Chapter 523: Chapter 524: The Final Countdown
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[Chapter 524: The Final Countdown]
Eric Williams had been cornered by Peter Guber for nearly an hour. If he hadn''t had an important meeting to attend afterwards, Eric figured he would have beenpletely worn out by this guy by the end of the morning.
After sending Peter Guber on his way, Eric quickly arrived at therge conference room at Firefly headquarters. By this time, nearly all the department heads from Firefly''s film division had gathered, along with several high-ranking executives from overseas branches, totaling around forty to fifty people. With the arrival of the summer blockbuster season in June, it marked the busiest time for a film and entertainmentpany.
To avoid disrupting work, the management decided to hold the mid-year operational and financial summary meeting at the end of May. Since Firefly was not a publicly tradedpany, it did not require waiting for the formal mid-year financial report toplete the business summary and adjustments requested by the board.
The North American film market had performed tepidly in the first half of the year, with only Paramount Pictures'' Easter release of a film titled Indecent Proposal lucky enough to cross the $100 million mark. Firefly had released a total of seven mid to low-budget films in the first six months of 1993, with the best performer being a family adventureedy called Homeward Bound: The Incredible Journey, produced under the Disney brand and distributed by Buena Vista. It garnered over $43 million at the North American box office, but thebined box office total for all seven films was only $180 million.
While that figure seemed rather unimpressive, Firefly''s total revenue from video tape sales, peripheral rights operations, theme parks, Disney stores, and other business lines had reached $2.2 billion, with a pre-tax profit exceeding $250 million. That meant the revenue from box office ticket sales had ounted for only about ten percent of Firefly''s total
revenue.
Eric understood that if thepany truly achieved such a revenue proportion, it would be a healthier business model for aprehensive media group. This approach would also enhance a mediapany''s resilience to risks, lowering the chances of bankruptcy due to the failure of one or two films.
However, in reality, Firefly was far from that point. The temporary revenue split primarily resulted from the film industry being in a downturn for most of the first half of the year, with the hottest releases scheduled for thetter half, including the studio''s major films. Just thebined production costs of Jurassic Park, Deep Impact, and A Bug''s Life would exceed the production and distribution costs of the first half''s seven films.
...
The entire meeting continued until four-thirty in the afternoon. Although there was still half an hour until the workday ended, Eric had already nned to leave early. However, just as he packed up, Jeffrey Katzenberg stopped him, and behind him was Patrick Schneider, head of Disnend Paris. Due tost year''s major operational missteps at Disnend Paris, Eric and Katzenberg had initially nned to pull Patrick Schneider back to headquarters. However, after Patrick Schneider had improved operations at Disnend Paris, Eric and Katzenberg decided to allow him to stay for the time being.
Today''s meeting also addressed the state of Disnend Paris. In the first two quarters, the total number of visitors reached six million, bringing the park to a break-even point, with potential profits in the second half of the year. As a project that had been severely mismanaged during its development, Eric''s only requirement for Disnend Paris was to maintain financial bnce and not be a burden on the group. The prospect of turning a profit delighted him. In the original timeline, Disnend Paris had incurred billions in losses for Disney headquarters each year after opening, with few years of actual profit.
"Eric, it''s like this -- Louis Bartolo, the representative of the French investors for Disnend Paris, is also here in Los Angeles," Katzenberg stated matter-of-factly, "They are not too satisfied with the current situation and want to reim management rights for Disnend Paris."
Eric didn''t take the two back to his office but instead indicated for them to sit at the meeting table. He asked, "I remember we clearly outlined the situation at Disnend Paris to themst year. We made significant changes. Isn''t everything moving in a positive direction? Why would they still have that notion?"
Seated across from them, Patrick Schneider had the most insight into the matter. He answered, "Mr. Williams, the situation at Disnend Paris is indeed improving; however,pared to the profitability of Tokyo Disnend, the gap is still quiterge. The French are likely influenced by the way the Japanese have been able to operate Tokyo Disnend."
Eric scoffed in his mind. The French had a good n, but they didn''t consider whether they had the capability to pull it off. The sess of Tokyo Disnend stemmed from the Japanese''s recognition and admiration of American culture, something that didn''t exist in Europe. He recalled that in the original timeline, due to early massive losses at Disnend Paris, Disney headquarters was forced to relinquish control, resulting in years of stagnation and increasing burden for Disney. This alone ensured Eric would never give up control of Disnend Paris. Disney headquarters, after all, possessed rich operational experience, which enabled Disnend Paris to quickly adjust and improve within a year of recognizing issues. Handing it over to the French was a gamble he was unwilling to take.
"Regardless, we certainly won''t relinquish control of Disnend Paris," Eric asserted, looking at the two men. "Does Luis Bartolo want to meet me?"
