Chapter 10: Exchange of Interests

[Chapter 10: Exchange of Interests]

After delivering four pizza orders in the morning, Link rode his bike to the cinema at The Grove shopping center in Hollywood to gather some information.

In North America and Europe, the first quarter was known to be a slow season for the film market. During this time, there were not many blockbuster movies released. The theaters mostly screened low-budget, art-house, and independent films -- the kind of movies that were more niche. These films, despite having unstable box office income, had longer release cycles, allowing the theaters to negotiate better box office splits with distributors compared to the mainstream films. Thus, in North America, niche films became the mainstream during the first quarter.

Recent releases included Paramount's comedy film, Stop! Or My Mom Will Shoot!, Disney's animated classic, Beauty and the Beast, and the thriller, The Hand That Rocks the Cradle. Universal Pictures had Fried Green Tomatoes, while Columbia Pictures and TriStar released the fantasy adventure, Hook, along with Miramax's black comedy, Reservoir Dogs, among others. Films like Beauty and the Beast and Hook had been in theaters since late last year and were still running strong.

Currently, the overall box office totals for Hollywood movies were relatively mediocre. Only six films had exceeded 100 million dollars in North America over the past year, with the total North American box office sitting at just 4.3 billion. This was starkly different from twenty years later, where inflation and rising ticket prices allowed for three to four dozen films to surpass the 100 million mark annually, with overall totals exceeding 10 billion. Out of the films currently showing, only Beauty and the Beast, Stop! Or My Mom Will Shoot!, and Hook had hit the 100 million dollar milestone.

Box office figures for indie films hovered between 100,000 and 2 million dollars, with those exceeding 2 million being exceptionally rare. Quentin Tarantino's Reservoir Dogs had been in theaters for two weeks, raking in $946,000 at the box office, which, when combined with foreign markets, brought the total to approximately $1.8 million. Compared to its $1.2 million production budget, this was considered a moderate success in the independent film circuit.

Yet, the film's unique stylistic approach earned it the media label of "aesthetic violence," and it was quickly recognized as the best "B-movie" of the year, heralding a new era of aesthetic violence in Hollywood cinema. The film received high praise among industry insiders, and Tarantino had quickly risen to fame as one of Hollywood's notable young directors.

...

"Welcome!"

As Link entered the cinema at The Grove shopping center, a poster for Reservoir Dogs caught his eye. The poster displayed five men in sunglasses, dressed in black suits with skinny black ties, striding forward side by side, resembling the film's characters: Mr. Blue, Mr. Blonde, Mr. Pink, and others.

It was a weekday, and the lobby was not too crowded.

"Good afternoon, buddy. Is your manager around? I'm a director and would like to discuss something with him," Link inquired at the ticket counter.

"Director? What do you need to see our manager for? Sure, he's here, but I'm not sure if he has time to meet with you," the ticket attendant replied.

"Hey, you just need to let him know that someone who looks quite trustworthy has a way to boost theater attendance and wants to chat with him," Link insisted, sliding a $10 bill across the counter.

"You think you can boost theater attendance?"

"Of course. I never lie." Link shrugged casually.

The attendant pocketed the tip and picked up the phone on the counter to call the cinema's manager. As Link tapped his fingers on the counter, he kept his eyes focused on the attendant, finally seeing him nod and hear the confirmation that he would be up in ten minutes. Link let out a sigh of relief.

...

Ten minutes later, Link was guided by the attendant to the office on the upper level of the cinema. The hallway was dimly lit, and the sound of his shoes clicking on the floor made him a bit anxious.

He had always been more of a technical director and hadn't excelled at dealing with investors or engaging with theater executives. The thought of schmoozing with the wealthy had always left him uneasy. This also resulted in him having fewer opportunities to direct big-budget films in the past.

