its second weekend, garnering another $17.8 million, totaling $60 million after ten days.

Most media outlets predicted that although Titanic's critical reception improved compared to its pre-release buzz, the film's lengthy three-hour runtime would deter many viewers. It's expected that Titanic's box office could see a decline greater than that of Star Trek: First Contact, possibly exceeding 50%.

If this trend continued, Titanic's total North American gross might only reach $80 million to $90 million. Moreover, it was well-known that Titanic's overseas release faced significant hurdles, debuting in only nine foreign markets, less than half the number that had opened for Mission: Impossible 2 less than a month prior. The failure of Titanic in North America would likely negatively impact its overseas box office. With interest from distributors and theater chains in untapped markets dwindling, the global box office for Titanic could potentially stop short of $200 million.

With a global box office of $200 million, Firefly could recover only about $70 million. Future revenues from home video/DVD and television rights were also uncertain. Media predicted that Firefly would incur losses of $200 million on this film, a figure that seemed credible. Even within Firefly Group, many in management had resigned themselves to this "reality."

If this was any other major Hollywood studio, following the disappointing opening weekend of Titanic, executives responsible for the projected $200 million loss would likely be shown the door. In fact, the entire studio might face bankruptcy or restructuring. However, within Firefly Group, that simply couldn't happen, as Titanic was a project that Eric had pushed through himself, and eliminating the boss for such a debacle seemed too difficult a task.

While they didn't have to answer to Wall Street or the company's shareholders like other studios, in light of impending losses, company executives still needed to make some adjustments to avoid following in Titanic's footsteps.

...

Having just passed Christmas, yet while the holiday wasn't over, Katzenberg began to convene senior executives from the film department daily to discuss future production and distribution strategies.

As it stood, after the opening weekend's box office results, most people had already labeled Titanic as a doomed project. Coupled with the approaching Christmas holiday, few were paying special attention to the film's daily box office, even within the Firefly accounting department that was responsible for it. They found Eric's insistence on getting daily box office reports puzzling. Did the boss still hold out hope for a miracle?

Though perplexed, no one dared to ignore Eric's requests. Every morning, Eric found a report detailing the previous day's box office statistics in his email inbox.

Perhaps considering Eric's state of mind, the women around him refrained from discussing any aspects of film during this time. Despite the holiday greetings exchanged, executives at Firefly Group didn't dare mention Titanic during Christmas, making the holiday a rather festive and warm affair.

...

Before long, December 27 had arrived, marking the third day after Christmas.

Eric woke up early as usual, and after washing up, he headed to his study.

It was Friday, the opening day of Titanic's second weekend.

Opening his computer on the desk, as it booted up, Eric glanced at the whiteboard on the wall. There were already seven sets of data written out, including midnight showings.

The previous weekend's gross was a given, and now it was time to assess the past week.

December 23: $5.57 million.

Since it was a Monday, this was a 40% drop compared to the $9.3 million of the previous day, aligning with the common box office trends for films.

December 24: $3.5 million.

On Christmas Eve, very few people went to the movies; seeing the single day box office fall again was no surprise.

Then came December 25, Christmas Day, where the daily box office was $7.03 million.

There was little relevance to the Christmas Eve numbers. But compared to the $5.57 million from December 23, the significant uptick on December 25 offered hope. Seeing that number made Eric feel a sudden relief from the tension he had been feeling. However, he didn't feel an overabundance of excitement, as Christmas Day typically sees people out for festivities, and the day's box office increase could be attributed more to the holiday atmosphere than the film itself.

December 26, the last day of Titanic's first week of box office reporting, became all the more significant. This figure would prove whether Titanic's favorable reception over the week could lead to a resurgence in its performance.

If that day's box office fell back down to around Monday's $5.57 million, all expectations would be dashed. Yet if the figures went up, or even matched the Christmas Day totals, it could signify that this film, which was destined to embody the miracle of box office success, was indeed setting sail once again.

Eric stood lost in thought before the whiteboard for a moment, as his computer finally turned on. Entering his password to access his Yahoo email, he recognized that while he felt more calm about the situation lately, he still found it impossible to detach himself completely. His fingers trembled slightly with the anticipation of this "crucial moment."

The page opened, revealing an unread email from the Firefly distribution department prominently waiting in his inbox.

Eric moved his mouse, clicked, and began to read the contents of the email.

First, he skimmed over the total box office reported for the week, quickly bypassing the $54.33 million total and shifting his focus downward.

Staring quietly at the screen, Eric took a deep breath, stood up, walked over to the whiteboard, and swiftly wrote down Titanic's final figure for the week:

$9.05 million.

This figure for Thursday represented a 4% increase compared to Titanic's opening day, an 11% rise against Christmas Day, and a staggering 38% boost compared to the comparable Monday figures!

He couldn't help but glance over the seven-day box office numbers again:

$8.65 million, $9.67 million, $9.3 million, $5.57 million, $3.5 million, $7.03 million, $9.05 million.

That $3.5 million box office day may have seemed like a freezing point, but to Eric, it felt more like a spring that had been compressed to its limit, ready to unleash its energy and propel a film that was destined to be a miracle into the sky.

Titanic was officially setting sail!

Tossing the pen into the holder, Eric walked out of the study, thinking there was probably no need to continue tracking daily box office figures.

That would be exhausting.

...

A new day dawned, and while it was Friday in Hollywood, it also marked the start of a new week.

As many woke from their slumber, casually glancing at the day's newspapers, some might notice Titanic's opening weekend figures. Yet for this film, which had already been labeled a failure by most media, aside from the growing number of touched fans, most people shrugged off the $54.33 million as insignificant. After all, last month's Mission: Impossible 2 had an opening gross exceeding $80 million!

In Los Angeles, though it was three hours behind New York, Katzenberg saw Titanic's opening weekend box office numbers almost simultaneously with Eric. He certainly noticed the unexpectedly high figure of $9.05 million for the last day of the first week, initially wondering if there was a mistake in the distribution department's calculations. After all, how often does a film record a box office higher on a weekday than its opening day? Though it was during the Christmas holiday, most people's viewing habits typically still lingered around the weekend.

Katzenberg phoned the duty officer responsible for box office tracking and confirmed through the unwavering tone on the line that the numbers hadn't been miscounted.

However, instead of feeling more optimistic, Katzenberg saw the number as just a reflection of the Christmas holiday effect; after all, December 26 was still just the second day of the holiday.

Later, other Hollywood executives who were closely monitoring Titanic also picked up on the anomalous box office figure from December 26. Most mirrored Katzenberg's lack of deep analysis, including some astute media outlets.

While they regarded it as merely a fluke, Katzenberg still promptly called Eric in New York to report the somewhat good news. The box office predictions had expected a North American total of $80 to $90 million, but with a surprising opening week total of $54.33 million, the previous projections would surely see a revision upwards, indicating that crossing the $100 million mark in North America was nearly a certainty. Katzenberg felt that every little bit of loss reduction would be a good outcome.

Eric, on the other hand, chose not to disclose his own judgments to Katzenberg, thinking it would serve as a pleasant surprise for everyone. If fate wasn't playing tricks on him, that surprise might just come tomorrow.

...

After speaking with Eric, Katzenberg said goodbye to his wife and twin sons, then drove to Burbank's Firefly headquarters. He had set a meeting that morning with New Line Cinema President Kenneth Horne to discuss the upcoming year's production and distribution plans.

New Line had nearly matched the box office results of the major studios Firefly and Disney this year, and considering Titanic's box office missteps, it was clear the group would need to ramp up support for New Line. In discussions over the past few days, Katzenberg and Frank Wells had devised a plan to raise New Line's average annual film production budget to $500 million over the next three years, a proposal which Eric had tentatively agreed to over the phone. Today, they would delve further into the specifics.

As for the main studios, Katzenberg and Frank Wells aimed to trim budgets for big productions, essentially narrowing Firefly's productions and renewing focus on Disney-friendly family films. After all, Disney's entire ecosystem, from retail stores to theme parks, required a steady stream of family-friendly movies to supply sufficient merchandise and licensing, extending beyond just animated features to include live-action ones as well.

...

In contrast, Eric wasn't as busy as Katzenberg. After enjoying breakfast, he leisurely set out with a book in hand, heading towards a cafe on the edge of his neighborhood.

The cafe was mostly empty at that hour, and after greeting the indifferent old man behind the counter flipping through newspapers, Eric settled into his usual spot.

A waitress brought him coffee and quietly exited.

Eric sipped the warm beverage while leisurely cracking open his copy of The Alchemy of Finance.

The typically taciturn old man behind the counter surprisingly initiated conversation, "Eric, it seems Titanic's opening weekend box office isn't that bad, huh?"

The man, named Matthew Braga, was in his sixties and owned the cafe. However, Eric knew he also owned a substantial estate not far from his own. This older gentleman hailed from Brazil and was a well-known local businessman, overseeing a significant natural rubber enterprise for his family in northeastern Brazil. Having turned over the business to his children, he was now enjoying retirement in the U.S. and running the cafe more for leisure.

Though they weren't really acquainted, Eric didn't feel comfortable divulging much. Instead, he smiled and replied, "If it were another film, sure, that'd be quite good, but this is Titanic. I might be facing a big loss here; otherwise, I wouldn't be hiding away here, avoiding people."

Matthew chuckled, his eyes reflecting a sharp intelligence, "I've never seen you miss your mark before."

"Let's hope that's the case."

After that exchange, silence settled in again. Eric returned to his dry financial book, while Matthew continued skimming his newspaper.

About an hour later, a blonde girl clad in a white puffer jacket hurried through the door. Spotting Eric at his table, she rushed over, apologizing, "I'm so sorry, Mr. Williams. My car broke down, and I had to ask a classmate to bring me here."

"It's alright, Sabrina. Please, have a seat. I happen to have a few questions that need your clarification."

"Of course," Sabrina Rand took a seat across from Eric, pulling out her own copy of Alchemy of Finance along with a notebook, patiently explaining several seemingly simple financial concepts to him.

Of course, these questions were just simple for her, a finance graduate student from Columbia.

Due to his recent mood swings, Eric had lost interest in sorting through the Marvel comic universe narrative and opted instead for a dry financial book to pass the time; the cold financial theories offered a sense of calming distraction.

However, comprehending a professional finance book required a profound familiarity with numerous technical terms.

Eric only had a basic understanding of finance, so to make sense of the book, he had specifically hired a bright finance graduate from Columbia, who was none other than the tall, attractive blonde sitting across from him. He didn't lack for beautiful women around him but had no ulterior motives regarding the girl in front of him; he had merely chosen her out of the pool of candidates from Columbia to serve as a pleasant company while he read.

As for the Alchemy of Finance, it was authored by none other than the world-renowned financier, George Soros.

https//Sayonara816.

[Chapter 823: Daydreaming]

Sipping her coffee, Sabrina Rand carefully observed the young man across from her once again. Eric's gaze remained intensely fixed on the book in front of him. Even after half a month, her curiosity still lingered.

About two weeks ago, while searching for a summer job, Sabrina received a call from her well-respected mentor at the academy. He mentioned that a bigshot was looking for a temporary tutor to explain some basics of finance. The job required only three hours each morning, and the pay was a tempting $200.

In the United States, tuition fees for elite universities were notoriously high, contributing to nearly half of college students dropping out along the way. Aside from a few affluent students, most American graduates carried some level of student debt. To ease financial burdens, many students took up part-time jobs during their studies.

Sabrina was no exception. Until then, most of her part-time gigs paid around $10 an hour. So when she heard about this position, earning $200 for just three hours of work, she eagerly prepared her resume to submit to her mentor. However, she didn't have high hopes. Although her grades were respectable, the competition for the job was fierce, with many exceptional candidates vying for it.

Two days later, she received the notification that she got the job.

She soon met with a vice president from Firefly Group, a man named Allen Fisman. Initially, she thought he was the student she was meant to tutor, but he was just conducting her interview. After a casual thirty-minute chat, she was asked to sign a lengthy confidentiality agreement.

Sabrina had a sense that it was quite significant for a high-ranking executive from Firefly Group to get involved in such a trivial temporary job, but upon meeting Eric, her jaw nearly dropped in surprise.

The job was located in Southampton, over a hundred kilometers away from Columbia University in Manhattan. To take on this temporary position, Sabrina arranged to stay at a classmate's home in nearby Bridgeport. Each morning, she drove half an hour to meet at a cafe in Southampton.

