Chapter 145: The Clubhouse
[Chapter 145: The Clubhouse]
After finishing a round of golf, Link soaked in the club's hot tub and changed clothes. He then followed Jerome and a few others to the clubhouse, where they enjoyed drinks and chatted with members of the "Eagles" club.
During their conversation, Aaron Kutz brought up a recent article in Hollywood Reporter, which revealed the insider details of Guess Pictures' acquisition of Trimark Pictures. The article was based on information gathered by a seasoned reporter from within Trimark, and the publication deemed it significant enough to boost their sales.
At the time the article was published, a similar investigation in the Los Angeles Times had not yet been released. Consequently, the two articles coincided, causing a significant stir in the entertainment world, which impacted Link and the box office performance of the film The Blair Witch Project.
Aaron Kutz, representing the publication, apologized to Link about the situation. Link waved it off, indicating it was no big deal. They had only met a couple of times prior, so he couldn't hold a grudge. Hollywood Reporter was a major publication, free to report on the truth without fabrication. If he were to blame anyone, he couldn't just put it on them.
The leeway the Los Angeles Times had also fell into a collateral damage situation. Over the past six months, Guess Pictures had worked closely with the LA Times, promoting new movies and engaging in business transactions exceeding a million dollars. A thriving Guess Pictures benefitted the LA Times as well.
According to their understanding, if they knew The Blair Witch Project was connected to Guess Pictures, they would have given them a heads up before publishing or hold off on the article. However, since The Blair Witch Project was officially released through Trimark Pictures, that was the main reason the Los Angeles Times ran the investigation. Once they confirmed Trimark Pictures's acquisition, Ross Stanton, the entertainment editor at the LA Times, called Link to explain that they would work with Guess Pictures to mitigate any negative fallout from the article. He also reiterated the cooperative relationship between Guess Pictures and the LA Times, expressing hope that the misunderstanding wouldn't affect their partnership.
After Link received the apology, he brushed it off.
...
"Link, I initially thought that article was something you orchestrated, but hearing Aaron's explanation cleared things up," Jerome Preston joked.
"Why would I leak such news? Just for kicks?" Link chuckled.
"Come on! Everyone knows Richard Gere and Robert Downey Jr. are your rivals, yet they publicly backed The Blair Witch Project. If you published the article, they'd be eating dirt. That sounds like a perfect way to get back at them!" Jerome teased.
"Sure, that would be satisfying, but it would also hurt The Blair Witch's box office. I wouldn't do something that jeopardizes my earnings," Link replied while swirling his drink and laughing.
"So, is it true that you actually directed The Blair Witch Project?" Graydon Carter asked, astonished.
"Nah. I was the screenwriter, producer, and executive producer, but not the director," Link insisted. Even if the public believed he directed the film, as long as he didn't admit it, no one could call him a liar.
"Ha! Graydon, just drop it. Link's refusal to admit it makes sense. The film might have a great box office, but the reviews were terrible. It was worse than Paranormal Activity! The marketing strategy also had significant flaws. If Link were the director, I'd be concerned about the backlash affecting his future projects," Jerome chimed in.
"Exactly! Compared to Paranormal Activity, The Blair Witch Project was a colossal failure. Those shaky cam scenes made me want to vomit. If that were Link's film, I would have serious hesitations about seeing his work again," Aaron Kutz expressed, his face displaying clear disdain for the movie.
"So, did you really direct it?" Graydon Carter asked, astonished, looking at Link. "It's incredible! The production cost of your first movie was $20,000, the second $20,000; did the third even reach $50,000? Each film's budget was so low, yet the box office was astonishingly high. You've mastered the art of low-budget filmmaking. A guy like you, Link? Hollywood won't find another."
"It's not that grand. I focus on marketing to enhance the film's visibility, but that results in extremely high promotional costs, sometimes in the millions, surpassing countless film production budgets. Essentially, I redirect funds typically reserved for shooting into promotional efforts. Consequently, it doesn't carry the best reputation. You should have heard the nickname that everyone gave me: the second Ed Wood," Link chuckled.
"Well, regardless of film art or any other art form, it's ultimately all about capital. In the entertainment industry, making money eclipses any honor. Those directors who have won Oscars would probably jump at the chance to direct a film like Paranormal Activity or The Blair Witch Project if it lined their pockets. Too bad they can't," Aaron Kutz remarked.
"I agree with that," Jerome laughed.
...
As the four chatted, several people wandered over to say hello. Since Link had recently made it onto the Forbes 400 list of wealthiest Americans and was a well-known director in the industry, many wanted to greet him.
These included fellow filmmakers, media personnel, bank execs, corporate leaders, and a few older stars -- virtually a who's who of middle to upper management across various fields.
Thanks to Graydon Carter's introduction, Link had the opportunity to meet Jay Moloney, a partner at CAA, who held a vice-presidential level position. Jay was a tall, slim middle-aged man in his forties, dressed in an upscale suit, and carried himself with an impressive demeanor. He ranked ninth in CAA's management structure, overseeing the representation of artists.
Upon meeting, Jay proposed a one-on-one conversation. Link followed him, drink in hand, to a seaside terrace.
...
It was early afternoon, and the sunset painted the sky, with distant waves meeting the horizon. A few seabirds scavenged along the shoreline, and the rhythmic crashing of waves against the cliffs resounded from miles away, creating a majestic ambiance.
"Link, after the success of Buried last year, I attempted to reach out to secure your representation, but unfortunately, our efforts fell short. WMA got to you first," Jay Moloney explained.
Link smiled. After Buried's debut early last year, CAA, WMA, and ICM all put out feelers to sign him. After understanding his requirements, CAA and ICM backed off, leaving only Sam Haskel from WMA to pursue him after winning over the higher-ups.
It wasn't that he chose not to go with CAA; it was that CAA did not choose him.
"I heard CAA operates with strict internal management. I'm a bit laissez-faire; I don't think I'd fit into CAA's style."
After becoming the leading talent agency, CAA turned somewhat domineering, venturing beyond talent representation to meddle in production and distribution. They practiced a 'bundled sales' approach when partnering with production companies.
With a vast roster of renowned directors, top-tier stars, and award-winning screenwriters, they practically monopolized celebrity resources in Hollywood. They would proactively help their clients select promising projects.
Once a project was chosen, they'd pre-establish the film's director, lead actors, and supporting roles before selling the package, screenplay included, to the production studio. If the studio accepted, they'd collaborate; if not, CAA would simply take their business elsewhere.
Such strategies severely undermined the production companies' rights and led to growing resentment towards CAA. Had Link initially signed with them, he wouldn't have had to publicly cast roles; the CAA higher-ups would have made those decisions for him if necessary, possibly even replacing him.
Because of CAA's management structure, individual freedom was considerably limited. Thus, Link emphasized that he wouldn't fit into CAA's style.
*****
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