Examining the root of his hesitance revealed a lack of confidence in his own ability and an inaccurate read on market trends. He feared a movie might tank at the box office and leave him with no explanations to the backers. The worry of financial loss loomed large, especially affecting his career and reputation.

Now, with the introduction of a box office subsidy system, he felt more confident about the potential returns and quality of the movie, giving him fresh motivation to approach the situation differently.

Reaching the general manager's office, the attendant knocked on the door, and upon hearing an "Enter," he ushered Link inside.

...

The office was well-lit, featuring a sturdy wooden desk positioned near the floor-to-ceiling windows, strikingly similar to the one where Link had fantasized about being with Nicole Kidman in his dreams.

The cinema manager was seated behind the desk, reviewing some paperwork, angled slightly toward the windows, making it easy to see his features. He was a man in his mid-thirties, dressed in a brown shirt, with his hair slicked back in a style reminiscent of Al Pacino's -- thick and full, a rarity among men his age in the industry.

Before arriving, Link had learned that the manager's name was Jerome Preston, which sounded quite British.

As they entered, Jerome Preston set aside his papers, gave a slight nod to the attendant, then focused his gaze on Link.

"Good afternoon, Mr. Preston. I'm Link, a director. It's a pleasure to meet you!" he greeted politely.

"Hello, Mr. Link. I hear you have a brilliant strategy to boost theater attendance? I hope this isn't just a joke," Jerome replied, gesturing to the seats across from him.

"Of course not, Mr. Preston. I'm here to propose a partnership; jokes don't benefit me in any way," Link responded with a confident smile and took a seat.

The attendant excused himself and closed the door.

"Mr. Link, what's your strategy? Forgive me, but I have a lot on my plate. I prefer to get right to the point," Jerome continued.

"That's also my preferred style. Mr. Preston, I have two methods for boosting attendance: one is a short-term strategy that will see results within a month. The other is a long-term plan that requires months or even years of planning, which would you prefer to hear?"

Link opened a folder and placed it on the desk. Jerome's demeanor shifted as he observed the paperwork; his interest piqued.

"What's the short-term plan?" he asked.

"It's simple -- I have an unreleased film, and if the theater agrees to screen it, I guarantee a boost in attendance," Link explained seriously.

...

Jerome's expression shifted to one of skepticism, bordering on annoyance. Having heard discussions about boosting attendance from various marketing experts, he found it hard to believe that anyone could guarantee results like that. Out of curiosity and boredom, he chose to hear him out.

But upon meeting a seemingly inexperienced young man, Jerome felt more convinced that Link was just another dreamer with no practical strategies. Yet, seeing Link's calm demeanor and preparedness brought a flicker of curiosity to the conversation.

When Jerome leaned forward, anticipating more from Link, the promise of screening his film to guarantee higher attendance seemed absurdly presumptuous.

What was this ridiculous idea?

Since the 1940s, to avoid industry monopolies, the film industry had adopted a system separating agents, film production companies, and theaters. Directors no longer liaised with theaters directly and relied on distribution companies to handle those negotiations.

Now Link, claiming to be a director, was bypassing distribution companies and approaching him, boldly asserting that his film alone would increase ticket sales.

What gave this unknown director the right to make such claims? Even renowned directors like Francis Ford Coppola, Oliver Stone, and George Lucas wouldn't dare guarantee results. Steven Spielberg, for example, faced significant losses with Hook this year, losing upwards of thirty million.

Jerome Preston felt a surge of annoyance as he leaned back in his chair, taking on a darker expression.

"Listen, if that's your pitch, you should leave right now because I don't have time for nonsense," Jerome snapped.

"Mr. Preston, my short-term plan is legitimate. If you don't believe me, that's unfortunate, but in time, I hope to prove that I'm being honest. On the other hand, this is my long-term plan; I believe once you look it over, you'll be intrigued," Link replied, unfazed, pushing the folder across the table.

Jerome glanced back and forth between Link and the folder, hesitating for seconds before opening it.

*****

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