Chapter 2: Nicole Kidman
[Chapter 2: Nicole Kidman]
Despite Link knowing that Quentin's film would likely perform well, having been made for $1.2 million and earning over $4 million, he didn't feel anxious at all.
Having come from a different world, aside from carrying scripts and notes of hundreds of classic films in his head, he possessed an untested advantage -- an unseen box office subsidy system.
According to the system's indication, as a reward for his contributions to film art, every film he helped create could receive a box office subsidy -- at a minimum, doubling the amount based on the original timeline earnings.
The more he invested his time in the production process, the higher the subsidy.
This system only left him with a message in his mind when he transmigrated, and after that, it had never appeared again, making its actual existence something to verify.
He intended to use Buried to validate this information.
---
"Haha, director Link, congratulations on defeating numerous competitors to win the Jury Prize."
At the Sundance Film Festival party, Harvey Weinstein, head of Miramax Films, squeezed through the crowd, shaking Link's hand warmly.
Harvey Weinstein was a famous Hollywood producer, director, and screenwriter, branded as a film merchant.
In the late 1970s, he and his brother Bob Weinstein founded Miramax Films, acquiring films from around the globe for low prices, re-editing, and distributing them in North America -- analogous to gem appraisers in the antiques trade.
In recent years, the brothers had successfully acquired acclaimed films such as Italian film Cinema Paradiso, Irish-British co-production My Left Foot, and American film Sex, Lies, and Videotape, collectively earning over $100 million and causing a sensation in Hollywood, establishing Miramax as a leading independent production company.
However, their lowball offers during acquisitions led many filmmakers worldwide to harbor mixed feelings about them.
The positive sentiment stemmed from the brothers' excellent taste and precise market insight; being selected by them was an acknowledgment of their work.
The negative feelings arose from their frequent extensive edits that removed significant portions from original films. For instance, the director's cut of Cinema Paradiso was 173 minutes long, while the Miramax release was just 123 minutes, resulting in 50 minutes of the film being cut out.
Though the film grossed over $50 million in North America and won the Best Foreign Language Film at the 62nd Academy Awards, director Giuseppe Tornatore was far from pleased.
He publicly blasted Harvey for ruining his movie and swore never to let Miramax distribute any of his films again.
Seeing Harvey approach, Link smiled and shook his hand. "Thank you!"
"Director Link, have you found a distributor for Buried? How about handing the North American distribution rights over to Miramax?"
Harvey Weinstein, after the initial pleasantries, immediately seized the opportunity, seeking to acquire Buried's distribution rights in North America.
Link responded with a slight smile, throwing out a casual question. "Mr. Weinstein, I've heard Miramax was named after your parents. Is that true?"
Harvey paused for a moment before bursting into laughter. "That's correct! My mother's name is Mira, and my father's is Max."
"I'm sure they are proud to see Miramax thriving."
Link raised his champagne glass in a toast.
"Thank you!"
Harvey clinked glasses with him and patted Link on the shoulder, saying, "Link, let's get back to the film. I thought Buried was rather good. As a small-budget indie film, it is fairly novel among recent artistic films, showing some market potential.
I heard you produced this film with a budget of $100,000. I'll offer you $150,000 for the North American distribution rights. What do you say?"
Link chuckled. "Mr. Shaye offered me $400,000, but I didn't agree."
"Robert Shaye? He can't hold a candle to me! I can help get you an Oscar nomination; can he?"
Harvey Weinstein challenged with a wide grin, his tone exuding confidence.
Link swirled the champagne in his glass, maintaining his composure.
Robert Shaye was the head of New Line Cinema, one of the top ten independent film companies in Hollywood.
In terms of influence and distribution capabilities, New Line and Miramax were virtually head to head.
While Harvey had a slight edge in terms of Oscars, Link wasn't going to concede that easily.
For him, making money at this stage was vital.
Sipping his champagne leisurely, Link asked, "Mr. Weinstein, what do you estimate the box office for Buried will be?"
Harvey frowned, raising his finger. "One million, at most. Your film has an unusual concept, but being confined to a small wooden box with only one actor and few plain props makes for a dull background and dark atmosphere. How many people will spend $4 to watch such a film? I sincerely doubt it will be many."