In those initial days, Sabrina spent most of the time explaining fundamental concepts to Eric, particularly terms from George Soros's book, The Alchemy of Finance, such as reflexivity and bias among participants -- topics that were all very basic for finance students.

Though she never expressed it, occasionally Sabrina felt a faint sense of superiority. But as days passed, Eric's questions became fewer and more complex, leaving her somewhat speechless at times.

Recently, however, she began feeling more like a decorative vase. Besides the initial questions, Eric mostly read quietly, occasionally drifting off in thought.

At this point, she couldn't help but think that she might soon lose this well-paying job. Reflecting on her earlier feeling of superiority made her feel foolish. Here was a young man only two years older than her, possessing the immense wealth of $46.5 billion -- though she recalled that was from the previous year; last year it had shot up to $67.7 billion. It was overwhelming.

After half a month together, Sabrina whimsically entertained thoughts of Cinderella-like fantasies and had started paying extra attention to her appearance. She even splurged on a brand-new set of cosmetics. Yet to date, Eric had only discussed The Alchemy of Finance with her. She hadn't even visited his residence, although she assumed he lived nearby. Their meetings were confined to the cafe, and if he chose not to come, she would be informed to leave.

...

Noticing Eric's eyes wandering away from the book again, she mustered her courage and said, "E...Eric, I went to see Titanic last night with some friends."

As soon as she spoke, Sabrina noticed Eric's expression shift; he lifted his head as if realizing someone was sitting across from him. A faint smile curved on his lips, almost mischievous, as if he could see right through her.

Feeling her cheeks heat up, Sabrina regretted speaking up, but since she had, she continued with her carefully considered thought: "My friends and I believe the film is seriously underrated; it should be doing better at the box office."

Eric nodded slightly, saying, "Thank you for your praise, Sabrina. I'm glad you enjoyed the movie."

After that, Eric picked up the book again, his attention returning to the pages.

Sabrina's attempt at conversation had fizzled out, and she felt relieved yet lacked the courage to initiate further dialogue.

...

As noon approached, Sabrina packed her belongings. Eric also stood up, and together they left the cafe. She wanted to excuse herself to the nearby street to possibly grab a cab or hitch a ride home when Eric stopped her.

"Hang on, let me have someone drive you back," Eric said.

Sabrina paused, instinctively nodding. A warm feeling bloomed in her chest; earlier that morning she had casually mentioned her car had broken down, and here he was, paying attention. Until this moment, she had thought him to be reserved, and now she felt somewhat guilty for misjudging him.

Eric took out his phone and made a call while they waited by the curb outside the cafe.

After a moment of quiet reflection, Sabrina found her resolve and said, "Eric, you probably won't need me anymore. Maybe I won't need to come in tomorrow?"

Eric looked at her and asked, "Your break should still be long, right? Do you have other plans?"

Sabrina thought for a moment before shaking her head honestly.

"Then how about you keep me company while I read?" Eric smiled. "I really enjoy having someone around while I read, and I find your scent quite pleasant."

This made Sabrina blush slightly. "Eric, you must have plenty of girls willing to keep you company while you read."

"Yes," Eric nodded. "But they wouldn't explain reflexivity theory to me."

"Then," Sabrina carefully asked again, "Eric, may I ask why you're interested in Mr. Soros's book?"

Eric provided a vague answer: "Some things are about to happen, so I'm preparing myself."

Seeing he didn't seem willing to elaborate further, Sabrina wisely chose not to push. It wasn't until many months later, when the global economic crisis swept through Southeast Asia, that she grasped the implications of his words at that time.

When the car arrived, Eric instructed the driver to take Sabrina back to Bridgeport before heading back to the estate.

...

Unexpectedly, Chris and Emily had arrived without any notice. They had gone back to Maryland to spend Christmas with Jeffrey and returned sooner than expected.

Eric hugged them both and shared casual pleasantries. Chris noticed the book in Eric's hands and joked, "So you've hired a little girl just to keep you company while reading that book?"

Eric nodded, playing along, "Is this gossip already making its way to Maryland?"

"It's something Emily heard when she was on the phone with Joan," Chris explained.

But Emily chimed in teasingly, "Who knows what he's really up to?"

Ignoring Emily's taunts, Eric inquired, "What brings you back so soon? Don't you want to stay longer?"

"Well, it's you who offloaded so much work onto Chris while taking it easy yourself," she retorted.

Eric looked Chris up and down, sensing something off, and responded, "If you just went ahead and married Chris now, I'd cut his workload in half immediately."

Emily immediately reacted, pulling Virginia along toward the villa, arguing, "We're off to prepare lunch; you two can chat."

Everyone shared a light chuckle.

After the women left, Chris returned to the topic of The Alchemy of Finance, saying, "Have you noticed Soros's recent movements?"

"The things he said about the Southeast Asian economy weren't exactly secret; how could I miss them?"

While the Southeast Asian financial crisis was commonly thought to have erupted in 1997, Soros had already been vocal about his bearish views on their economies since earlier that year. Just like a few years prior, when people confidently believed the British pound, seemingly stable for centuries, would never depreciate, the Southeast Asian nations, emerging from over a decade of apparent prosperity, also believed their financial systems couldn't be undermined by mere international speculators. They hadn't implemented effective measures to protect themselves.

At that moment, some of the eager international currency traders might have already begun establishing short positions against the currencies of these countries. Eric recalled that in February of the following year, the international forex traders represented by Soros would start their tentative attacks on the Thai baht.

Chris couldn't help but think back to the incident in the '90s, asking, "What's your take this time?"

Eric shrugged, "Southeast Asian countries are definitely facing tough times. They won't hold up."

Chris's expression shifted as he questioned, "And what about us?"

"I've been contemplating that myself," Eric replied. "We certainly won't be able to replicate the miraculous profits we got from the futures market during the Kuwait War. That was a sudden, unprecedented black swan event. Almost no one expected Saddam would invade Kuwait, but he did. This time is different; once Soros leads an attack on the Southeast Asian currency market, it will likely turn into a prolonged tug-of-war lasting at least six months, if not a year. The scale of international speculative funds to be involved will far exceed a trillion dollars. We won't have any advantages in deciding when to enter the market, and the risks we face won't be lower than those of others."

"So what do you plan to do?" Chris continued to press.

"Just mess around a bit, maybe throw a few billion in and play at small stakes, while we can't go too big, we can't just sit idle, either; that's not my style," Eric said, discussing the potential Southeast Asian economic crisis that had been on his mind.

He had considered making a massive play like five years before, but soon realized it simply wasn't feasible.

It was straightforward; with Firefly Group's current foundation, Eric could easily raise $2 billion in a short time. If necessary, Firefly Group could also secure over a billion dollars in short-term loans from major American banks.

Ideally, with $2 billion, establishing a short position in the Southeast Asian currencies at a five-times leverage would create an overall short scale of $10 billion.

Plenty of Southeast Asian currencies had depreciated by around 50% post-crisis according to his memory, which meant that Eric could potentially generate around $5 billion in profits from that $10 billion short position.

$5 billion was a substantial profit, especially since the top American corporate giants earned roughly that number in a year.

However, the reality was that, based on his memories, the "Asian tigers" faced the worst during the financial crisis, and the total foreign exchange reserves of those few countries added up to just a little over $100 billion. Currency speculation is quite different from international futures; the buyers of the currencies under attack are mainly the central banks of those nations, relying on their foreign exchange reserves for capital.

Putting aside the eventual impacts on national stock markets, bonds, and the real economy, when considering currency speculation itself, with only a bit more than $100 billion of "plump meat" available amidst all the wolves, Eric knew it was impossible to establish a $10 billion short position.

How could one expect to swallow a tenth of it with $2 billion in capital when there were international speculators with over $100 billion not sitting idly by?

In his alternate timeline, during the Southeast Asian financial crisis, Soros had bet his entire fortune and only made something like $2 billion.

Thus, while some small-time investors might take bold risks in the forthcoming financial crisis and possibly earn several times their investment, when the scale of speculative funds reached a certain level, the profit margins would drastically decrease, and achieving a profit of around 20 to 30% would already be considered good.

https//Sayonara816.

[Chapter 824: What Happened]

On December 28, Saturday, the Christmas holiday had already passed for two days, and New Year's was fast approaching. Jeffrey Katzenberg had originally planned to take his entire family to Europe for a vacation during the holidays. Despite being a workaholic, he still needed a break. However, due to the situation with Titanic, Katzenberg had to cancel all travel plans and didn't even return to New York to spend Christmas with his parents.

Titanic had grossed $54.25 million in its opening week, far exceeding the initial projections from both Firefly Group insiders and ticketing agencies, which estimated around $40 million. This unexpected number was somewhat of a relief. However, given the film's massive production and marketing costs, this opening week performance still fell short of success.

At this point, the situation seemed irreversible. As the CEO of Firefly Group, Katzenberg's main task was to ensure such a box office disaster would not happen again.

Habitually waking up at five, Katzenberg didn't rush into his daily work routine as he normally would, since it was a holiday weekend. After a light morning workout, he prepared breakfast for his wife and children, fulfilling his occasional duties as a husband and father.

...

Meanwhile, at Firefly Group's Burbank headquarters, George Leck and Phil Lopolus, two staff members responsible for box office statistics, were perplexedly rechecking the data faxed over from various theater chains.

In recent years, with the rapid development of the internet, ticketing systems across major North American chains had become interconnected, which greatly increased the efficiency of box office reporting. However, there was still no standardized data shared among different chains, requiring film companies and specialized box office statistics agencies to consolidate separate data from each theater chain.

After re-verifying the December 27 box office figures, George and Phil even made several follow-up calls to confirm some confusing numbers directly with the theater companies. Once they confirmed the accuracy of the data in their hands, they exchanged bewildered glances. Having worked in the film industry for five to six years, they were both 100% certain this was the strangest subsequent week box office figure they had ever seen.

While nearly certain the numbers were correct, George still said to Phil, "Phil, should we double-check once more? If we get this wrong and the BOSS gets our hopes up for nothing, we might be out of a job!"

Phil's earlier fatigue, stemming from the all-nighter job, vanished as he waved the paper in his hand, replying, "Do you really think it's necessary?"

"Maybe we should call Mr. Thompson first?" George suggested again. "Let's send these figures to the BOSS. I can't shake this uneasy feeling."

The Robert Thompson George mentioned was their immediate boss, the president of Firefly's distribution department.

Phil glanced once more at the daily box office figures for Titanic. An astonishing $12.12 million!

In its opening week, Titanic had not recorded a single day with earnings over $10 million, which was one reason many believed the film failed at the box office. Based on typical box office patterns, Titanic's earnings for the following weekend should have been around $6 million. Instead, the data showed it was projected to be double that. This indicated that, rather than declining, Titanic's box office had experienced an irrational surge in its second week.

Phil had seen instances of increasing box office performance before. Many critically acclaimed films often faced a rise in earnings during their second week, but those increases tended to be minor -- rarely exceeding 10%. However, compared to the $8.65 million from last Friday, Titanic's subsequent Friday earnings were up a staggering 40%.

"Alright, let's go ahead and make that call," Phil finally agreed, feeling similarly apprehensive.

...

By 7 a.m., key executives of Firefly Group -- including Katzenberg, Frank Wells, Carolyn Elliott, and Kenneth Horne -- hurried to the Burbank headquarters. Michael Lynn, who had left the company but still held a board seat, even rushed over from his Malibu mansion after hearing the buzz.

Robert Thompson entered the conference room, causing the chatter to cease as everyone turned to look at him.

"Mr. Katzenberg, everyone, I've personally verified the figures. While there may be some margin of error, Titanic's daily box office yesterday was definitely around $12 million," Thompson said, pausing before adding, "That means compared to last Friday, Titanic's box office not only didn't decline but actually increased by $3.5 million -- a 40% rise."

Thompson indicated for his secretary to distribute the photocopied box office reports to all the executives present.

Eagerly receiving the detailed report, Katzenberg quickly examined it. Preliminary statistics showed that on December 27, the total domestic daily box office amounted to $29.5 million, with Titanic leading the pack at $12.12 million. Warner Bros.' newly released political satire, My Fellow Americans, ranked second with a first-day revenue of $5.7 million, followed by films like Mars Attacks!, Jerry Maguire, and Star Trek: First Contact.

Since detailed daily box office rankings had already been compiled, Katzenberg felt confident the data could not be wrong.

