It was a rare time of leisure, and even better, it didn't cost a dime. Rachel Weisz and Kate Beckinsale had planned to enjoy a week in Seattle, but unfortunately, after only three days, both were urgently recalled by their respective agencies.
Opportunity fell from the sky.
When Rachel returned to Los Angeles, her agent, Todd Winterbottom, was so excited that he almost lost his composure as he handed her two scripts.
Both were highly coveted projects by many Hollywood actresses: a special effects blockbuster "The Mummy," a collaboration between Daenerys and Fox, and James Cameron's new film "Titanic."
The sudden joy was so overwhelming that Rachel could hardly believe it.
She had started playing small roles in the British film and TV industry at the age of 15, and now, at 25, with ten years in the business, she knew well how difficult it was to land such opportunities. There was no fairness in this industry. Many struggling actors might go their entire careers without ever getting a supporting role in a major film like this.
But Rachel? In a blink of an eye, she had two offers. And both were for lead roles.
With the Oscars season coming to a close, Hollywood was bustling with celebrities, and the gossip within the industry was at its peak.
The news that these highly coveted opportunities had gone to two relatively unknown British actresses quickly spread, and it was impossible to keep it quiet for long.
CAA, Rachel Weisz's agency, and WMA, Kate Beckinsale's agency, reacted immediately. They assembled top-tier teams of agents, publicists, and assistants for both actresses. In times like these, the biggest concern was avoiding any scandals that could sabotage the opportunities at hand.
When women fight for career advancement, they can be ruthless. In Hollywood, it's even more so.
The following days were a whirlwind for Rachel. Surrounded by her team, she spent endless hours reading scripts, researching the two projects, meeting with executives at Daenerys Entertainment, communicating with the creative teams, rehearsing for auditions, negotiating contracts with her agent, undergoing a diet and fitness plan, and giving a series of media interviews to increase her exposure.
Due to her suddenly hectic schedule, Rachel had to turn down a small role in Bernardo Bertolucci's new film, "Stealing Beauty." The film was set to shoot in Italy in May, and though her part was small, she couldn't afford to take time away from these major opportunities.
Word traveled fast, and soon Rachel learned that Kate Beckinsale had landed the lead role in "Charlie's Angels."
Even though it was a film with three female leads, Rachel felt that the lead role in "Charlie's Angels" carried more weight than in "The Mummy" or "Titanic." After all, the entertainment industry was still largely male-dominated, and in films with both male and female leads, the male stars often garnered more attention. As a result, female leads often had less room to shine.
Rachel's lead role was confirmed, and with "The Mummy" slated for a summer release the following year, the core creative team was nearly complete.
The director was Stephen Sommers, the original director. A 33-year-old graduate of USC's film school, he had made his way into Hollywood six years ago with a well-received debut film. His latest project, a live-action adaptation of Disney's "The Jungle Book," had performed decently at the box office during last year's Christmas season.
The male lead was Val Kilmer.
Kilmer, who had risen to fame alongside Tom Cruise in "Top Gun," had not had the best luck in recent years. Even in the future events that Simon remembered, Kilmer never truly reached the heights of superstardom. Although he had many opportunities, films like George Lucas' effects-heavy "Willow" or the later "Batman Forever" never brought him the breakthrough success he craved.
His struggles in his career seemed to reflect in his appearance.
In fact, Simon would later come across him in a Swedish thriller adaptation, "The Snowman," where Kilmer's appearance had deteriorated to the point where he was nearly unrecognizable without checking the cast list.
Simon had already altered the destinies of many people, and Kilmer was just another one of them.
If he had the choice, Simon would have preferred the original lead, Brendan Fraser. However, at 27, Fraser was still just a fresh-faced newcomer.
That's right, Fraser and Simon were the same age.
Simon had watched some of Fraser's sample reels. Compared to Simon's maturity, built from experiences in two lifetimes, Fraser could still be described as youthful and charming, mostly starring in high school roles. His appearance was the kind that certain powerful figures in Hollywood, with specific preferences, might covet. His baby-faced look didn't match the rugged, scruffy hero of "The Mummy," and his acting was still raw.
By comparison, Val Kilmer, with his stature, experience, and look, was a perfect fit. And, having regained some popularity from last year's "Heat," Kilmer was willing to sign a contract for a trilogy. The deal came together seamlessly.
Traditionally, Hollywood operates under a producer-led system, with big-name producers guiding a project's creative direction. The most typical example of this is Steven Spielberg. At Daenerys Entertainment, however, this structure was gradually being changed.
While traditional Hollywood producers often control a project's production and content, at Daenerys, Simon had the final say. In practice, Simon functioned as a de facto executive producer, although he rarely took formal credit for it.
As a result, the producers at Daenerys Entertainment were primarily responsible for logistical work, supporting directors and actors throughout the production process. But in terms of creative control, Simon, as the behind-the-scenes boss, worked directly with the directors.
Over the years, Daenerys Entertainment had cultivated a stable team of producers.
However, since Simon held most of the creative control, these producers never reached the same level of fame as big-name producers like Jerry Bruckheimer or Joel Silver.
Among the three major external projects in development, "The Mummy" was the furthest along, with a completed script, casting underway, and location scouting and special effects planning already in progress. The film was scheduled to begin shooting in June. To save on costs, Simon planned to shoot the main scenes in Morocco, as in the original film. Morocco's proximity to the UK also made it convenient for the crew to travel for certain scenes shot in the UK.
From Janet's birthday until the Oscars at the end of March, Egret's IPO process continued smoothly, with the company's 25% employee stock ownership plan progressing as expected. Simon remained in Los Angeles, overseeing several major projects at Daenerys.
With "Ace Ventura 3," "Jurassic Park 2," and "Apollo 13" already completed and set for release during Easter and summer, Simon focused on promoting these films. At the same time, projects scheduled for the latter half of the year, like "Mind Games," the 3D animated version of "Beauty and the Beast," and "Batman v Superman: Dawn of Justice," were still in production, requiring Simon's close attention.
Planning for 1996 and 1997 was also in full swing.
In addition to blockbusters like "Sleepy Hollow," "Mission: Impossible 2," "The Mummy," "Jumanji," and "Wonder Woman 2," there were mid-scale but equally important films, such as new entries in the "Conjuring Universe," "Rush Hour," and the next film from last year's breakout star, Jim Carrey.
Meanwhile, "Batman v Superman: Dawn of Justice" was shooting in Australia. Simon planned to visit Australia after the Oscars to personally oversee the production for a while.
Also, this month, many developments related to the Westeros system were underway.
Last year's midterm elections had resolved many political obstacles for the Westeros system in Washington, accelerating the progress of several key bills.
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