Harvey swung his arm dramatically, emphasizing his point with conviction.
Link raised a finger, saying, "Mr. Weinstein, your proficiency and insight are renowned in the industry, and I hope to cooperate with you. But I have a suggestion. Would you be open to an idea?"
"Oh? What you got?"
"If it earns less than $1 million at the North American box office, I won't take a dime. If it exceeds $1 million, I'll take 40% of the earnings from every additional million earned."
"40%?"
Harvey frowned, deepening a crease between his eyebrows. It was the first time he encountered someone willing to engage in a wager on their debut distribution deal.
"Link, are you confident about this film?"
Harvey squinted, assessing him.
Link nodded. "Yes, I'm confident in my film, and I'm not afraid of taking risks. I'm sure you also heard about my bet with Quentin."
"Haha, betting a trophy against three films, you're quite the trickster!"
Harvey laughed, shaking his head.
Link replied, "Everything is voluntary. I didn't force him into it. The distribution of Buried is the same."
Harvey stroked his chin in contemplation. "40% is too high. No one in Hollywood would risk offering that kind of distribution cut. 20% is my bottom line."
Harvey estimated that the box office would hover around $4 million. If it hit that mark, he would pay Link $600,000, which was still significantly more than the acquisition price, although the distributor stood to make even more.
"Mr. Weinstein, since this is a wager, a little risk is imperative -- 35% is my respectful concession to you."
Link raised his glass, signaling his compromise.
Harvey glanced at him, putting forth a counteroffer of 25%. Link, of course, was not inclined to accept.
After several rounds of negotiations, they settled on a 30% cut. The additional stipulation from Harvey was that if Buried exceeded $5 million in box office, Link's next film had to be backed by Miramax for at least 20%.
Link insisted on a clause that required 50% of profit share to be paid within 45 days after the distribution period's end and the rest settled within six months.
Harvey Weinstein agreed.
---
"Link, how did the talks go?"
Nicole Kidman approached him with a smile.
She was clad in a black evening gown, her blonde hair falling over her shoulders, fair-skinned, and tall with long legs -- she was undeniably alluring, easily intimidating shorter men.
When casting for Buried, Link had sought someone stunning, with an alluring physique, and acting chops.
After much consideration, he picked Nicole Kidman.
Her fair skin glowed under the lights, and her beauty was captivating enough to hold the audience's attention for two hours without tiring. Moreover, being Tom Cruise's wife elevated her popularity even more, making her the perfect choice.
Initially, Nicole had shown little interest, considering it a novice's experimental work.
However, upon reading the script, she found the story intriguing, and the character's role challenging, so she agreed to participate for a mere $50,000 paycheck.
Link looked at the beautiful woman before him and smiled lightly, "Quite well! We've finalized our collaboration."
"You're passing Buried off to Harvey for distribution? He doesn't have the best reputation in the industry, so be cautious with that."
Nicole Kidman smiled softly.
"I'll be careful. Nicole, want to dance?"
Link offered, extending his hand.
"Of course!"
Nicole Kidman smiled slightly and placed her hand against his chest.
---
On Thursday, February 15, Buried premiered in 24 arthouse theaters across thirteen major cities in North America, earning $328,000 in its first three days with a staggering 80% occupancy rate.
The film also garnered incredible reviews.
The story told of a woman who was knocked unconscious by her drunk, abusive husband, subsequently confined to a wooden box and buried in an unmarked sand pile.
With only a cellphone and a flashlight, she wore a light nightgown as she called the police, her family, and friends for help.
Through a series of phone calls, the audience learns she came from a conservative small town, her husband impotent and prone to drunk driving and domestic violence.
The woman ended up in that situation after her husband discovered her affair with a lesbian, leading to an explosive confrontation.
As it unfolded, the tension built, ultimately delivering an emotional punch.
She revealed the truth to her parents, suffered taunts from the police and scorn from her husband over the phone, while friends expressed disapproval.
As the rains poured, search efforts failed, and with her husband too drunk to remember where he buried her, the woman had to find a way to save herself.
In the dramatic conclusion, fueled by anger and despair, she beat her fists against the wooden box.