Staring at the $12.12 million figure, he felt no excitement, merely confusion. Looking around, he noticed similar expressions among the executives; they all seemed to have the same question: What happened?

After a moment, Katzenberg asked Thompson, "Did you send these box office figures to Eric?"

"Yes, Jeffrey. We send the previous day's box office data to Mr. Williams before 6 a.m. every morning," Thompson confirmed.

"Then he..." Katzenberg began but shook his head. If Eric had any feedback, he surely would have called either him or Frank. Not rushing to understand Eric's reaction, Katzenberg turned to the group. "So, what do you all think about this situation?"

Everyone exchanged glances, unsure of what to say.

As the silence lingered, Robert Thompson, sitting at the end of the table, tentatively said, "I believe Titanic's box office trend showed signs of change a few days ago."

Encouraged, Frank Wells turned to him and asked, "Robert, could you elaborate?"

"Of course," Thompson replied. After a moment's thought, he pointed to the whiteboard behind Katzenberg. With permission, he moved to it and began listing Titanic's daily box office figures from the previous week.

"Look," Thompson said after displaying the first week's seven days of data. "The opening weekend for Titanic was indeed mediocre, and there was a normal decline on the first Monday, but since Christmas, we saw $7.03 million on Wednesday, $9.05 million on Thursday, and $12.12 million yesterday. These figures indicate that after the initial mediocre numbers, Titanic's box office began to experience a significant upward trend due to... some factors."

Katzenberg, Frank Wells, and Michael Lynn, all veterans of the film industry, were starting to grasp what those "some factors" might entail.

However, Carolyn Elliott, the new CFO at Firefly, was somewhat lost and curiously asked, "Robert, what exactly do you mean by 'some factors'?"

Thompson hesitated before responding, "I think it's likely related to the film's word-of-mouth. Not the polarized reviews we see in the media, but what audiences are saying to each other. However, Titanic's box office trend differs significantly from other films that rely on word-of-mouth. Those might see an uptick, but nothing as drastic as Titanic's. So, I can't guarantee there aren't other factors at play."

After a lively discussion that yielded no conclusive results, Katzenberg cut everyone off with a wave of his hand, saying to Thompson, "Robert, you take charge of this matter. You have three days to figure out exactly what happened. Also, get me Eric on the line. Immediately."

...

The news of Titanic's shocking box office surge would not remain a secret for long; within the morning, many had already received the relevant information, including Eric, who was among the first to know.

However, due to his previous experiences, Eric had always remained unperturbed about Titanic's box office prospects unlike Katzenberg and Cameron, who felt the pressure. As such, he found it hard to appreciate the excitement from the upper management as Titanic's subsequent weekend box office began to soar.

Receiving Katzenberg's call, Eric sat in a Southampton cafe, accompanied by Sabrina, quietly reading George Soros's The Alchemy of Finance.

After all, this was merely the first day of the following week; the complete box office figures were not yet solidified, and Eric didn't rush Katzenberg to implement any of his recent ideas still forming in his mind.

After a brief, casual chat lasting around ten minutes, they ended the call. Eric then dialed up Cameron, who was in Australia promoting Titanic. Despite it being early morning there, Cameron was awake. Eric shared the news about the film's shocking box office reversal with Cameron, hoping it would bring some relief to his anxious colleague in Sydney.

...

If the Friday box office figures proved puzzling to Firefly Group executives, the next three days as the weekend figures were released left the entire North American media in a state of bewilderment. Nearly all media outlets were asking the same question: What happened?

Following Friday's $12.12 million performance, Saturday saw even higher numbers at $12.46 million, with Sunday bringing in $10.86 million.

Ultimately, Titanic's total box office for that weekend was $35.44 million, a substantial increase from the opening weekend's $29.18 million -- over $6 million more. While not as alarming an increase as Friday's, it still recorded a rise of over 20%.

Prompted by Katzenberg's instructions, Thompson prepared an initial report on the box office trend.

At this point, mainstream media feedback on Titanic's performance no longer held any reference value. Thompson then hired specialized research firms that collected 20,000 audience surveys over three days across major cities in the U.S.

The findings revealed that over 20% of attendees during Titanic's subsequent week were repeat viewers, and 30% had been persuaded to watch the film by friends and family's strong recommendations. Although many initially thought the film's three-hour runtime would deter them from watching, over 80% of viewers reported they completely lost track of time while enjoying the film.

The audience approval rating on a ten-point scale reached an astonishing 8.8, far surpassing the media's average of just 7. Titanic's reputation among viewers had also undergone a remarkable turnaround.

https//Sayonara816.

[Chapter 825: The Controversy of the Golden Globe Awards]

Initially, when it was reported that Titanic earned less than $30 million during its opening weekend, many in the media were quick to mock the film. Almost every forecasting agency believed that this massive production, which had a total investment of $265 million, wouldn't even cross $90 million in North America.

However, in reality, just ten days later, Titanic had raked in $89.69 million, a mere step away from the anticipated $90 million mark. This left the predictions made by the majority of media just a week prior looking foolish. The film's second weekend performance, which netted $35.44 million, silenced all the critics who had once derided it.

As the second week rolled around, thanks to the New Year holiday and the growing word-of-mouth about Titanic, the film's box office didn't experience the expected sharp decline. The single-day ticket sales during the weekdays of that week plummeted by less than 30%, and during the two days surrounding the New Year, earnings returned to the $10 million range.

Following the second week, Firefly Group promptly announced that Titanic had grossed $73.52 million that week. With such outstanding weekday performances, the film's box office raised by 35% from the first week, which was remarkable.

In the North American market, if a film's second-week "drop" remained around 35% after a major release, it was considered a significant achievement. This indicated that the film's reputation and box office performance were both excellent, showing it was commercially successful. Films that managed to match or slightly exceed box office numbers from their opening weekends were often regarded as major cinematic hits, and such films might not come around to a studio for years.

But now, Titanic's box office trend shattered everyone's traditional understanding of movie ticket sales. Regardless of whether you were inside or outside Hollywood, most people who saw the second-week revenue were filled with a strong sense of confusion: "Shouldn't it have dropped by 35%?"

No matter how many questions filled people's minds, it couldn't change one fact: Titanic did achieve a 35% box office raise, with a weekly take of $73.52 million, bringing its total to $127 million over two weeks.

However, everything was just getting started.

On January 3, a Friday, the new year began, marking the first week of 1997 in North America's film market. After two weeks of holidays, Titanic's weekly box office fell to $45.01 million, down 38%.

Everyone assumed the film's box office curve had begun to return to "normal." But in the fourth week, Titanic's drop shrank significantly to just 16%, generating $37.56 million. By this point, Titanic's total box office had reached $210.34 million. In comparison, one month earlier, Mission: Impossible 2, which opened with a strong $82.70 million, had pulled in only $181.30 million after four weeks, and its earnings had dwindled to around $20 million at the same point.

Despite the confusion and doubts that lasted for half a month, once Titanic surpassed $200 million, North American media began to speak out, altering their initial negativity and mockery. They started analyzing the reasons behind Titanic's massive box office success. With over $200 million in just four weeks, the film was showing immense potential for future earnings. Although there was still great cost pressure, no one dared to claim anymore that Titanic would fail to recoup its production costs.

...

On the other hand, while many critics who panned Titanic stubbornly clung to their views, the growing number of reviews in newspapers and magazines across the U.S. meant that the film's overall reception was flipping drastically.

One of the earliest champions of Titanic, The New York Times, published another rave review after the film hit the landmark of $200 million in box office receipts.

"Lavish sets, stunning shipwreck effects, beautiful musical score, deeply moving love story... all of this calls to mind the sensational Gone with the Wind.

The two films undoubtedly share numerous similarities. Gone with the Wind perfectly recaptured the rise and fall of the Southern plantation life more than a century ago, while Titanic impeccably depicted the terrifying tragedy of the luxurious, believed-to-be unsinkable ship sinking on its maiden voyage. Though Gone with the Wind was not the first color film, it ushered Hollywood into the golden age of color cinema. Similarly, Titanic is not the first CGI blockbuster -- before it, we had Twister, Terminator, Jurassic Park, and Men in Black -- but without a doubt, Titanic will usher in a new era for Hollywood: the era of special effects films."

...

As the critical reception for Titanic flipped, by the end of January, with the approach of the Golden Globe Awards, a controversy arose regarding its mere nomination for Best Screenplay, which sparked intense backlash.

Everyone could see that even if Titanic was a commercial film that the Golden Globe judges often disregarded, the film certainly deserved nominations for Best Original Score and Best Original Song. The serene sound of the Scottish pipes, the haunting melodies sung by the female vocalist, and the transcendent My Heart Will Go On resonated with anyone who heard them.

Yet, the Golden Globe Awards gave nominations for those categories to films like Shakespeare in Love, Evita, and Shine --movies that lacked any standout score or song -- while ignoring Titanic. Furthermore, when someone like Madonna, who had notably won three Golden Raspberries for Worst Actress, received a nomination for Best Actress, and Rachel Weisz, who delivered stunning performances in Titanic, was omitted, media outlets took note.

"It is undeniable that Hollywood gave us a wealth of excellent films last year. Commercially, we had hits like The Matrix, The Mummy 2, Pocahontas, and Charlie's Angels 2. Art-wise, we could see achievements in films like Shakespeare in Love, The Thin Red Line, Fargo, and Shine. But while those films achieved great artistic feats, that is no reason for Titanic to be overlooked. Perhaps the Golden Globe judges should examine their selection strategies."

This comment in The Hollywood Reporter was one of the most temperate critiques, not mentioning that the Golden Globe Awards might have been compromised. However, many other outlets were less kind.

A journalist from the San Francisco Chronicle openly revealed the scars of the Golden Globe Awards: "I'm sure everyone remembers Pia Zadora from 1982, right? I'm just very curious, which sponsor paid the judges to completely overlook the excellent film that is Titanic this time around?"

In 1982, the incident involving Pia Zadora winning Best Newcomer was one of the biggest scandals in Golden Globe history. Following the revelation that her millionaire husband poured money into the awards for her to win, the credibility of the Golden Globes plummeted, leading CBS to cease broadcasting the awards entirely. Subsequently, in an attempt to erase the scandal from people's memories, the Golden Globes even eliminated the Best Newcomer award altogether.

...

With Titanic's impressive reputation and box office performance, its many fans felt a sense of elation. Viewers felt keenly aware of the film's initial cold reception and ridicule prior to its release. After weeks of strong performance and reputation turnaround, Titanic fans felt a mix of excitement and pride, becoming increasingly invested in any news about the film.

When the controversy surrounding Titanic's Golden Globe nominations erupted, fans quickly took to the internet to provide their direct and frank feedback.

"It's hard to believe that the Golden Globe judging panel, composed of over ninety members, could ignore all of Titanic's strengths completely. I can only guess that those old geezers fell asleep before the film even started. Since they're clearly too old to sit through a movie, what's the point of the Golden Globes anymore?"

"No matter what, the excellence of Titanic cannot be hidden. The film has surpassed $200 million at the North American box office and, reportedly, performed well overseas. So why should we care about this irrelevant award? Choosing to ignore it might be the best way to 'respect' the Golden Globes. Let's hope everyone avoids NBC on January 19."

"Golden Globes? Ha, who cares? Anyone from Queens, New York, here? Maybe we can all buy tickets and watch Titanic again tonight. Right now, I only care about Titanic's box office."

"From the start, this was a scheme. Some want Titanic to fail, which is why they targeted the film concerning the Golden Globes. But Titanic proved once again that what's golden will shine; clearly, it's not just gold but a diamond -- the most dazzling, that 'Heart of the Ocean.'"

"The campaign to boycott the Golden Globes has begun. We hope all fans supporting Titanic will actively participate. Our website for the campaign is..."

As the questioning and condemnation became one-sided in media and online discussions, the Golden Globe organizers had no choice but to release a statement before the awards ceremony, firmly denying all accusations from "unscrupulous" media that questioned the judgment of the Golden Globe's committee. They insisted the award selection process was entirely fair and that Titanic did not receive nominations simply because this year featured too many excellent films, and Titanic's artistry did not stand out.

...

In preparation for the Super Bowl teaser of Casino Royale, Eric returned to Los Angeles after the New Year.

With a casual laugh, Eric dismissed the Golden Globe judges' ridiculous claim. Recent media buzz revealed that Firefly Group hadn't stoked the flames; Yahoo even deleted some of the more extreme comments regarding the Golden Globes.

