Amy Pascal was used to Simon's sudden, unexpected ideas. After thinking for a moment, she said, "I remember that three years ago, due to poor operating conditions, Warner proposed selling DC to Marvel, but it was rejected. I'm not sure about the current situation. However, after the stock market crash, major companies are generally restructuring assets and reducing debt. The comic industry started declining in the seventies. If you offer a sufficient price, Warner would likely agree."
Simon tapped his fingers on the table, his mind fantasizing about the grand scene of a merged Marvel-DC superhero universe. He asked again, "You said Semel would call me this afternoon?"
Amy nodded. "Probably about the awards campaign for Run Lola Run. Orion must have mentioned it to you too, right? If Run Lola Run can achieve something in the upcoming awards season, it would be very beneficial for the post-theatrical operations of both companies."
Run Lola Run ended its domestic run in August and had now passed the three-month window period; home video release could happen anytime. After Simon sold the overseas rights package to Warner Bros., leveraging Warner's robust international distribution network, Run Lola Run had also successfully surpassed $200 million at the overseas box office over the past months and was now entering its post-theatrical operational phase.
In his memory, Run Lola Run didn't receive many honors in North America, but the current situation was different.
With a global box office of $400 million as a foundation, the collaboration between Warner Bros., one of the major studios, and Orion Pictures, which was skilled at awards campaigning, plus the film's undeniable quality, Run Lola Run was absolutely poised to be a major contender in the upcoming awards season.
Perhaps Simon's only shortcoming was his age.
Before this, the youngest Oscar winner for Best Director was 32 years old. If Simon were 30, he might have broken that record. But now, the possibility was almost zero. The most Simon could hope for was probably just a nomination.
He glanced at his watch; it was already 3:00 PM.
He hadn't received a call yet. Terry Semel would likely call before the end of the workday, perhaps with a dinner party invitation or something similar. However, Simon already had plans for the evening and other work to attend to. The idea of buying DC would have to wait until the weekend or next week.
As he was pondering this, the conference room door knocked. Amy's assistant, Vanessa, peeked in and said, "Mr. West, Ms. Pascal, Mr. Craven is here."
Simon and Amy stood up together as Wes Craven entered with a bespectacled middle-aged white man around forty years old.d
Today was already Friday, December 18th.
Simon had provided the story outline for the planned Scream yesterday. After Amy contacted Craven, although he hadn't agreed to direct yet, they hired a writer recommended by Wes Craven.
After brief greetings, Wes Craven introduced, "Simon, Amy, this is Bruce Joel Rubin. He was the writer for my film The Girl Next Door last year. I thought he could give Scream a try."
Hearing the name Bruce Joel Rubin, Simon barely managed to conceal his surprise.
Before collaborating with Wes Craven on Final Destination, Simon had learned that Craven directed a less successful film for Warner Bros. last year called The Girl Next Door. He never expected the writer of that film to be Bruce Joel Rubin.
Few might know Bruce Joel Rubin by name, but hardly anyone wouldn't know Ghost.
Bruce Joel Rubin was the writer of Ghost.
Ghost, released in 1990 in the original timeline, not only became one of the most tear-jerking romance films of all time but also, with a production budget of $22 million, raked in $500 million worldwide. Coupled with a series of Oscar nominations including Best Picture, the film was an absolute critical, commercial, and awards success.
Simon had previously tried to find Bruce Joel Rubin but had no results. Now, he unexpectedly encountered him in such a coincidental situation.
Though perhaps it wasn't entirely a coincidence.
Ultimately, the Hollywood circle was just too small. Many people he was interested in might be right under his nose, just unnoticed until now.
Mentally noting that he should perhaps attend more social parties in the future, Simon, after sitting down, completely suppressed his initial surprise and discussed Scream with everyone as if nothing happened, gradually steering the conversation in the direction he wanted.
After they had chatted for a while, and upon hearing Simon express doubts about his abilities, Bruce Joel Rubin argued, "Simon, The Girl Next Door's box office wasn't ideal, but the script was an adaptation from a novel. I believe both Wes and I did our best within the creative framework given by the studio."
"Then," Simon looked at Bruce Joel Rubin, "Bruce, do you have any other scripts? Or just ideas? Although I've provided the story outline for Scream, I still hope the writer himself has sufficient creativity."
Bruce Joel Rubin nodded. "Of course."
Simon gestured. "Let's hear it."
Bruce Joel Rubin pondered for a moment, then said, "A few years ago, while watching Hamlet, I had an idea during the scene where Hamlet's father's ghost appears and urges his son to avenge him. The story concept is quite developed now, though I haven't started writing it. Sam and Molly are a couple about to get married. One night, after watching a play, they are robbed on their way home. Sam is stabbed to death by the mugger and becomes a ghost unable to communicate with the living. He lingers around Molly, only to discover that his death wasn't an accident..."
