Chapter 81 - Enough Budget

Without a doubt, the person most benefiting from the cast was Julia Roberts. With the release of Pretty Woman, Julia felt like she had broken into an exotic new world in which everyone was so respectable and attentive of her, simply treating her like a princess.

As she was recording a talk show with ABC, the entire production team was revolving around her. The show's director sincerely asked for her opinion about every detail throughout the recording process.

At the same time, she received many offers to star in high-budget films, advertisements, endorsements, and invitations to become a spokesperson for multiple big brands. Her paycheck per film directly rose to $5 million once the first-weekend box office data was released. This was a mighty figure that even many male stars could only dream of achieving.

Al Pacino also completely emerged from the shadow of that failure four years ago, and his whole persona became arrogant. Many of his buddies who had lost touch for a long time started popping out again, inviting him to attend one party after another.

Of course, some people won, while some people lost. Richard Gere, who had begun to cooperate with United Artists' production of the new Road House movie, was undoubtedly the one who lost the most. His agent previously sang praises for the project of Road House, while referring to Erick's new film as nothing. While knowing his agent's reason for doing it, Richard Gere felt that turning down Eric's offer would be a small favor and go over well with Michael Ovitz. So the Road House project was chosen.

If Pretty Woman had not been such a huge success, even if it had just been a small hit at the box office, Richard Gere would not have felt much. Unfortunately, Pretty Woman had succeeded and that too in a big way. Even it's first week's box office was equal to the total box office for a lot of his films. Seeing this, Richard Gere could no longer stay calm.

This frustration made him forget that giving up Pretty Woman was, in the end, his own choice. If the artists themselves insisted on a film to be their next project, though CAA might try to convince them otherwise, they could not forcefully stop the actor. But Richard Gere naturally blamed it all on CAA and felt he had fallen victim to Michael Ovitz's personal powerplays.

At Coca-Cola's headquarters in Atlanta, a conference crucial to Columbia Pictures was taking place.

At this time, Coca-Cola's Director and Chairman of Columbia Pictures, Donald Keough, held in his hands some information about the two films, Home Alone and Pretty Woman. Coca-Cola's CEO, Roberto Goizueta, was sitting beside him and frowning at Columbia's President Blount Cohen, sitting on the opposite side.

"The gambling contract, that was your first mistake. Of course, with the profits from Home Alone, Columbia's share price rose from $12 to $14. Your mistake can be counter-balanced against this result."

Donald Keough finished and moved to the second document, and then said, "But next, your actions directly led to Eric Williams's transfer to Fox. According to the agency's estimates, the North American box office of Pretty Woman could reach $200 million, and the overseas box office may exceed 50 percent of North American collections. The North American box office alone would bring at least $80 million in profits for Fox. These profits were all supposed to be Columbia's."

Blount Cohen did not dare refute, and quietly awaited the final resolution of the Coca-Cola board. In fact, he had already known these results earlier. Film company executives seemed grand on the outside, yet few people knew the enormous pressure they endured daily.

With an investment of tens of millions of dollars, the release of every film would bring about high-level changes. Because of huge losses, some people are directly laid off and never recover again, while, because of the success of a project, people would be elevated to a higher level and enjoy more power and benefits. Of course, they would continue to be stressed by the next project.

Blount Cohen also knew that Eric Williams was just a small reason, or rather an excuse for the situation he was facing now. The actual reason was his own opposition to Coca-Cola's sale of Columbia to the Japanese.

The Coca-Cola board had officially decided to open negotiations with Sony of Japan, according to information revealed by some channels. In these circumstances, it wouldn't matter that his presidency is not going to be changed, it would soon be sold to Sony anyway.

But he had contacted a lot of people, trying to keep his place, by convincing them to jointly boycott the deal. This sort of thing certainly cannot be concealed from the Coca-Cola executives. If it were to succeed, no one would say anything. But after his failure, he would have to face the bitter consequences.

"... Therefore, I now formally announce the Board's resolution to remove Mr. Blount Cohen from his position as President of Columbia Pictures, effective immediately."

Roberto Goizueta finished reading the board's resolutions and agreed on several other topics before announcing the meeting closed. Of course, Blount Cohen, as a former President, was allowed to retain some decency and was not held back by the security from picking up his personal items at Columbia headquarters in Los Angeles.

Blount Cohen left with a sullen look. Roberto Goizueta then moved and came to another meeting room.

As he pushed open the door, the woman who was originally sitting on the couch stood up and enthusiastically greeted him, "Hello, Mr. Goizueta."

Goizueta shook hands with the woman and smiled, "Sorry I made you wait, Ms. Pascal."

"It's okay, I just arrived."

It was not so long ago that Amy Pascal angrily left Columbia.

"My assistant has explained to you what I mean to do. Amy, what do you think?"

Amy Pascal asked, "Mr. Goizueta, I feel that I don't need to return to Columbia anymore. Although I resigned, I still heard some news that Columbia is going to be sold to Sony. In this case, what am I going to do when I get laid off again a few months later?"

"Of course not, Amy, you're a highly talented professional manager. Even if the Japanese take over Columbia, they wouldn't dare make too many high-level changes. I've learned of the reason for your departure from Columbia. If only Blount Cohen listened to you earlier, there wouldn't have been a gambling agreement that cost Columbia tens of millions in profits. Eric Williams also would not have turned to Fox."

Amy Pascal said: "Mr. Goizueta, all of that doesn't matter anymore. I'm more interested in your reasons to want me back at Columbia."

Goizueta looked at her and said, "Amy, you know Eric Williams, right?"

Sure enough!

Amy Pascal confirmed her guess, before nodding: "Yes, but I only met him twice. Eric probably doesn't remember me anymore."

"Oh, how is that possible? If it wasn't for your help, Home Alone wouldn't have been such a box-office phenomenon."

Amy Pascal had received no benefit from it and even lost her job. But when Goizueta mentioned this, she was still somewhat proud.

"Mr. Goizueta, if you want me to convince Eric Williams to turn to Columbia, it's unlikely to happen. Everyone knows that Eric signed three films with Fox this year. And if we wait until next year, Columbia would already be in Sony's hands."

Goizueta shook his head: "Of course not, Amy. I've had people investigate that contract. Actually, that contract isn't too tight, as Fox only wanted to get the release rights to Home Alone 2. So there is no ban on Eric Williams working with other film companies while working with Fox. After starting negotiations with Sony, Columbia would need some good news to stimulate the share prices. Something like... a big-selling movie."

"But..."

"Rest assured, Amy, I know some of your concerns. To be able to work smoothly with Eric Williams, the board has dismissed Blount Cohen as President of Columbia."

Amy Pascal was surprised: "Really?"

Goizueta nodded: "Of course, with the connections of Blount Cohen, the board was unable to start negotiations with Sony. With all his failures, he wouldn't have remained in that position for long anyway. You can reveal this news when you're in contact with Eric Williams to show our sincerity."

Amy Pascal thought of another question: "I think, Eric Williams, is shooting movies fast. But three a year should be the limit, right? Besides, how can quality be guaranteed?"

"We'll put his new movie among the summer releases. With his current fame, as long as the movie isn't too bad, getting a $100 million box office in summer isn't a big deal. And..." Goizueta lowered his voice slightly: "I'll give him enough budget to give Fox a second film. We can even get someone to shoot it for him, and he can just concentrate on the movie for us. "

Amy Pascal hesitated slightly, before nodding: "I'll try my best."