The film had excellent pacing with a mix of tension and pacing, evoking strong emotional responses from the audience.
Especially during the climactic moments, when the lead character pounded her bloodied fists against the box, the sound echoed as if reverberating in the audience's chests.
Viewers watched, often with tears in their eyes and screams in their throats.
...
"It was amazing! The best movie I've seen this year!"
"I cried like a baby; it's a must-avoid for those overly sensitive."
"One actress, one box, one movie. Director Link deserves the Jury Prize at Sundance! He earned it!"
"Nicole Kidman's performance was stellar; she portrayed a powerful character -- this is her best movie to date."
"Plot? Sorry, I was too busy admiring Nicole Kidman; she was just so beautiful, lying in that box for more than an hour for us to enjoy. Ha! The director truly knows how to please us Nicole fans. I'm definitely watching it again!"
"The film was absolutely fantastic; it's a must-see."
...
In a CBS television segment outside a cinema, approximately 80% of the audience immediately rated it positively.
About 15% deemed it acceptable, citing a lack of polish; more investment could have made it a classic.
An estimated 5% gave it negative reviews, citing logical issues -- how could the phone and flashlight be in the box?
Prominent film publications like Variety and The Hollywood Reporter featured fair reviews from film critics.
Around 90% of critics rated Buried three stars or above.
They commended it as an incredibly bold experimental film with a carefully crafted plot and structure, lauding its originality and groundbreaking themes as it tapped into sensitive social issues related to marriage, gender relations, and societal prejudices.
Nicole Kidman's acting had reached new heights, demonstrating her potential beyond a pretty face.
Director Link received the most accolades, with critics noting his remarkable talent displayed magnificently, managing multiple roles on a limited budget.
...
Thanks to the media and critics, Buried had a sensational debut, generating over $3.37 million in box office during its first week of release in under 100 theaters, marking it as the 11th highest-grossing film that week in a typically quiet February.
For a film produced for less than $100,000 to earn $3.37 million in its opening week was extraordinary -- a return of 37 times the investment.
Though it wasn't a blockbuster hit, the results were mind-boggling, leaving many in the film industry astonished.
The media quickly branded Buried as "the year's biggest surprise hit."
Bolstered by significant media coverage, Buried's popularity skyrocketed, steadily boosting its box office revenue.
By the fourth week, the cumulative earnings reached $30.81 million, boasting an astounding 300:1 profit ratio.
Link and Buried gained substantial recognition worldwide.
Media outlets hailed him as "the most promising director of the new generation," "the director with the greatest potential," and "a frontrunner for next year's Best Director Oscar."
In stark contrast, Reservoir Dogs opened with only $330,000, expected to barely crest the $2 million mark in North America.
...
"Link, you won!"
Quentin's voice hissed through the phone, clearly seething with bitterness.
"Quentin, don't be down; your Reservoir Dogs is good too."
Link replied, smirking.
"Hmph! Don't need that from you! Next film, I'll definitely beat you."
Quentin responded sourly.
...
As the fourth-week results came in, Harvey personally approached Link, handing him three items.
A $10 million check from Wells Fargo Bank, the keys to a Rolls-Royce, and a house in Beverly Hills.
These were rightfully Link's, and he accepted them without a second thought.
...
Upon receiving the cash, Link got a congratulatory call from Nicole Kidman, suggesting a celebration.
He invited her over to his apartment.
By midday, Nicole arrived bearing a bottle of red wine, graceful as ever. After a few glasses of wine, the two rekindled their passionate encounter.
"Link, you're amazing,"
Nicole said breathlessly, lying on his disheveled bed.
"What do you mean?"
"Your film is incredible."
Link smiled, leaning down to kiss her lips.
"I'll tailor a film for you next year, aimed at securing you an Oscar nomination for Best Actress."
"Really?"
Nicole asked excitedly.
Link nodded confidently.
Nicole flipped over and kissed him deeply, leaning closer.
Excitement brewed in his apartment once more.
---
Knock, knock, knock! Knock, knock, knock!
Suddenly a loud knocking interrupted them.
"Who?!"
Link grumbled irritably.
"Sir, are you awake? It's time to check out."
*****
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