Chapter 218 – A Global Frenzy
The summer of 1993 saw the release of several strong contenders—The Mask of Zorro, Speed, The Firm, and In the Line of Fire.
But this season ultimately belonged to one film alone: Jurassic Park.
Its release didn't just dominate the box office—it detonated it. From North America to Europe to Asia, the film sparked an unprecedented dinosaur craze. Merchandise flew off shelves, theaters sold out for weeks, and audiences returned for repeat viewings. It wasn't just a hit—it was a worldwide phenomenon.
Meanwhile, on Dawnlight Pictures' side, two Cannes darlings were lining up for release. Fresh off their shared Palme d'Or victory, The Piano and Farewell My Concubine were slated for August and September debuts respectively—positioned for prestige rather than popcorn dominance.
However, not everything was moving smoothly.
The adaptation of Red Dragon, the prequel to The Silence of the Lambs, had hit creative turbulence. The revised screenplay repeatedly failed to satisfy director Jonathan Demme, leading to endless rewrites. Extending the Hannibal universe was proving far more complicated than anticipated.
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At the same time, Aaron arrived in New Orleans, Louisiana, accompanied by Monica Bellucci, to visit the set of Interview with the Vampire.
The production was preparing to relocate to Paris and Romania for additional shooting—locations where Monica's scenes would be filmed.
On set, Aaron saw Tom Cruise in full long-haired vampire costume. Pale skin, aristocratic features, flowing locks—he looked strikingly otherworldly.
"Tom and Brad alone," Aaron remarked with a grin, "are enough to draw legions of female fans into theaters."
He had to admit—David Geffen had impeccable taste. The cast lineup read like a catalog of Hollywood's most desirable leading men.
Geffen chuckled. "The makeup alone is exhausting. It's not easy on them."
Anne Rice's novel described vampires with translucent skin—especially before feeding—so thin that their veins were faintly visible beneath the surface.
To recreate that effect, actors had to hang upside down for thirty minutes at a time. The blood would rush to their faces, making veins protrude. Makeup artists could then trace and enhance the patterns, crafting a disturbingly realistic vascular texture.
Aaron raised an eyebrow. "I heard Brad Pitt's been struggling with the production?"
Geffen nodded. "He's having trouble adjusting. The heavy makeup, uncomfortable costumes, constant darkness on set—it's not exactly pleasant."
He smirked. "He even called me, saying he wanted to quit."
Aaron's interest sharpened. "And how did you convince him to stay?"
Geffen laughed outright. "I told him breaking his contract would cost him forty million dollars."
Aaron let out a low whistle. "That'll do it."
After all, even with his recent recognition from A River Runs Through It, Brad Pitt certainly didn't have forty million dollars lying around.
The glamour of immortality, it seemed, came with very mortal consequences.
Fresh off gaining recognition from Brad Pitt's breakout performance in A River Runs Through It, there was no way he had forty million dollars to throw away.
Aaron shifted the topic.
"Author Anne Rice publicly withdrew her support because we cast Tom Cruise as Lestat. That kind of opposition could hurt the film."
His concern was practical. Controversy might generate headlines—but it could just as easily dampen box office performance once the film opened.
David Geffen nodded. "After we finish shooting, we'll send her a VHS copy. Once she sees Tom's performance, I'm confident she'll change her mind."
"That would be ideal," Aaron replied. Geffen was more than capable of smoothing over industry disputes.
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New Orleans – Late Night
In their hotel suite, Aaron lay over Monica Bellucci, fingers tracing her shoulder.
"You'll be heading to Europe next," he said softly. "Most of your scenes are opposite Kirsten Dunst, and you also have sequences with Brad Pitt."
"I know," Monica answered, voice low and steady. "I've gone through the script and dialogue again and again. I'm ready."
She wrapped her arms around him, eyes glinting. "Will you come to Europe?"
Aaron shook his head. "Not this year. I've already been to Paris and Madrid recently. Unless something major comes up, I'll stay in the States."
He didn't add that a "vacation" might be a different matter entirely.
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Back in Los Angeles
Upon returning to L.A., Aaron received the news he'd been waiting for: Dawnlight Pictures had successfully secured the rights to The Hobbit and The Lord of the Rings from Saul Zaentz.
"Sixteen million dollars," Aaron muttered from behind his desk. "Not cheap."
"It's expensive," Christiana Reali agreed as she stepped forward and settled onto his lap. "That's over eighty million francs."
She leaned in and kissed him.
After a lingering moment, Aaron brushed his hand along her waist. "Pulp Fiction is your first Hollywood film. How does it feel?"
"It feels… good," she said, slightly breathless. "But I read the script for The Mask. It's clearly written for an American blonde bombshell. I don't think I'm the right fit."
Aaron smiled. "The Mask is based on a Dark Horse comic with a strong American fanbase. The studio wants to anchor it around the North American market."
Jim Carrey was already under contract with Dawnlight for three films—Ace Ventura: Pet Detective, The Mask, and a third project Aaron had planned as a sequel once Ace Ventura proved itself.
Christiana didn't seem disappointed. As a Brazilian-born newcomer who had grown up in France, she already considered her role in Pulp Fiction a breakthrough.
"Don't worry," Aaron reassured her. "Once Pulp Fiction is released, you'll qualify for the Screen Actors Guild. That's an important credential. And besides—you have me."
He was, undeniably, her greatest advantage in Hollywood.
Christiana smiled. "I was never worried. I know you won't forget me."
She paused, then added with enthusiasm, "And I've started something of my own. I followed your advice and launched a modeling agency focused on the South American market."
"You did?"
"I'm planning to spend some time in Brazil," she continued. "I want to scout new talent personally and bring them to Hollywood."
She had been born in São Paulo, after all. Though she'd moved to France as a child, much of her extended family remained in Brazil.
"That's perfect," Aaron replied. "Victoria's Secret is planning its first fashion show in November."
"This year's show may not attract massive media attention—it's the inaugural event—but it's a starting point. A platform."
He kissed her lightly.
The groundwork was being laid—both in cinema and in fashion. And Aaron had no intention of missing the next global wave when it arrived.