Chapter 183: Cruise–Wagner
Hong Kong's economy was booming like never before—especially the real estate market, which was practically on fire.
Aaron had begun to seriously consider investing in property there.
That night, in a high-floor hotel suite, Norika Fujiwara, dressed in a sensual nightgown, stood by the window admiring Hong Kong's glittering skyline.
Aaron wrapped his arms around her from behind, feeling the tempting warmth of her figure.
"So?" he asked softly. "Have you enjoyed the past few days?"
"I have," Norika replied, leaning fully into his embrace.
"This place really is a shopping paradise—and the weather is wonderful too."
Aaron smiled faintly and kissed her lips.
"Tomorrow, you'll head back to Japan first. I'll look for you again in the future."
"Alright," she said quickly. "But you must come see me again."
"Of course," Aaron nodded.
"You're far too beautiful to forget. And if there's an opportunity here in Hong Kong, you can also try taking on a few roles."
"The film industry here is extremely prosperous right now—there are plenty of chances."
"I understand," Norika said gently.
"And if nothing works out, I'll stay in Japan."
___
Remaining in Hong Kong, Aaron set his sights on a detached villa in Repulse Bay.
The main structure alone exceeded 5,000 square feet, with an equally spacious private garden.
"55 million Hong Kong dollars," Aaron said calmly. "That's acceptable."
Since the Hong Kong dollar was pegged to the U.S. dollar at 1 USD = 7.8 HKD, the price came to roughly USD 7 million—certainly expensive, but within reason.
---
Back in his hotel room, Aaron sat on the sofa sipping red wine as Evelyn continued her report.
"Schindler's List has received exceptional reviews since its release," she said.
"It's being praised across the board."
"It's bound to perform well at the Oscars," Aaron replied with a confident smile.
"The Crying Game and Scent of a Woman also have strong chances for nominations."
"This time," he added, standing up,
"three films produced by Dawnlight Pictures will enter the Academy Awards race together."
He set down his glass.
"Alright. Christmas is approaching—make the arrangements. It's time for us to head back home."
As for the kung fu action-comedy project Aaron planned to collaborate on with Golden Harvest starring Jackie Chan, that would clearly be a matter for the following year.
Aaron returned to Los Angeles the day before Christmas Eve, bringing back with him two of Jackie Chan's action films acquired from Golden Harvest—Operation Condor and Police Story 3: Super Cop.
As for when Dawn Pictures would release them in North America, that would have to wait until a new project helped Jackie Chan establish his name with American audiences first.
At the same time, Aaron also acquired the North American distribution rights to two kung fu films starring Jet Li, the Once Upon a Time in China series, also produced by Golden Harvest.
---
Christmas Eve
Los Angeles · West Hollywood · Charlie Hotel
At the party, Paula Wagner took the initiative to find Aaron.
"I'm planning to leave CAA," she said.
Aaron wasn't surprised. "Transitioning into film production?"
Paula nodded. "Tom and I have already discussed it. We're forming Cruise/Wagner Productions and have signed a three-year exclusive multi-picture financing and distribution deal with Paramount."
The reason was obvious—to secure greater creative freedom for Tom Cruise, along with more opportunities to produce and shape the films he starred in.
Tom Cruise's latest film, A Few Good Men, produced by Castle Rock and distributed by Columbia, had been in theaters for less than two weeks and had already grossed $42 million domestically.
Its critical reception was strong as well.
"So who'll manage Tom going forward?" Aaron asked.
"Veteran Publicist Pat Kingsley will take over," Paula replied.
Aaron nodded. Kingsley was already sixty, but her public-relations skills and industry connections were formidable.
"What do you think about Interview with the Vampire's author, Anne Rice, opposing Tom's casting?" Aaron asked casually.
The screenplay was still being adapted, but preparations for the project were already underway.
Paula smiled. "It's not about what I think—it's about what you and David Geffen think."
"You know Tom never lacks scripts coming his way."
Tom Cruise's interest in Interview with the Vampire stemmed largely from his personal appreciation of the novel, which gave Paula and Tom confidence in the project.
Aaron smiled. "Since you've signed an exclusive deal with Paramount, have you chosen your first project yet?"
"Paramount does have one in mind," Paula said.
"They want to adapt a 1960s television series—Mission: Impossible."
"When it aired on CBS, it had very strong ratings, and it was originally produced by Paramount Television."
Paula didn't hide anything. Tom Cruise had always liked the series and was genuinely interested in participating.
That said, nothing had officially entered pre-production yet—Tom had just finished The Firm, and Interview with the Vampire would likely be his next project.
"Mission: Impossible…" Aaron murmured.
Of course he knew it well. In the future, it would become Tom Cruise's defining franchise.
"Don't worry," Aaron said lightly.
"David Geffen has already spoken with Tom—he'll take the role in Interview with the Vampire."
Aaron wasn't particularly concerned. Tom Cruise's summer release Far and Away had earned $58 million domestically and $130 million worldwide, but its $60 million production budget, plus hefty marketing costs, meant profits were far from overwhelming.
After several commercial films in a row, A Few Good Men had earned strong recognition within the industry.
For Tom Cruise, Interview with the Vampire represented a chance to explore a very different kind of role.
Still, hearing about the Mission: Impossible adaptation made Aaron realize something else—
Dawnlight Pictures would eventually need its own television division.
Film alone wasn't enough. Producing TV series, working directly with networks—and eventually owning a network—would all be part of the long game.
"As for the director of Interview with the Vampire," Aaron added,
"I'm recommending Neil Jordan, the Irish director of The Crying Game. He's been nominated for Best Director at the Golden Globes."
"I expect The Crying Game to make a strong showing at the Oscars this March. That should more than prove his capability."
Aaron's only concern was whether Tom Cruise—known for his high standards—might hesitate to work with a relatively new director. After all, Hollywood had plenty of examples where newcomers struggled to earn trust.
Paula smiled. "Tom will cooperate fully with the director."