In the conference room...
After Bruce Joel Rubin finished, before Simon could speak, Amy couldn't help but say, "Simon, this is a fantastic idea. We should buy it, shouldn't we?"
Wes Craven also nodded in agreement. "It's very good. Pity I'm not skilled in this genre, otherwise I'd definitely direct it myself."
Simon thought for a moment, then said, "Actually, I happen to have a similar idea involving a ghost." Noticing the look on Bruce Joel Rubin's face, Simon smiled at him. "Just the ghost concept is similar to yours; the story is completely different. Your story is about love, while the core of my story is family. However, I think this story is also very suitable for you to write. So, Bruce, Daenerys Pictures can offer you a three-script contract. How does that sound? Two commissioned scripts, one original script."
Bruce Joel Rubin was surprised and excited to get three contracts so suddenly but remained cautious. "Simon, are you sure all three scripts will be produced?"
"Actually, you're asking if your script will be produced, right?" Simon smiled. "The answer is yes. Of course, you'll need some patience. Heh, I know that sounds like the standard line every studio executive says. If you're unsure, you can add some restrictive clauses to the contract. You'll need to discuss that with Amy."
Bruce Joel Rubin nodded but probed further, "What about credit?"
"Credit for Scream goes to you. Credit for the ghost film goes to me—oh, I mean my ghost film. For your ghost film, the credit naturally remains yours," Simon explained, then asked, "Any other questions?"
Bruce Joel Rubin shook his head.
"Then, your agent can discuss the specific salary contract with Amy. Let's talk about Scream first."
In Simon's plan, Scream was intended to be the first film fully produced and distributed independently by Daenerys Pictures for next year's Halloween season, so he attached great importance to it.
The script development meeting continued until the end of the workday. During this time, Simon also took a call from Warner Bros. Pictures CEO Terry Semel, who, as expected, invited him to a reception that evening. Due to prior arrangements, they had to reschedule their meeting for tomorrow night.
Additionally, during the call, Terry Semel mysteriously hinted that there would be a surprise for Simon next Monday.
Although he didn't specify, Simon naturally knew that next Monday was the day the Golden Globe Award nominations for the new season would be announced. As one of the most important Oscar precursors, the Golden Globes held significant weight compared to other guild awards.
Since he had already sold off Run Lola Run, Simon naturally wouldn't spend his own money on an awards campaign. Given his age disadvantage and the low likelihood of winning anyway, he was somewhat indifferent to it.
However, both Orion and Warner were putting in full effort for their own interests.
5:00 PM.
After seeing off Wes Craven and Bruce Joel Rubin, Amy called her assistant in to tidy up the materials on the conference table. She then said to Simon, who was reviewing the meeting notes nearby, "I didn't see Jenny this afternoon."
Without looking up, Simon flipped a page of the memo and explained, "Her parents came from New York. They're inviting me to dinner tonight, so I let her leave early at noon."
Amy recalled yesterday's gossip in the papers: 'Simon Westeros escorts female assistant home, intimate behavior suggests close relationship.' She smiled and said, "Coming to demand an explanation so soon?"
Simon was puzzled. "Huh?"
Amy's tone was teasing. "You 'ran off' with their daughter."
Simon simply didn't respond.
Amy didn't press the joke further and switched to a serious tone. "Simon, distribution for When Harry Met Sally, Pulp Fiction, and Basic Instinct is already settled. We plan to distribute Scream ourselves, which is fine. But what about Dead Poets Society and Steel Magnolias? And all the other rights you've been buying lately? I think we should sign a fixed distribution deal with one of the majors before committing to production. Otherwise, we'll be having a hard time later."
Hearing Amy talk business, Simon looked up. "Signing a distribution deal isn't difficult, but we probably can't secure very favorable terms. We'll decide on distribution for Dead Poets Society and Steel Magnolias as we go. I'd still prefer Danielews Pictures to handle it ourselves. The production budgets for those two films won't be very high; it's not a big deal if we lose money."
Amy nodded. "But we have $100 million now. If you're unwilling to sign a fixed distribution deal with a major, we simply can't produce as many films as you envision; they'd just pile up. The major studios would certainly be happy to see us lose all $100 million."
Simon shook his head. "I never said all this money had to be invested solely in Daenerys Pictures' own films. There are so many projects in Hollywood; we can participate in financing them. You can start spreading the word recently. $100 million can probably finance seven or eight films. Besides Scream, Dead Poets Society, and Steel Magnolias, I'll recently select another project for the company. The remaining funds will be spread out; many film companies should be starting to need money now."
Amy couldn't help but say, "That seems even riskier."
Simon smiled. "So, it will depend on your negotiation skills. Don't forget, you get 5% if we make money, nothing if we lose."