Chapter 91: Long Term Cooperation?

With the official release of Sleeping with the Enemy in early November, the best-performing movie during Halloween was unveiled. 

Sleeping with the Enemy had a North American opening weekend of $15 million. Although the movie didn't receive as high praise as Sleepless in Seattle, it still performed well.

In the living room of Tom Cruise's mansion in Beverly Hills, Paula Wagner sat on the sofa, reading the newspaper in her hand.

"Looks like Sleeping with the Enemy won't do badly at the box office. Meg Ryan starred in two scripts by Arthur Smith in a year," Paula Wagner thought to herself. Galaxy Pictures mentioned they would send over a script later?

"Paula, what's on your mind?" Tom Cruise asked as he emerged from the gym and saw his agent lost in thought on the sofa.

Paula Wagner put down the newspaper. "This young man might be someone you should pay attention to. Arthur Smith from Galaxy Pictures is quite capable!"

"Nicole's former friend?" Tom Cruise asked, shaking his head. "Paula, I don't have time to waste on these newcomers right now."

"No, Tom, this one is different," Paula Wagner shook her head. "I've met him. This young man exudes confidence and understands how Hollywood operates. Plus, he said that even top actors are just in the middle tier of Hollywood. This young man entered Hollywood only last year and has already established a production company, creating movies. Handling multiple projects in a year, isn't he worth getting to know?"

Tom Cruise sat on the sofa and picked up a newspaper, noticing several reviews and predictions about Sleeping with the Enemy. "Is this movie aiming for over $100 million at the box office?"

Paula Wagner nodded. "These low-budget, high-grossing films are rare gems for studios. Arthur Smith developed two such films in a year, making him a valuable connection for any studio."

"What exactly are you trying to say, Paula?" Tom Cruise asked, looking up.

Paula Wagner didn't hide it. "Arthur Smith mentioned that Galaxy Pictures has a script suitable for you, and there might be a collaboration next year."

"At least send over the script for us to review," Tom Cruise frowned. "You know how many scripts I receive each year!"

Paula Wagner smiled. "No rush. We have the Far and Away project, and Orion's financial crisis can't be resolved by just a couple of movies. It requires confidence from creditors and investors. I want to see how Arthur Smith chooses to proceed without the backing of Orion."

With Sleeping with the Enemy becoming a hit, it reached $45 million in half a month. Media predictions suggested that North American earnings would surely surpass $100 million.

Galaxy Pictures was smoothly progressing with two ongoing projects, Scream and To Die For. Arthur also took on an acting role in To Die For.

On the set of To Die For, Amy Pascal and Arthur sat on chairs. "How is it? Does acting feel different from producing?"

Arthur shrugged. "A bit, but filming an indie film isn't as tiring as action movies. Last year, I was an extra in The Two Jakes. I envied those with substantial supporting roles," Arthur reminisced.

"Now, Arthur Smith isn't an unknown name anymore. You've been involved in three released projects this year," Amy Pascal laughed. "Your adapted scripts are probably worth millions now, plus your million-dollar producer fees and post-release earnings, adding up to at least three million."

Arthur turned to look at Amy Pascal. "Here to persuade me on behalf of Columbia? Tracy told me many studios want to collaborate with me. You know that I have three ongoing projects and won't consider too much at the moment!"

Amy Pascal didn't beat around the bush. "Sony wants to sign a long-term cooperation agreement with Galaxy. For future Galaxy projects, Sony would have priority in investment and distribution, just like Castle Rock. Sony would also provide funding for Galaxy's projects, freeing you from financial and distribution constraints and allowing you to focus on development."

"Is that so?" Arthur had expected this. "Unfortunately, I refuse."

"Hmm, just like that..." Amy Pascal smiled, "What did you say? You refuse? With Columbia offering you financial and distribution guarantees, why?"

Arthur smiled. "Can Sony really provide funds without hesitation? Will they not interfere with my creative process? Will they not meddle in my choices of directors or actors? Castle Rock has several experienced producers and directors. Galaxy only has me. Having a backer is convenient, but I don't want to be restricted."

Arthur stood up. "Galaxy aims to integrate production and distribution. In such an opportune era, not seizing the chance would be wasteful."

Now, distribution isn't as hard as production, as the Paramount Decrees only recently became nominal. There are many chain theaters out there.

Although the Big Six have restarted investing in theaters, their scale is much smaller than before. The Paramount Decrees aren't abolished, and anti-trust laws still exist. Reagan-era entertainment policies rendered the decree ineffective, and the theater acquisition boom hasn't begun.

The Big Six don't yet prioritize independent films. With money, acquiring arthouse and foreign films for release is promising. 

Distributing films is cheaper than producing them now. Companies like Miramax, New Line, Newmarket, and Orion started with distribution and then tested the waters with low-budget horror films.

Securing distribution channels before the Big Six step in allows for a confrontation. When DVDs cause a boom, the Big Six will sign exclusive deals with chains using their steady annual output, raising purchase costs via their indie labels. Independent companies, often low on funds, can't compete for film sources. A single flop could bankrupt them or lead to acquisition.

"Arthur, there are countless distribution companies, but few are memorable. Most disappear after releasing one or two unnoticed films. Why take the risk?"

"Because I'm young and can afford to fail..."

*****

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