Although Titanic didn't secure a nomination, Kathryn Bigelow's The Thin Red Line and Fox's Shakespeare in Love remained the two frontrunners of the awards season. Both films belonged to the slowly blooming art film genre, sharing similar release strategies and currently screening in several hundred theaters. Their scale was expected to expand to over a thousand after the Golden Globes. Both films, categorized as drama and musical, respectively, held no conflict in main nominations, and earning awards would significantly support their post-release box office.

Since Titanic had become an established fact, Eric wouldn't allow temporary feelings of anger to alter the release rhythm of these two films.

Of course, Firefly could not ignore Titanic's unfair treatment. Although the Titanic crew received an invitation from the Golden Globes organizers to attend the ceremony, and the judging committee even called Eric personally with an invitation, he respectfully declined due to being busy. As for Titanic's principal creative team, none were planning to attend the ceremony. Cameron's grievances with the Golden Globes surpassed those of anyone else in the crew, making it clear he wouldn't show up.

During his time back in Los Angeles, aside from restarting the post-production of Casino Royale, Eric placed considerable effort into the marketing of Titanic's continued release.

Given the industry's initial negativity toward Titanic, at the time of the film's North American premiere, there were only nine countries where it had achieved simultaneous release -- just the U.K., Australia, and a few key European markets, like Germany, France, and Italy, had yet to screen.

If Firefly had forcibly released it, based on the company's strong distribution power, Titanic could have seized a January or February release window in overseas markets. But that wasn't what Eric desired.

For the major foreign markets -- Europe, East Asia, and Latin America -- the first two months following the New Year were considered a slow period, just after the holiday rush. While this would not halt Titanic's inevitable rise, these periods wouldn't permit the film to fully exploit its box office potential.

Based on Titanic's current box office trajectory, Eric anticipated that the film would break North American box office records, surpassing the $500 million mark sometime in late March. Additionally, March held an essential event for Hollywood: the Oscars.

It was reasonable to predict that, if managed well, March would be Titanic's time of peak glory.

Therefore, Eric planned to focus Titanic's next phase of overseas distribution around the Easter period in March. By that time, buoyed by breaking box office records and securing Oscars, Titanic would undoubtedly achieve extraordinary global box office figures, exceeding the previous record of $1.8 billion.

With Titanic's North American box office trajectory on solid ground, Firefly's next move was to ensure Titanic garnered a sufficient number of Oscars.

https//Sayonara816.

[Chapter 826: Issues in Digital Domain]

"I spoke with Jon Landau and the team this morning. Robert is personally overseeing this. With the ten technical nominations for the Oscars, we should be able to secure all of them. There's no doubt that Titanic is a front-runner in this regard. However, for the six core nominations of Best Picture, Best Director, and the four acting awards, we have little hope for Best Actor and Best Supporting Actor. Leonardo's performance was merely passable, and there are no standout male supporting roles in the film. The other four nominations should be locked in already."

In the spacious loft office of Firefly Studios' Digital Domain, Eric and Jeffrey Katzenberg sat together in the lounge area. After hearing this, Eric instinctively replied, "So, is it still 14 nominations?"

Jeffrey, not catching onto the hidden implications of Eric's statement, assumed Eric had calculated that beforehand and nodded. "Yes, 14 nominations. There are a total of 24 Oscars, but Titanic definitely won't get nominations for Best Foreign Language Film or Best Animated Feature, which are completely irrelevant; that eliminates 7 right off the bat. Among the remaining 17 nominations, Best Original Score divides into categories for Dramatic and Musical Comedies, which eliminates one more. We have no chance at Best Actor or Best Supporting Actor, so we're left with just 14. However, with these 14 nominations, we could match the record for nominations set by 1950's Sunset Boulevard, and we might even surpass Ben-Hur in total wins."

Eric had already noticed the awkwardness of his previous statement but was relieved that Jeffrey didn't seem to mind, not showing any signs of discomfort.

If it hadn't been for the recent media scrutiny directed at the Golden Globes, Eric might have pushed for a Best Actor nomination for Leonardo, potentially surpassing Sunset Boulevard's nomination record. However, due to widespread doubts cast on the Golden Globes, the Academy, while recognizing Titanic's award potential, became more concerned with its own reputation. If Leo received a nomination for a performance that clearly didn't meet the standards, the media would surely turn its criticisms toward the Oscars once the nominations were announced.

While they couldn't break the nomination record set by Sunset Boulevard, as Jeffrey mentioned, surpassing Ben-Hur's record of 11 Oscars was certainly achievable.

The two discussed various PR details in depth, and Eric then asked, "How's the overseas release going?"

Similar to North America, Titanic had been performing well in the countries where it was already released. The UK, in particular, had already crossed $36 million. If the current trend continued, Titanic's ticket sales in the UK would easily surpass the $71 million record set by Jurassic Park a few years earlier, and breaking the $100 million mark wasn't out of reach. Additionally, countries like Spain and Australia were also showing outstanding box office results. Just from these nine overseas markets alone, they had accumulated $92 million in one month.

With such impressive box office numbers, the overseas distributors that had initially been lukewarm about Titanic had completely shifted their attitudes and were now incredibly enthusiastic.

"I'll be flying to Europe next week, and Robert will head to Japan to negotiate directly with local distributors and theaters," Jeffrey paused. "Eric, my thought is that we don't need to pursue a higher revenue share. An average of 35% is already quite good compared to the last few years. If we push for higher shares, it would definitely deter the local distributors. However, we can ask for more resources in terms of marketing, schedules, and theater access."

While Firefly had its branches in major box office countries, the actual distribution work still required cooperation with local companies, making it unavoidable to share some revenue.

Jeffrey was responsible for European distribution, while President Robert Thompson managed Japan, and Eric was quite satisfied with this arrangement. Considering for a moment, Eric nodded. "Let's proceed with your plan. Also, ask Robert to swing by China and see if there's a chance to secure a revenue-sharing qualification for Titanic."

Jeffrey hesitated, considering Eric's past reminders. Firefly had made efforts to secure one or two quota films in the Chinese market each year, yet the local movie market remained disappointingly small despite having over a billion people, and the revenue-sharing percentages were shockingly low.

However, he didn't question Eric's decision since it was just a minor matter. He agreed and then added, "Eric, there's one more thing. Harvey wants to kickstart production on The Sopranos. He mentioned it to me a while back when you were in New York. He's been busy working on Shakespeare in Love and probably hasn't had the chance to discuss it with you yet."

Eric had originally planned to wait until the fall to launch self-produced series like The Sopranos after FFM's financial situation stabilized. Hearing Jeffrey, Eric asked, "What's his take on it?"

"You mentioned before that The Sopranos was a slow-burn type that should mainly rely on award recognition for visibility," Jeffrey said. "Harvey thinks that if that's the case, we should start production now for a spring release in March. This way, it could aim for the Emmy Awards in August. If we push it to the fall, we'd miss this year's Emmys altogether, and there would be a long gap until next year's Emmys. Even if The Sopranos wins, the impact from the first season would diminish significantly, which wouldn't bode well for future video tape/DVD releases."

After spending nearly a month in New York and fretting over Titanic, upon returning to Los Angeles, Eric realized he had accumulated quite a bit of work.

There's no need to mention the post-production work on Casino Royale; on other fronts, Eric had instructed Chris to acquire the UK-based ARM company before the year ended, and while they had signed a purchase agreement, he still needed to make many decisions. Additionally, there were the plans for the Marvel Cinematic Universe, the launch of the MP3 player, equity investments in Clover Holdings, the operations of FFM, and so on. Though each matter had dedicated personnel, there remained a substantial amount of work for Eric to personally decide.

"Harvey is an expert in award campaigning; since he thinks that's the right approach, let's go for the spring release. I'll find time tonight to call him about it."

"Tonight?" Jeffrey raised an eyebrow, chuckling. "Harvey might be busy tonight."

"Oh, I almost forgot. Tonight is the Golden Globe Awards ceremony; we can wait until another time," Eric shrugged, not inclined to discuss further. Firefly would only have the creative team from The Thin Red Line attending the ceremony, while Titanic's team had already decided against attending.

"Lastly, about Clover Holdings," Jeffrey clearly wasn't in the mood to discuss the Golden Globes either. They both had full agendas, so he quickly switched to the next topic. "With recent purchases added in, we've invested $1.98 billion in major IT stocks on Nasdaq. Based on the trends of the past few months, these stocks have already netted us over $210 million in paper profits."

Eric nodded; he was aware of these numbers already. Due to the stock investments in Nasdaq, Firefly's net profits would shrink to around $1 billion this year. Adding the last installments from the previous two years' sales of print media assets and the animation studio, that total wouldn't exceed $2 billion. This was because Eric needed to draw substantial profits out of Firefly Group to reinvest into Internet companies under Firefly Investment. Otherwise, the momentum of Clover Holdings' acquisitions would have been even more aggressive, and they could have temporarily saved even more tax.

Eric thought Jeffrey would likely not bring up this matter independently.

Sure enough, Jeffrey quickly added, "Warren Buffett, Tom Murphy, and David West have been calling me quite a bit recently. I'm sure you've received just as many calls. If it weren't for the profitability of the stocks held by Clover Holdings, their concerns would have been even greater."

"I already spoke with David West last time," Eric poured himself another cup of coffee from the pot beside him. "I told them if they had doubts about Firefly Group's business strategy, I could buy back their shares at any time."

David West had played a significant role during Firefly's acquisition of ABC, which earned him a board seat as one of three external directors of Firefly Group. The group of small shareholders he represented from various investment funds was currently holding nearly 14% of Firefly Group shares, whereas Buffett and Tom Murphy merely controlled 10%.

Although they had maintained a somewhat close relationship at first, the two groups ultimately represented different interests. In the previous two years, through the continuous sale of print media assets, hand-drawn animation studios, and the group's strong profitability, these investment funds had received around $500 million each year in dividends from their 14% stake in Firefly Group. This amount allowed those fund managers to present impressive figures in their annual financial reports.

However, this year, due to Clover Holdings' additional expenses, the dividends received by smaller shareholders like Berkshire Hathaway and State Street Global Advisors would suddenly drop by over half. Furthermore, because they were experts in the investment field, there was evident skepticism regarding Eric's insights in stock investments, leading to dissatisfaction with his aggressive buying in Nasdaq stocks.

Hearing Eric's remarks, Jeffrey chuckled. "Unless they are out of their minds, they wouldn't request for you to buy back their stocks. However, David West discussed another matter with me yesterday over the phone, which you've mentioned before, and I also think the timing is right now."

Eric pondered for a moment and suddenly realized. "He wants to take Digital Domain public?"

Although he figured that Eric was likely to guess it, Jeffrey was nonetheless surprised at his quickness. Laughing, he nodded. "Exactly, Eric. Based on Titanic's current box office trajectory, it's absolutely feasible for it to surpass $1 billion globally. Being a film that showcases cutting-edge CG effects, Titanic's success will further stimulate the growth of Hollywood's effects industry. So I believe the time is ripe for taking Digital Domain public. David also mentioned that if Digital Domain goes public, Wall Street could value it at around $3 billion."

Jeffrey and David West's current thoughts coincided with Eric's previous ideas from years ago.

Eric knew the trajectory of Hollywood's effects industry well. Even though the industry had been regarded as an esteemed 'noble profession' in recent years, the rapid growth of computer technology and related software industries would soon make starting an effects studio effortless with the support of top-tier hardware and professional software. The competition in the effects industry would become ferociously intense.

Therefore, Eric had considered that if Titanic could achieve the success similar to that in the original timeline, then CG effects would become highly respected. At that time, taking Digital Domain public would be the best opportunity to cash in.

However, after the events of recent times, Eric's perspective had shifted.

Ten years from now, or even five years later, the effects industry might no longer possess high entry barriers. But for now, Digital Domain was undoubtedly the top effects company in the industry, without any competition.

Consequently, if they severed Digital Domain's external collaborations, Firefly would at least maintain a three-year lead in the effects field. In three years, that time would be ample for Firefly Group to distance itself from other Hollywood studios in effects films.

Even three years later, with Firefly Group's vast economy and the support of allies like MGM and 20th Century Fox, Digital Domain would still have ample projects. Even further down the line, as long as Digital Domain had outstanding effects technology, even if it couldn't turn a profit, or even if it made slight losses, Firefly Group would still sustain such a dedicated subsidiary.

