Chapter 250: Widespread Attention
Late at night, in the hotel bedroom, Aaron exhaled slowly as he lay back against the pillows, staring lazily at the ceiling.
A moment later, Joey Wong emerged from beneath the covers and draped herself over his chest, pinching him lightly.
"Did you have to make that much of a scene?" she teased. "So dramatic."
Aaron chuckled and ran his fingers through her long hair. "That was your new trick. I was just giving you a stronger sense of accomplishment."
She leaned down and bit him playfully on the chest. "Only because you like it."
Her eyes flicked meaningfully toward the small packet of popping candy sitting nearby.
"Alright," Aaron said, shifting the mood. He gently stroked her back. "Let's talk business."
"About that VCD player we discussed earlier—you should keep an eye on it. When new brands start popping up, consider acquiring one. Then push it hard with large-scale advertising and build brand awareness as quickly as possible."
"I'll provide the capital," he added. "Don't worry about funding."
When Aaron purchased properties in Hong Kong earlier, he had also established Haihua Investments, a wholly owned subsidiary of his Tianhai Fund, to manage local ventures.
"Manufacturing VCD players?" Joey looked uncertain. "Is it really that simple? Isn't Wan Yan dominating the market right now?"
Aaron shook his head.
"VCD technology is basically CD hardware plus a decoding chip—both foreign technologies. Wan Yan only holds an assembly patent."
"The problem is that China's patent enforcement system isn't mature. Even if they had solid protection, collecting royalties would be difficult. And overseas companies won't let VCD dominate for long. Once they fully digest the technology, they'll upgrade the industry. China doesn't control the core chip technology."
He thought of giants like Panasonic, Sony, Philips, Toshiba, and JVC. None of them would hesitate when it came to market control.
Joey nodded slowly. "So you think Wan Yan won't be able to compete long term?"
"Exactly. Its major shareholder is a state-owned enterprise. They won't pour serious money into advertising."
"But I don't understand this industry."
"Then hire people who do," Aaron replied calmly. "Launch a full-scale advertising campaign. Flood the television networks. You're a top star—endorse the product yourself."
The lifespan of VCD might not be long, but those few years would be enough to generate significant profits. China's consumer market was enormous. And when DVD technology emerged, he would remind Joey to either exit or pivot.
"I'll pay attention," she said after a moment's thought. "But you have to help me. I really don't know much about business."
She paused, then added more seriously:
"I'll take some courses. Learn business management."
Aaron smiled faintly.
That was exactly what he wanted to hear.
Aaron smiled. "That's good. The decline of Hong Kong cinema is an undeniable trend. Learning how to do business isn't a bad choice at all."
Joey nestled closer in his arms. "Alright, I understand… So, about what we were doing earlier—want to try again?"
Hearing the teasing tone in her voice, Aaron patted her lightly on the back. "Go to sleep. We'll try again in the morning…"
---
On the last day of 1993, Aaron brought Norika Fujiwara to the Hotel Lisboa in Macau to celebrate the New Year, while Joey returned to Taipei to spend New Year's Day with her family.
Dawnlight's theatrical releases in Hong Kong were handled by Sil-Metropole Organization, while videotapes and LaserDiscs were distributed by Mei Ah Entertainment.
With the Taipei market now opening up, and as one of the key regions in Greater China, Dawnlight certainly intended to claim its share.
"Asia isn't just Taipei," Aaron said over the phone from his hotel suite. "There's also South Korea in East Asia, plus Southeast Asia. Now that our Japan branch is on track, it's time to expand into other Asian markets."
"And Europe as well—we need to accelerate the expansion of our international distribution network."
He was seated on the sofa in the Lisboa suite, speaking with Los Angeles.
After hanging up, Norika rose and took a sip of champagne. Aaron smiled and ran his hand lightly along her thigh.
"Did you have fun in Hong Kong these past few days?"
Norika nodded without hesitation. "It was wonderful. I shopped a lot, and now we're here in Macau—this is perfect!"
Aaron glanced at his watch and then at the glittering Macau skyline outside the window.
"In a little while, it'll be 1994. There'll be fireworks outside—beautiful ones."
"Come on," he said, standing and adjusting his jacket. "Let's head downstairs to the casino and play a bit."
---
At that very moment, it was morning in Los Angeles.
After Dawnlight acquired the Samuel Goldwyn film library, Samuel Goldwyn's president, Tom Rothman, officially joined Dawnlight as Senior Executive Vice President, overseeing international distribution and the home entertainment division.
Rothman had even turned down an offer from 20th Century Fox. Fox Entertainment Group chairman Peter Chernin had invited him to head production at Fox, working alongside newly appointed Fox film chief Bill Mechanic—who had just been poached from Disney's Buena Vista International.
It almost felt like a strategic exchange, since Joe Roth, formerly head of 20th Century Fox, had moved to become chairman of Disney's film division.
"Asia… Europe…" Rothman murmured to himself in his office chair. Dawnlight's pace of expansion was astonishing.
He had just finished that call with Aaron Anderson.
Dawnlight had already established distribution offices in the UK, France, and Japan. Spain was in preparation. Germany and Italy were next. Now the company was also targeting Taipei, South Korea, and Southeast Asia.
Rothman hadn't realized Aaron had been spending so much time in Hong Kong—he had assumed he was still in Japan.
A few days earlier, a script titled Blood and Tears of Chinese Laborers had been forwarded to Los Angeles. It was a co-production backed by Twilight Pictures, with a largely Chinese cast and crew.
Meanwhile, Dawnlight's latest release, Philadelphia, was steadily gaining momentum.
As a film confronting the AIDS crisis head-on, it called for compassion and support for AIDS patients while highlighting their resilience and dignity. The movie quickly sparked widespread public discussion.
Shortly after its release, a real-life case in Philadelphia drew attention: Scott Burr, a former attorney at Baker McKenzie, filed suit against his employer for wrongful termination after being diagnosed with AIDS. Like the fictional employer in Philadelphia, the firm claimed he had been dismissed for incompetence and denied knowledge of his health condition.
Recently, however, Baker McKenzie reached a confidential settlement with Burr, allowing him to continue his legal career.
The parallels only amplified the film's impact—Philadelphia was no longer just a movie. It had become part of a broader cultural conversation.