Moreover, even if Wall Street valued Digital Domain at a whopping $3 billion, if they were to go public and raise funds, with a 20% public offering ratio, Firefly could only extract $600 million at most. To Firefly, $600 million was hardly impactful. It was clear that David West's suggestion was not simply about acquiring this $600 million.

https//Sayonara816.

[Chapter 827: Explosive News]

As a world-class financial center, Wall Street functioned like a giant capital distribution hub, where retirement funds, insurance companies, and investment funds from across the U.S. and abroad used investment banks and various exchanges as intermediaries. This influence even extended to controlling the U.S. economy and, by extension, the global economy.

The notion that Wall Street controlled the U.S. economy wasn't merely an exaggeration; most of the top 500 companies in America had their fate tied to Wall Street capital through public listings. The ability to penetrate the U.S. economy and even overseas economies to achieve control had almost become instinctive for Wall Street's capital forces.

Thus, in recent years, the rapid rise of Firefly Group, which had seemingly broken free from capital control, became all the more conspicuous against Hollywood, which was largely under Wall Street's influence.

For a company's shareholders, unless they harbored a speculative mentality, it was almost unheard of for any business to choose to go public and gradually relinquish control to Wall Street.

Eric admitted that he initially had a strong speculative mindset, but as Firefly's structure expanded and his personal perspective broadened, those initially restless thoughts faded away. Although he wouldn't easily let go of opportunities for quick profits, like the Asian financial crisis and the internet bubble, he never seriously considered taking Firefly Group public. As Firefly grew stronger, that idea became even less likely.

However, Wall Street clearly wouldn't back off easily in their attempts to penetrate Firefly Group. Pushing for Digital Domain to go public seemed to be an initial test by Wall Street.

Since they couldn't force Firefly Group to go public as a whole, they might try to gradually break it apart, slowly connecting it to capital markets. This, perhaps, was the strategy of some capital forces on Wall Street.

Katzenberg, who had been completely focused on the operations at Firefly Group over the past few years, likely hadn't noticed David West's ulterior motives in pushing for Digital Domain's public listing. Eric, however, paid much more attention to the capital markets than Katzenberg.

After a moment of contemplation, Eric said, "Jeffrey, have you considered that if we agree to let Digital Domain go public this time, then maybe next, it'll be Pixar, followed by New Line Cinema, Firefly Films, and then Disney. Ultimately, one day you might wake up to find Firefly Group has become just another pawn on Wall Street's chessboard. At that point, it would be difficult for us to run this company at our discretion.

Why did the seven major studios in Hollywood only see Firefly creating Digital Domain? It's because we could invest hundreds of millions into CG effects technology without worrying about immediate results on the balance sheet for years. But other companies? They aimed to please Wall Street and secure prettier financial reports year by year, quarter by quarter. They simply couldn't afford to do the same, even if they were laying plans for the long term; they would struggle to gain capital's approval."

"Alright, I see your point," Katzenberg smiled. Eric hadn't outright rejected the idea of taking Digital Domain public; instead, he had thoroughly analyzed the pros and cons with him. Katzenberg naturally understood that Eric was being considerate of his personal feelings.

In truth, Katzenberg thought Eric didn't need to go to such lengths; after all, when he found some of his subordinates' suggestions lacking, he often demonstrated his disapproval with a blunt "That's nonsense," rarely explaining anything. Glancing at Eric's ever-present copy of Financial Alchemy, Katzenberg half-jokingly said, "Maybe I should take some time to read books like this."

"If you're interested," Eric smiled and handed him the book, "this one's for you -- I bought several copies."

Katzenberg gratefully accepted it but still asked, "I've seen you reading this book lately. What's it about?"

"Soros' investment diary," Eric briefly explained. "If you don't have three to five years of forex investment experience, you probably won't understand much of it. So I suggest skipping the initial theories and going straight to the case studies. You don't need to grasp every obscure forex technique. Just try to understand Soros' way of thinking; he's a guy with grand vision and ambition."

Katzenberg silently noted Eric's words. His educational background wasn't high; he had dropped out of high school to enter the workforce. However, this didn't mean he lacked ambition; otherwise, he wouldn't have reached his current position.

Throughout the '80s, Soros had based his work on the theory of reflexivity, using the global financial market as his laboratory. Through substantial financial maneuvers that significantly influenced many countries, he tested his theories, which was why the book was titled Financial Alchemy.

If you disregard the moral implications of Soros's destructive impact on many nations' economies, this financial mogul, who could flip the economy like a cloud, rightly deserved praise.

Skipping the digression, Eric stated, "So let's not revisit the public listing for Digital Domain again. However, since we broached the subject, we should discuss our next developmental plans for Digital Domain."

...

On January 19, the 54th Golden Globe Awards ceremony took place. Miramax's Shakespeare in Love and Firefly Films' The Thin Red Line led the awards, each winning Best Motion Picture in the musical/comedy and drama categories.

The Weinstein brothers initially aimed for an Oscar, but with the formidable rise of Titanic, Harvey Weinstein quickly realized that Shakespeare in Love would struggle at the Academy Awards. Thus, he decisively shifted focus to the Golden Globes, securing wins for Best Motion Picture, Best Director, Best Actress, Best Supporting Actress, and Best Screenplay.

In comparison, The Thin Red Line was slightly less remarkable, winning Best Motion Picture in drama but losing Best Director and Best Screenplay to Shakespeare in Love. However, despite Firefly not aggressively marketing the film, both media and fans couldn't ignore that this was Cameron versus Bigelow again. Consequently, The Thin Red Line garnered more attention than the heavily promoted Shakespeare in Love.

Following the Golden Globes, both Shakespeare in Love and The Thin Red Line significantly increased their screens, and box office revenue began to rise.

...

Three days after the Golden Globes ceremony, on January 22, the nominations for the 69th Academy Awards were announced. Titanic, with its 14 nominations, was undoubtedly the most anticipated film of the year. All of Titanic's nominations were well-deserved, and as the announcement emerged, media channels playfully mocked the recently concluded Golden Globes.

Stimulated by the back-to-back topics of the Golden Globes and the Oscar nominations, Titanic's box office achieved a miraculous reversal in its fifth week, reaching $42.62 million for that week alone and accumulating $252 million.

A week prior, faced with Titanic's second-week box office rebound and the subsequent slight drops, North American media had only speculated that the film might reach the heights of Star Wars and Jurassic Park. Yet, with the fifth week's figures emerging, the latest surprise made all the media tread cautiously.

After patiently waiting a week, Titanic brought in $32.83 million in its sixth week, again achieving a slight 22% decline in box office revenue.

Thus, the once-cautious media began to voice predictions that Titanic might become the all-time highest-grossing film in North American history. However, nobody dared to predict how much Titanic's final box office might total; who could possibly make that leap?

Over the past six weeks, Titanic amassed $285 million in North America and $147 million overseas. This brought the global total to $432 million, allowing Firefly to net $200 million, making it only a matter of time before recovering the total budget of $265 million.

At the same time, many media outlets discovered that out of the five major European box office countries -- England, France, Germany, Italy, and Spain -- Titanic had only released in the UK and Spain. The box office potential from Germany, France, and Italy, which had yet to release, was still untapped. Additionally, the largest box office market in Asia, Japan, had also yet to screen the film. Combined with Latin America and Southeast Asia still in the distribution phase, Titanic's overseas box office might just hit a terrifying number exceeding that of North America.

...

Before the impact of Titanic's box office could even settle, Firefly Group dropped another bombshell.

On February 1, Firefly Group abruptly announced that after fulfilling existing special effects orders, Digital Domain, including its branches in Los Angeles, Florida, and Sydney, would cease accepting special effects orders from outside parties beyond the companies they partnered with -- MGM and 20th Century Fox. Instead, their primary focus would shift to project production within Firefly Group and its alliance.

However, the Firefly Software Company, which mainly developed foundational software tools for Digital Domain and Pixar Animation, would continue to sell software such as Maya and 3Dmax, along with other effects solutions. Studios using Firefly Software's tools would be given priority for any surplus special effects outsourcing orders from Firefly Group.

As a private company, Firefly merely shared a brief announcement on the Yahoo portal page.

Yet the uproar this decision incited within the industry far surpassed even Titanic's box office miracles.

Before Titanic's release, due to its unprecedented $215 million production budget centered on CG effects, the media and industry began to reflect on the surge of high-budget productions in recent years. Many speculated that as CG technology emerged, it might hit a "glacial period" following Titanic's potential box office flop.

But after Titanic's box office surge, the original rhetoric dissipated. In fact, from the moment Titanic's box office rebounded its second week, production companies started seeking out projects for special effects blockbusters, eager to negotiate partnerships with Digital Domain.

Prior to Titanic, Digital Domain maintained a generally welcoming attitude toward external orders. Other studios recognized that Digital Domain was executing this open cooperation strategy due to the need for technological accumulation. Therefore, nobody anticipated that after Titanic, Firefly Group would suddenly shift to a complete 180-degree stance.

Just how strong were Digital Domain's technological advantages? There was no need for comparison; in recent years, every prominent Hollywood film involving CG effects had collaborated closely with Digital Domain, often tackling the highest-difficulty special effects tasks.

Therefore, when Digital Domain abruptly closed its doors to external collaboration, it became apparent that, absent the Digital Domain's technical support, Hollywood's major studios would struggle to bridge the technological gap over the next few years, even if they were willing to invest heavily financially.

Without top-tier special effects technology backing them, Hollywood's leading studios would inevitably enter several years of a special effects film drought. While Hollywood didn't lack other special effects companies, such as Industrial Light Magic, films produced by those studios would increasingly show a glaring difference in special effects quality compared to those produced by Firefly Group. And audiences wouldn't be naive enough to overlook that disparity.

Just a day after the announcement, the phones of almost all core executives at Firefly Group rang off the hook. Media outlets, like sharks smelling blood, ferociously dug into the depths of what this decision meant for Firefly Group.

https//Sayonara816.

[Chapter 828: Music Copyright]

"So far, Titanic's North American box office has successfully surpassed $300 million, but the phenomenon continues to demonstrate exceptional box office strength. Analysts widely predicted that just from North American earnings, Titanic might recover its massive investment of $265 million, while its overseas box office could potentially reach jaw-dropping figures. The recent reflections on big-budget productions that began in the film industry were quickly called into question, as major Hollywood studios began scouting their own blockbuster projects. In this situation, Firefly Group's sudden announcement to halt external collaborations with its effects company, Digital Domain, felt like a bucket of cold water thrown on all Hollywood companies outside the Firefly system.

According to Jeffrey Katzenberg, chairman of Firefly Group, over the next few years, the company would increase its annual number of 'heavy-hitting' films from three to six, with at least half being effects-heavy CGI blockbusters. If Digital Domain continued its open operational model, it would struggle to meet the needs of Firefly Group.

It was reported that Digital Domain currently held the top-tier CG effects technology in Hollywood. Since 1991, it had won the Academy Award for Best Visual Effects for four consecutive years thanks to its outstanding work in films like Terminator 2, Twister, and Jurassic Park. Furthermore, Digital Domain managed the industry's largest rendering farm, handling over 50% of Hollywood's visual effects rendering in recent years.

Related analysts speculated that due to Digital Domain's possession of unique CG techniques, such as the large-scale battle scenes in The Mummy 2, the company's sudden halt on external collaborations could create a multi-year 'gap' for Hollywood studios lacking access to Digital Domain's technology for effects-heavy films. This undoubtedly would have a significant impact on the film businesses of Warner Bros., Paramount, and Sony, leading to a surge in market share for Firefly Group, MGM, and 20th Century Fox. Following this news, in the past week, stock prices for Warner Bros. and Viacom saw slight declines, while MGM, having the closest ties to Firefly Group, saw its shares jump over 9% within the week."

...

Michael Eisner tossed aside the latest issue of Premiere magazine, frustrated, and stood up to walk toward the window, contemplating what to do next.

Aside from this analysis article, the latest issue of Premiere also revealed the annual Hollywood Power List. In addition to Eric Williams reigning unquestioned at the top, Jeffrey Katzenberg, CEO of Firefly Group, failed to follow the previous years' precedent of being listed alongside Eric as co-controller of Firefly Group. Instead, he was individually recognized in the second spot, reflecting Eric's increasingly prominent position in Hollywood. The third spot was not occupied by Universal, but rather by last year's hottest studio, MGM, with Drew Barrymore and Amy Pascal tied in third place. Michael Eisner only came in fourth.

Whether intentionally or not, this year's Hollywood Power List featured an unexpected appearance of Stan Winston, CEO of Digital Domain, among the top ten. This meant that Firefly Group alone occupied three slots on the list. Considering MGM and Fox's entries, Firefly effectively controlled half of Hollywood, a reality that matched the Firefly Group's genuine influence. If strictly measuring market share, thanks to the unforeseen success of Titanic, the combined shares of Firefly, MGM, and Fox this year in the Hollywood box office market surpassed 50%. Meanwhile, the four major studios -- Warner Bros., Paramount, Universal, and Sony -- could only share the remaining 50% with countless other second- and third-tier companies.

"Plans never keep up with change," Michael Eisner sighed to himself, recalling his thoughts before Titanic's release, unable to suppress a self-deprecating smile.

Still, there was the pressing issue at hand.

Since the announcement of Firefly's cessation of Digital Domain collaborations, Industrial Light Magic, which had nearly finalized a deal with Universal, suddenly shifted direction. Microsoft swiftly announced it would invest another $100 million into Industrial Light Magic for CG effects technology research and development.

Though Industrial Light Magic had fallen behind Digital Domain in recent years, its two decades of accumulated effects expertise remained unmatched by the smaller effects companies newly established in Hollywood. Microsoft, seeing Titanic's box office success, recognized the colossal potential of special effects technology in Hollywood, prompting a change of heart about Universal's potential involvement.

In response to Firefly's announcement, over the past week, besides Microsoft pouring funds into Industrial Light Magic, Sony, Paramount, and Warner Bros. also announced the establishment of their own film effects departments. Universal's board began discussing related issues, with parent company Seagram Group's chairman, Edgar Bronfman, calling to inquire about the situation.

But Michael Eisner knew that establishing a dedicated effects department wouldn't work. He clearly recalled Eric's words during the competition for the Transformers movie rights last year. The rendering farm Digital Domain had built in Florida for $100 million was not something other second- or third-tier companies could easily catch up with. Furthermore, how much had Digital Domain invested over the years to develop various CG effects technologies? Although he didn't have specific figures, it was clear that the number was also staggering.

More importantly, accumulating enough technology in an effects company required gaining experience from producing numerous CG shots.

According to Firefly's disclosures, the company planned three main CG effects releases each year moving forward. This meant that even if MGM and 20th Century Fox combined forces, they couldn't match Firefly's output. The three studios could collectively place six special effects film orders with Digital Domain each year, while countless other films would require just a small amount of effects. This created an ample platform for Digital Domain to accumulate techniques. Warner Bros., Paramount, Sony, and even Universal itself could not rival this.

Michael Eisner's first thought, of course, was to form alliances. However, the reaction of Industrial Light Magic, buoyed by Microsoft support after Firefly's announcement, clearly indicated that everyone had their own motives. It wouldn't be easy to unite.

While contemplating this, there was a knock at the office door. Michael Eisner acknowledged it, and his assistant stepped in, saying, "Mr. Eisner, I've found out that Eric Williams has been in San Francisco for the past couple of days, seemingly for a secret project related to a music player developing at Firefly."

"A music player?" Michael Eisner asked, puzzled. Although the MP3 player had matured by the end of last year, Firefly Electronics had been preparing in secret for months.

The assistant nodded. "It's a brand-new digital audio player. Interestingly, last week, when you had me participate in negotiations with Nicole Kidman for the sequel to The Mummy, I happened to see Ms. Kidman using this player. It's just slightly bigger than an old cigarette lighter and uses a micro hard drive for storage, allowing it to hold hundreds of MP3 tracks without the need for tapes or discs. By the way, I just called the record company. They received a partnership offer from Yahoo Network about selling songs in the Yahoo Music Store last year, and the two parties are still negotiating."

Michael Eisner's eyes lit up immediately. He had just realized something important. If everything his assistant said was true, for this music player to be successfully launched, it would need substantial legitimate music resources to support it. Sony had originally bought Columbia Records for this very reason. Music copyright resources were exactly Firefly Group's weak point. Although Firefly Records had introduced some great artists in recent years, it still lagged far behind legendary giants like Universal, Warner, and Sony.

"You did a great job," Michael Eisner complimented sincerely. "Also, prepare a report on the negotiations between the record company and Yahoo for me, and schedule a meeting with Doug Morris."

Doug Morris was the CEO of Universal Records. Seagram's acquisition of MCA Group from Panasonic mainly involved Universal Pictures and Universal Records, although Michael Eisner was not responsible for the record division's operations.

...

"Fireflyer is the name we've finally settled on. It's inspired by Firefly, which is a somewhat cocky but genuine little sprite from the fairy tale Peter Pan. It is born from the laughter of a baby named Lenton and eventually marries Tinkerbell. We can say it's a lovable character with a few flaws, but one that shines. Our MP3 player aims for a user experience that feels like having a close friend, perfectly aligning with Fireflyer's character. Moreover, Fireflyer can be seen as an extension of Firefly."

In a conference room located in an office building in Oakland, San Francisco, Eric, Chris, and a group of Firefly Electronics management were quietly listening to Bill Olsen, the president of Firefly Electronics, as he elaborated.

Bill Olson was a high-ranking executive who Chris had recruited from Apple. He had previously been a vice president responsible for product marketing at Apple. Despite the backing of Firefly Group, it would have seemed unlikely that he would have considered Firefly Electronics, a company just starting out. However, as Apple continued to decline over the past two years, many of its management began jumping to other opportunities. With promises of sufficient compensation and stock options from Eric and Chris, Bill Olson ultimately agreed to lead Firefly Electronics in the role of president, primarily focusing on MP3 player marketing.

After Bill finished explaining, Eric said, "Fireflyer is indeed a great name. But since you mentioned Tinkerbell, Bill, don't you think we can also apply for that trademark as another brand for the MP3 player? Perhaps specifically for a female market?"

Bill Olson laughed, saying, "Eric, your suggestion is something Victor also brought up in our initial naming meetings. However, after discussion, we decided to temporarily shelve that idea."

Eric turned towards Victor McNally, CEO of Firefly Electronics. Victor, a graduate of Stanford University with a PhD in Electrical Engineering, was brought in by Chris to oversee MP3 and e-book projects. Before this, he had been at IBM, contributing to product research and development. Although his position wasn't very high, his professional capability was impressive. It had taken three months for Chris to secure Victor's recruitment through a headhunting firm.

Victor McNally was a middle-aged man with a plump build, unkempt hair, and a full beard. When he noticed Eric looking towards him, he smiled, gesturing to Bill Olson, saying, "Eric, best let Bill handle this. He's the expert here."

Eric turned back to Bill Olson.

Bill Olson didn't delay, explaining, "Here's the deal, Eric. Currently, we only have the Fireflyer product. Perhaps we could name a pink model 'Tinkerbell,' but that would definitely dilute the brand image of the player and hinder promotion. Additionally, this player should target all consumers, not just females. Even with the pink version, many male consumers would likely appreciate it. So if we create a gender distinction for this product, it might confuse some consumers. After all, once people feel that certain products are only for girls, male consumers might decide not to buy them."

Eric nodded. "Alright, you can continue."

Bill Olson switched to another slide in the presentation but added, "However, Eric, the Tinkerbell trademark is indeed a good idea. I'll have our legal department apply for the Tinkerbell trademark when we file for Fireflyer."

https//Sayonara816.

[Chapter 829: Always Remind Yourself]

After discussing the naming issue of the MP3 player, Bill Olsen continued, "Next up is the Yahoo Music Store, or more aptly, Yahoo Music Box. We've secured online sales licenses for about 200,000 songs, but negotiations with the five major record companies, which hold the richest music copyright resources, haven't progressed much. So, the primary music source for Fireflyer should be CDs. Thanks to the promotion of MP3 audio formats, more than 50% of CDs now utilize MP3 encoding. Even if the format isn't MP3, we can transcode it into MP3 audio."

Yahoo's contract with Microsoft would expire in two years. Although Microsoft had been facing frequent antitrust investigations over those years, it was foreseeable that once the contract expired in July 1999 and Microsoft abandoned the original plan to acquire 30% of the company, Yahoo's browser would lose its status as the default browser on the Windows platform. Eric's original suggestion had been to develop a Yahoo Music Store website, but to prevent Yahoo's browser from being sidelined by Microsoft in the future, Yahoo had recently been pushing for individual software solutions for various online products to reduce dependency on Yahoo's browser.

The same applied here. Both Yahoo and Firefly Electronics collaborated to refine Eric's rough idea, developing a stand-alone Yahoo Music Box software as a sales platform for the online music store. Moreover, Yahoo Music Box could conveniently create software modules specifically designed to identify pirated CDs and prevent them from being used for audio copying. To be honest, due to his past experiences, Eric had never considered this point initially. He was relieved that Yahoo and Firefly Electronics' teams recognized it; otherwise, when Fireflyer was released, Firefly Electronics would certainly face legal bombardment from major record labels.

Standing in front of the projector, Bill Olsen looked at Eric and said, "Eric, while Yahoo is trying to consolidate a large amount of music resources into its online store to activate more paid users under Yahoo's network, I believe this approach doesn't pay off. It's akin to Sony; they have the Walkman, but they do not assume that all record companies will hand over their copyrights to produce music tapes -- that's simply impossible. In my opinion, Fireflyer definitely has the potential to replace the Walkman. If we can take a more open approach, allowing each record company to operate its own online music store, Fireflyer's influence would quickly expand. The current annual sales of the Walkman stand at 15 million units; if Fireflyer could reach that level at a price of $299, our annual revenue could hit $4.5 billion."

"But Bill, Fireflyer currently lacks the influence to prompt major record companies to create dedicated music stores for it. If we persist, the labels are sure to demand exorbitant fees. On the other hand, if Fireflyer gains sufficient clout in the future, we won't need to compromise with the record companies; they'll be the ones seeking collaboration," Eric countered.

"But there should be an opportune moment, Eric," Bill Olsen replied. "Although we've integrated a piracy recognition module into Yahoo Music Box, we still cannot prevent all piracy. The risk of lawsuits remains. If we could completely cut off the channel for copying CDs and achieve complete digital music sales, we could avoid such situations as much as possible."

Eric understood Bill Olsen's reasoning. He had initially hoped that Yahoo Music Box could be separated from Yahoo and operated solely by Firefly Electronics, but Eric had refused. Since Firefly Electronics could not control this platform, Bill Olsen wished for a more open music sales platform, considering the company's interests.

Shrugging his shoulders, Eric smiled. "Bill, we both know that fully achieving digital sales doesn't eliminate piracy issues. However, since Sony won its case regarding video tapes, copyright holders can no longer employ lawsuits to halt technological advancements. Currently, all audio and video playback platforms, from Walkmans to DVD players, cannot fully eradicate piracy issues. Thus, we just need to do what we can and not overly worry about that."

Bill Olsen realized Eric had seen through his thoughts. He didn't feel awkward about it and moved on to discuss the Fireflyer's component procurement system, the construction of the sales network, and product marketing issues.

Over the past two years, Eric had invested around $60 million in the RD for the MP3 player and e-reader, which included the costs of commissioning Seagate to develop mini hard drives and acquiring Wi-Fi patents; not much of that was primarily directed at developing the MP3 player itself. After all, Firefly Electronics' RD team for both products had only about 190 members. Though salaries for engineers in Silicon Valley were generally high, the total payroll expenditure over these two years was only $30 million.

By contrast, Bill Olsen's budget proposals from component procurement to product marketing for Fireflyer reached an astounding $200 million, making Eric feel like it was akin to spending $60 million to produce a film but then requiring $200 million for promotion and distribution.

Of course, the development outlook for Fireflyer was noteworthy enough to justify this budget. As Bill Olsen mentioned in the meeting, if Fireflyer could replace the Walkman, it would bring in billions of dollars in revenue for Firefly Electronics each year. Eric knew more than anyone that Fireflyer indeed held the potential to take over from the Walkman and all other portable music players of that era.

...

The meeting extended until 4 PM, finalizing the detailed release and promotional plans for Fireflyer. Afterward, Eric and Chris toured the RD department with two other heads from Firefly Electronics.

By 6 PM, after dinner, Eric took advantage of the night to fly back to Los Angeles. Chris stayed behind to lead the integration work with British ARM Holdings; the relevant proposal had already been finalized during a phone call with ARM's management the previous day. Prior to that, Firefly Electronics had produced a sample of the e-reader, but given the production cost was nearly $400, to ensure sufficient profit, the sale price should be set at least at $700, which was a price ordinary consumers found hard to accept.

After discussing, Eric decided to temporarily abandon this product and instead utilize the accumulated technology to jointly develop the more advanced tablet, YahooPad, in collaboration with Firefly Electronics, ARM, and Yahoo. This was part of Eric's original second-phase plan, aimed for a mature product launch around 2000. By then, along with the advancement of the electronics industry, production costs for YahooPad would inevitably drop to a more reasonable price.

...

The Gulfstream business jet landed at Santa Monica Airport under the hazy night sky. Just after Eric got off the plane, he received a personal call from Michael Eisner, asking him if he was free for dinner that evening.

Eric understood Michael Eisner's intentions. With external cooperation in Digital Domain halting, it would be challenging for Warner, Paramount, Universal, and Sony to make outstanding CGI movies for a considerable time. Over those days, executives from several major film companies had been secretly calling, probing if Eric would reconsider the decision. Michael Eisner's call seemed relatively late in the game.

Considering there were no prior commitments that night, Eric agreed and headed to Morton's in Beverly Hills, a well-known restaurant frequently frequented by Hollywood figures.

When Eric arrived at the restaurant, it was nearly 9 PM. He quickly found Michael Eisner's table, guided by the waiter. Upon seeing Eric approach, Michael Eisner stood up, shook hands, greeted him, and Eric couldn't help but tease, "I didn't expect you to choose this restaurant."

This wasn't an offhand remark; it referenced a well-known story about Michael Eisner.

In the mid-1980s, while serving as president at Paramount, Michael Eisner was at odds with his parent company's chairman, Martin Davis, and was brewing plans to jump ship to Disney as CEO. After he struck a deal with Disney's decision-makers and resigned from Paramount, the Disney board then had disputes over appointing him, leaving Eisner suddenly in an uncertain state of unemployment. Shortly thereafter, having just left the Hollywood power center, he found himself in an awkward position. One night, planning a dinner with his friend Michael Ovitz, Eisner called Morton's to make a reservation but was unexpectedly told there was no availability. Ovitz called right after and easily secured a table. This incident was nothing short of humiliating for a Hollywood mogul.

Michael Eisner responded to Eric's tease with a bland expression, casually saying, "Some things are worth reminding oneself of regularly."

"Ha," Eric chuckled as they sat down. Though he had already dined in San Francisco, he still ordered something to eat.

Once the waiter left, Michael Eisner took the initiative and said, "Eric, I heard you were in San Francisco recently?"

"Yeah, a company established there just rolled out a small product that's about to launch. I went to check it out," Eric replied.

Michael Eisner smiled, saying, "Anything you value must not be just a small thing, right?"

Eric suddenly realized something but kept his demeanor unchanged, explaining in detail, "It's a new portable music player. Too bad the sample is in my luggage; otherwise, I could have brought you one. It's quite an interesting little gadget."

Since Michael Eisner already knew about it, Eric didn't hide it any longer. He even suspected that Eisner might already be aware of Yahoo's negotiations with Universal Music for online music sales.

Clearly, Michael Eisner intended to leverage Universal's rights as a bargaining chip to gain some tangible benefits, like continuing digital support for Universal Pictures.

However, he was clearly mistaken in his calculations.

"Actually, I had lunch today with Doug Morris from Universal, and I happened to hear about this," Michael Eisner said straightforwardly. "I also learned that the cooperation talks between Yahoo and Universal seem to have reached an impasse."

"That's to be expected," Eric remarked. "Large companies often exhibit arrogance. They frequently fail to grasp the situation, feeling complacent when they hold the initiative, and when they eventually lose that power, they portray themselves as victims."

In the original timeline, several major record companies initially had a significant advantage over Apple in deploying MP3 players. However, either to maintain market positions for their soon-to-be-obsolete portable players or due to rigid corporate structures, many attempts by record labels to enter the MP3 player market ultimately failed, allowing Apple to capture over 70% of the music player market. Eventually, record companies had no choice but to comply with Apple's rules for online music sales, often complaining about how Apple's players facilitated piracy against their rights. Little did they realize that even without Apple, the drastic reduction of costs for pirated music in the internet era would render it impossible for the record industry to maintain its former glory.

Michael Eisner, of course, could not envision that future scenario. He found Eric's statement a bit perplexing but refrained from arguing.

After a casual conversation, dinner was quickly served. Michael Eisner took a sip of red wine, set down his glass, and continued, "Eric, I think you can guess my thoughts. Here's the thing: I can help persuade Mr. Bronfman to support Yahoo's collaboration with Universal. But in exchange, I hope we can keep Digital Domain open for cooperation with Universal Pictures. What do you think?"

Eric shook his head and replied, "Sorry, Michael, I can't agree to your terms."

Michael Eisner was taken aback. He hadn't anticipated Eric would refuse so outrightly. Earlier that day, he had thoroughly investigated the situation with Yahoo's online music store. Although they had secured agreements with several second- and third-tier record companies, the total number of song copyrights in Yahoo Music Store was only a mere 200,000, with popular songs and albums limited to those youth pop artists recently nurtured by Firefly Records. On the other hand, Universal boasted over a quarter of American music copyright resources; if they could reach an agreement with Universal, other record companies would no longer be so resolute.

https//Sayonara816.

[Chapter 830: You Really Did It On Purpose]

"Eric, why would you do something that cuts off your own revenue stream? If Digital Domain continued with an open collaboration strategy, given the impact of Titanic, doubling our revenue in the coming years wouldn't be an issue. And you know, with the current pace of technological development, it won't take long for other effects companies to catch up," Michael Eisner pondered for a moment before speaking again.

Eric lifted his head with a peculiar smile. "Michael, that's exactly what I want over these next few years. Besides, while others may want to catch up, Digital Domain won't be sitting idle waiting for them."

"But I really don't think you need to do this," Michael Eisner replied. "You see, with Titanic's box office included, Firefly Productions' total box office will reach $2 billion this year, capturing over 30% market share. This should definitely be the pinnacle of a Hollywood studio."

"No, Michael, you're just accustomed to the coexistence of the seven major Hollywood studios, so you think this is the peak state for a Hollywood major. But if we break free from that thought, why can't it be 50%, 60%, 70%, or even more? In other industries, that's not uncommon. So, why not in Hollywood?"

When Michael heard Eric's words, a look of slight shock appeared on his face. He hadn't expected Eric to have such ambitions. If anyone else had said something like that, Michael would have laughed immediately. But it was Eric -- the young man who had been making waves in Hollywood for the last few years. He had achieved what many deemed impossible countless times.

However, after a short moment of astonishment, Michael Eisner shook his head. "Eric, Hollywood is different from other industries. Being a creative industry, the human factor is crucial here. Though many say Hollywood is the world's movie factory, you can never gather all the great filmmakers under one roof to work in your 'factory.' Even if Firefly manages to push out the other six major Hollywood studios, as long as you can't meet all filmmakers' needs, they will inevitably create new production companies to compete against Firefly, just as Chaplin's United Artists, Howard Hughes's RKO, and now Spielberg's Amblin."

Eric chuckled. "Michael, I don't know what the future holds for Amblin, but the first two companies you mentioned no longer exist. To me, as long as I maintain a sufficient advantage for Firefly, it's a matter of methodically taking down the old studios one by one."

Michael Eisner raised an eyebrow, hesitantly asking, "You mean, take them down?"

"Exactly, take them down," Eric said as he took a bite of the crab cake in front of him. "The food here is quite good; maybe I'll come here more often."

"Oh, then you'll certainly never have to worry about running out of seats," Michael Eisner forced a smile, still mulling over Eric's recent comments.

If Firefly wanted to eliminate all the other Hollywood studios, that would be unrealistic. But if it gradually merged with them as Eric suggested, that possibility couldn't be entirely dismissed. However, Michael Eisner wasn't overly pessimistic either. At fifty-five, he figured maybe Firefly could pull it off in another ten or even twenty years, but by then, he'd surely be retired and everything would no longer concern him. For now, he simply wanted to run Universal Pictures well. This somewhat disheartening thought made Michael Eisner feel a little discouraged. They both dropped the movie discussion and casually commented on the restaurant food and other trivial topics.

Eric and Michael Eisner ultimately held no personal grudges against each other. Moreover, it was Firefly that had used the opportunity of acquiring Disney to push Michael Eisner out of Disney. If there was any vendetta, it was definitely Michael's grudge against Eric, and since the other party didn't show it, Eric wouldn't either.

After skipping the topic of Digital Domain, their dinner was rather relaxed and enjoyable, continuing until ten o'clock when they each parted ways.

...

As Eric watched Michael Eisner's car drive away, he got into his own vehicle. It was late, and Eric decided not to rush back to Liberty City Manor, instructing his driver to head to the top of Beverly Hills.

Arriving at the mansion of Elisabeth and Julia, Eric dismissed the driver, rang the doorbell, and a voice inquired through the intercom. Eric responded, and the door opened shortly thereafter.

Julia appeared with her flowing brown hair, wearing a long, light yellow, form-fitting sweater, exposing her long legs, and stepped lazily in front of Eric, her eyes sparkling as she softly called out, "Eric, you're here."

"Yeah," Eric replied with a smile, reaching out, "Aren't you cold dressed like that?"

Los Angeles in February could still be a bit chilly at night.

Julia wrapped her arms around Eric's waist and affectionately kissed his cheek. ""It's not cold at all; I'm not outside."

Eric embraced Julia, planning to let go, but she had already rested her chin on his shoulder, her long legs entwined around him, hanging from him.

"Come on, you're acting just like Drew," Eric laughed, shutting the door behind him, playfully lifting Julia's light body and joking, "Seemed like you've put on some weight."

Julia playfully mouthed Eric's neck, whispering tenderly, "A little extra padding makes for a better experience. Eric, you could try now."

"Uh, I'm a bit cold. Let's head inside," Eric said, nearly losing his composure. He patted Julia, seeing she had no intention of letting go, so he carried her towards the villa.

Even though it was already past ten, the lights in the villa were still bright. Eric knew Elisabeth was also a night owl; most successful people tended to be.

The living room had the TV on with the volume low. Elisabeth was curled up on the couch, holding a thick folder, wearing a form-fitting sweater similar to Julia's. Upon seeing Eric enter carrying Julia, she rolled her eyes. "Do you really need to be in such a hurry?"

Eric offered no explanation, playfully setting Julia down on the sofa and sat beside Elisabeth, asking, "What are you watching?"

"Some project proposals," Elisabeth said, not holding back, handing him a stack of papers. "Here, help me check them out and pick one or two."

Eric took the papers, flipped through them, grinning, "If I pick something, can I take it?"

Elisabeth replied curtly, "Nope."

Julia, who had been unceremoniously dropped on the single couch, sidled up to Eric, sitting close to him.

Noticing Elisabeth was buried in the material, Eric refrained from making jokes. Instead, he casually placed Julia's long legs over his lap while glancing through the documents.

Just glancing at the first document title made Eric raise an eyebrow. After patiently reading through the project summary and script synopsis, he commented, "The English Patient, this project is good and suitable for Miramax to do as an Oscar contender."

Elisabeth turned her head to glance, noting Eric's hand gently caressing Julia's thigh, she scoffed, rolling her eyes: "This is a project that Harvey had his eyes on last year. To avoid competing with Shakespeare in Love for the Oscars, it got pushed to this year. Of course, it's suitable for Miramax."

Eric nodded, "Lucky it wasn't released this year; otherwise, that would be a shame."

In Eric's view, The English Patient was indeed better and had a deeper artistic connotation than Shakespeare in Love. If it had been pitted against Titanic this year, it would have indeed been unfortunate.

Elisabeth certainly understood what Eric was getting at. Thinking about the global sensation that Titanic had become, she suddenly recalled some details from the previous year and turned to Eric, saying, "You definitely did that on purpose."

That comment threw Eric off completely, and he looked puzzled.

"You know, when you mentioned having Fox invest $50 million into Titanic," Elisabeth clarified.

Eric instantly remembered. He had indeed done it deliberately, just to poke fun at Elisabeth's own family patriarch, as that investment collaboration had been personally vetoed by Murdoch.

Now, even though Titanic's box office numbers showed no signs of slowing down, after this week, Firefly would likely be able to recoup the initial production cost of $215 million. By the end of February, all production and distribution costs would be back, and after that, Titanic would simply contribute pure profit to Firefly.

Currently, no box office prediction agency could estimate where Titanic's global box office could go, but they realized one thing: the profit Titanic brought to Firefly would far exceed the original total investment of $265 million. There were even some media predictions that if Titanic became the highest-grossing film in North America and globally, it could generate no less than $1 billion in profit just from box offices, videos, DVDs, and various merchandise. That amount could almost surpass the total profits of most studios in a year.

However, looking at Elisabeth's feline gaze fixed on him, Eric had no intention of admitting anything.

But Elisabeth, noticing Eric's brief hesitation, suddenly sprang at him like an annoyed kitten, shoving Julia aside and leaping onto Eric, grabbing his shirt collar. "You jerk! You really did do it on purpose."

With a smile he couldn't suppress, Eric raised both hands in surrender, determined not to admit it. "Liz, calm down! I'm not a psychic. How could I possibly know how Titanic's box office would do? Didn't you see how anxious I was about it a while back?"

Hearing Eric's protest, Julia, awkwardly shoved to the side, watched as Elisabeth seemed ready to tear Eric in half, and couldn't help but feel a bit thrilled and chimed in, "Yeah, yeah."

"Shut up," Elisabeth shot Julia a glare, then turned her attention back to Eric: "You did this on purpose! Now look, are you feeling pretty smug about it?"

"I swear to God..."

"Psh, you don't even believe in God," Elisabeth shot back, her small hands unfastening a few buttons of Eric's shirt collar.

Just as Eric was about to continue his protest, noticing Elisabeth leaning down, he quickly added, "Don't bite... ah."

Before he could stop her, an excruciating pain shot through his shoulder.

Julia lounged beside them, watching Elisabeth's small white teeth clamping down on Eric's shoulder, feeling a mix of envy and excitement. Her heart raced, and she couldn't help but reach out to touch, only to retract her hand quickly, seeing a trace of blood appear on her fingertip, instantly feeling a pang of sympathy. "Liz, stop! He's bleeding."

Initially riled up, Elisabeth looked at Eric in alarm. Upon seeing the two distinct bite marks on his shoulder oozing blood, she panicked and pressed her hand against it. "Eric, I'm sorry! I didn't mean to."

Eric inhaled sharply, glancing at the obvious bite marks on his shoulder. It had only broken the skin a little and wasn't severe. Seeing Elisabeth's apologetic expression, which almost brought her to tears, he couldn't feel angry. He nodded earnestly. "It's okay. I know you didn't mean it."

Thinking back to their earlier argument, upon hearing Eric's words, Elisabeth forced a smile but didn't say anything further. She took the tissue Julia offered and dabbed at Eric's bleeding shoulder. "Do you need me to get some antiseptic?"

Eric chuckled. "I hear saliva works as a disinfectant."

Elisabeth rolled her eyes and moved aside, addressing Julia, "You go ahead."

Julia immediately snuggled closer to Eric, and he quickly obstructed her. "Alright, alright! I was just joking! Sit still! No fooling around. Keep your tongue in; it looks terrible."

Julia giggled, seeing herself take the position Elisabeth had just vacated, refusing to leave Eric's lap. She affectionately leaned in to kiss Eric's face several times, then sat up, playfully pulling off her long, form-fitting sweater. Underneath, she wore nothing but a pure white thong, leaving nothing to the imagination.

Elisabeth watched Julia's actions, clearly displeased. "Hey! I just changed the couch covers yesterday! Can't you go to the bedroom?"

In response, Eric forcefully wrapped an arm around Elisabeth and said, "Take off your sweater, too! I want to see."

The living room lights seemed to dim as soft noises filled the air, accompanied by a half-serious, half-playful female murmur: "You are such a troublemaker, bastard, ah."

https//Sayonara816.

[Chapter 831: A Decent Financial Report]

"Speaking of which, George has already settled on an actress for Queen Amidala, and it turns out you know her," Elisabeth said with a teasing smile.

The next morning, Eric drove to Firefly Studios, passing through Century City on his way from Beverly Hills to Playa Vista. Elisabeth hitched a ride with him to work.

The production of the Star Wars prequel had been delayed due to the founding of Amblin Pictures and other factors, but it was finally confirmed to start filming in April. As the distributor, Elisabeth was fully responsible for the project, which had kept her busy lately. Although Fox didn't have a hand in the production side, most of the interior shooting was set to take place at Fox Studios. On the way to Century City, they couldn't help but discuss the topic.

Eric had little interest in the Star Wars franchise, even less so regarding the casting of Natalie Portman as the lead. However, hearing Elisabeth's enthusiasm, he curiously asked, "Who is it?"

Elisabeth leaned in closer to Eric, her smile playful as she said, "Take a guess. Here's a hint: she's a girl around sixteen or seventeen, and you personally discovered her for Hollywood."

It wasn't a surprise; since her breakout role in Leon: The Professional, Natalie Portman had been one of the standout child stars in recent years. Besides her exceptional performance in Leon, she also starred in critically acclaimed films like Heat and Everyone Says I Love You. Not to mention, being Jewish certainly gave her an edge. As a significant icon in American film culture, the role of Queen Amidala in the Star Wars series seemed to be a natural fit for a Jewish girl in Hollywood, whether intended or not.

Despite this realization, Eric feigned ignorance, "Let me think. Um, Kirsten Dunst?"

Elisabeth raised an eyebrow, a hint of mock annoyance in her voice, "Who's Kirsten Dunst? I don't know her!"

"Uh," Eric instinctively rubbed his nose, "the little girl from Interview with the Vampire. Don't look at me like that; I've only seen her a couple of times! I have no idea what she looks like now."

Elisabeth quickly recalled, "Oh right, the girl from Interview with the Vampire. Alright, I won't make you guess anymore. It's Natalie Portman, the girl you met on Long Island a few years ago; everyone seems to be on board with it."

"Yeah, she's a smart little kid," Eric nodded in agreement.

As they chatted casually, the car pulled into Century City and soon entered Fox Studios. Elisabeth adjusted her Hermes silk scarf, turning to Eric, she raised her chin slightly, "Hey, can you see any marks?"

Eric reached out and adjusted the scarf, covering a faint red mark, chuckling, "Even if you don't hide it, who would dare say anything?"

Elisabeth shot him a playful glare, "Fine, if I take off the scarf, you're coming with me to the meeting."

Eric, realizing he didn't have that kind of confidence, quickly changed his mind, "Forget it. It's better if you cover it."

"You bastard," Elisabeth teased, feigning annoyance.

As the car came to a stop, the driver got out and opened the door. Elisabeth leaned in to give Eric a quick kiss, grabbing her handbag. "You don't need to get out; I can handle it from here."

Eric nodded, watching Elisabeth walk into the office building before instructing the driver to proceed.

...

Aside from the airplane dive shot, which was entirely CGI, there weren't many effects needed for Casino Royale. Therefore, post-production was progressing quickly.

Returning from San Francisco, Eric spent February finalizing the special effects for Casino Royale. The movie was entering its final editing phase, a crucial step in determining the quality of a film. For the rest of February, Eric focused solely on editing Casino Royale.

...

Meanwhile, Firefly Electronics officially launched its marketing campaign for the MP3 player Fireflyer after finalizing the last plan. Although it was clear that Fireflyer had broad global market prospects, Bill Olsen and the management team still decided to take a cautious approach, initially focusing on the North American market.

With significant media resources from Firefly's network, the sleek and compact Fireflyer quickly appeared in ads across major television, online, and print platforms in North America. Firefly Electronics greatly collaborated with Yahoo!, offering 10,000 demo units through a promotional event on the Yahoo! portal. By activating their Yahoo! Music Box account, users entered a daily lottery for a chance to win free trials of Fireflyer and could potentially receive Yahoo! Music Store gift vouchers to purchase songs.

Even though giving away 10,000 Fireflyers and a multitude of gift vouchers directly cost Firefly Electronics and Yahoo! about $3 million in marketing expenses, the results were evident. It only required linking personal credit card information through YahooPay and activating accounts without any substantial purchases, leading to an increase of over 700,000 new users for YahooPay within a week. The total user count neared 5 million. Previously, YahooPay's user growth was limited to just over 4 million due to safety concerns regarding online payment tools.

As promotion continued, Fireflyer garnered significant attention. By the end of February, a Yahoo! portal survey indicated that first-month shipments of Fireflyer in North America might reach 100,000 units, and this was still a conservative estimate.

...

On the other hand, at the end of February, Yahoo! revealed its first decent annual financial report after five years of existence.

In 1996, global internet users surpassed 80 million. North America accounted for more than half of this figure, reaching 50 million users, doubling from 1995.

With the explosive growth of North America's internet sector, Yahoo!, which held over 70% of the online services market share, generated $194 million in revenue that year, with 90% of it coming from their internet advertising business, thanks to the success of their advertising network.

To quickly expand within North America and overseas markets like the UK, France, Germany, Australia, Japan, and even Brazil in Latin America, Yahoo! operated at a staggering cost of $335 million, reporting a loss of over $140 million for the year. However, relative to a mere $25 million in revenue the previous year, a remarkable increase of 776% was astonishing to many.

While the anticipated growth rate for Yahoo! in the coming year was projected to slow down significantly, the company still confidently set a conservative growth estimate of 200%. If this target was met, Yahoo! could potentially achieve a break-even point and even a small profit the following year, highly beneficial for their upcoming IPO.

In preparation for an IPO within two years, Yahoo! wasted no time publishing key data on their portal's homepage after the financial report was released. This decision garnered immense attention in the industry. Anyone could understand what an over 700% annual growth rate meant. The NASDAQ market reacted strongly, with already-listed internet tech stocks surging after Yahoo!'s annual report, and Wall Street was equally excited, raising Yahoo!'s valuation to $9 billion.

...

In Los Angeles, Eric was equally surprised by the report. He had thought Yahoo! would not see explosive revenue growth for at least another year or longer. It seemed that Yahoo!'s timely emergence had changed everything.

Following Yahoo!'s annual report, two major IT companies under Firefly Investments, Cisco and America Online, also released their financial statements. Compared to Yahoo!'s nascent growth, their performances were impressively solid. Even the somewhat weaker America Online reported an annual revenue of $1.8 billion.

...

Returning the focus back to Hollywood, on February 27, Titanic entered its tenth week in theaters, achieving a weekly box office of $25.3 million, with a total gross exceeding $400 million -- $417 million, to be exact.

With Titanic's steady performance maintaining a weekly box office above $20 million, predictions indicated that Titanic would break Star Wars' long-held North American box office record of $460 million in its twelfth week. Further predictions suggested that by the end of March, during the Oscars, Titanic's total earnings could surpass $500 million, making it the first film to reach $500 million at the North American box office.

In overseas markets, Titanic was gradually released in less prominent countries, expanding its international box office to 27 regions. While countries like France, Germany, and Japan waited until closer to the Academy Awards for their debuts, the growing number of overseas releases led to enhanced ticket sales growth.

Among the biggest surprises was the Brazilian market, which had historically underperformed. Despite being the largest market in Latin America, achieving $10 million in Brazil with a Hollywood film had been considered a great success -- Jurassic Park, which had previously set box office records, only garnered around $14.9 million there. Therefore, Firefly did not initially classify Brazil as a critical market. Titanic premiered in Brazil on February 7.

Unexpectedly, Titanic's ticket sales in Brazil exceeded all expectations. Within just two weeks, it surpassed $10 million, a figure far beyond the Brazilian division's forecasts, which had anticipated around $15 million, similar to Jurassic Park.

After surpassing $10 million in just two weeks, even the corporate headquarters no longer overlooked Titanic's box office potential in Brazil. Under Katzenberg's direct intervention, the film's screenings increased by about 50%, and promotional efforts intensified. By its third week of release, Titanic saw its box office in Brazil rise, with a weekly take of $6.9 million, totaling $17 million -- easily breaking the previous year's ticket sales figure of under $15 million.

...

In Playa Vista, Firefly Studios, after more than half a month of intensive work, the initial rough cut of Casino Royale had been completed. MGM executives and the film's creators gathered at the Firefly Studios screening room to watch the movie's preview.

The preview lacked credits and had a runtime of 150 minutes. Eric intended to trim further, aiming for a final cut around 140 minutes -- just right for a popcorn movie. After all, there had only been one film in Hollywood's history, Titanic, that exceeded three hours and still achieved box office miracles.

https//Sayonara816.