"He invited us to a dinner tonight to discuss this matter. We''ve epted, since he''s here after all, just letting you know and seeing how we might handle this," Katzenberg said, fully aware that Eric would likely decline the dinner.
"I won''t be going," Eric shook his head, thinking for a moment. "Since the French are envious of Tokyo Disnend, if they really want control back, it''s not impossible..."
Before Eric could finish, Katzenberg interjected, "Eric, absolutely not."
Eric waved off Katzenberg''s objection, smiling as he continued, "Wait for me to finish! You know I''ve been dealing with Peter Guber for a while. If we outright refuse, I''m sure the French will continue to harass us. Let''s set a price. If they aspire to have control like the Japanese do, then they should buy back all our shares in Disnend Paris. We can structure it as an agreement simr to Tokyo Disnend -- just collecting royalties."
Katzenberg instantly rxed upon hearing Eric''s stance, while Patrick Schneider chimed in, "That''s a solid n. If the French are willing to buy back our shares, headquarters can shed this burden, and we can reliably profit from Disnend Paris. Even if Disnend Paris ultimately can''t sustain itself under the French, we won''t bear too much responsibility." Despite Disnend Paris showing signs of recovery, Patrick Schneider felt a weight on his shoulders as head of the park, constantly worried about a sudden downturn. If he could escape this burden and return to headquarters, he would jump at the chance, though he knew the likelihood was slim. The French wouldn''t be foolish enough to take on all the risks themselves, so Eric''s proposal effectively extinguished their desire to reim Disnend Paris.
Katzenberg added, "In that case, Eric, maybe you should join tonight''s dinner. It would be better for you tomunicate this proposal directly to Louis Bartolo. I can''t wait to see his face when he hears this."
Eric shook his head. "No need for that. Besides, Jeffrey, even with this condition as a shield, I''m sure you can effectively convey the details to him. No need for the French to be constantly
reminded of this."
"Alright, I understand," Katzenberg nodded, and after wrapping up the conversation, the three left the conference room, exchanging light banter.
...
As they walked toward the elevator, Patrick Schneider spoke up, "Mr. Williams, I heard thepany is nning to establish a new art film division specifically for making award-
winning films. Is that correct?"
Eric nodded, grinning. "Michael is currently in charge of nning that department. You''re not suggesting you want to self-nominate as head, are you?"
There were many Michaels, but Patrick Schneider understood that Eric was referring to Firefly''s CEO, Michael Lynn. "Certainly not, Mr. Williams. However, having been in France, I have good connections in that film circle. There''s an excellent young French director looking to break into Hollywood. He''s just in his thirties but has already received several Cesar nominations. It''s notable that he earned a nomination for his first feature film at the age of twenty-five -- a rare feat in the conservative French film industry, where it''s a hundred times tougher for young talent to break throughpared to Hollywood. What''s more impressive is that his work bnces bothmercial sess and artistic merit."
The three entered the elevator, and Katzenberg remarked, "Getting Oscar recognition is not easy for French directors unless they start their careers in Hollywood." Patrick Schneider was merely passing on information to Eric, fully aware of the truth in Katzenberg''s statement. As they were about to answer, they heard Eric ask, "What''s the name
of this director?"
"Luc Besson," Patrick Schneider replied.
Eric chuckled, "What a coincidence. I just happened to have seen his film, La Femme Nikita. It
was quite good."
If John Woo''s three trademarks in Hollywood were slow motion, character close-ups, and pigeons, Eric''s impression of Luc Besson''s "trademarks" was chasing, chasing, and more
chasing.
This wasn''t to say Luc Besson''s film style was singr; rather, in the films Eric had seen directed by him, there seemed to be an abundance of chase scenes. From the early La Femme Nikita, toter films like Taken and the inexplicably sessful Lucy, they all leaned heavily on that form, and yet audiences consistently engaged with the adrenaline-pumping
simplicity of those plots.
Contemting this, Eric asked, "Patrick, what''s this about Luc Besson wanting to develop in
Hollywood?"
Patrick Schneider replied, "He ns to make a hitman-themed film, shooting in New York, and is currently seeking coborators from our side."
Eric guessed it must be the film now known as Leon: The Professional, and felt a thrill. "Let''s have the production department reach out to him. I''ll look at the script. If it works, Firefly can handle the investment and production."
Patrick Schneider was taken aback by Eric''s on-the-spot decision but nodded. "No problem. He''s currently in Los Angeles, and I''ll get in touch with him tonight."
After exiting the elevator, the three said their goodbyes and each got into their cars.
...
As the driver hit the highway, Eric gazed out the window, lost in thought. The world''s trajectory had changed so significantly under his influence. While the director remained the same, and the lead actor was likely also the same, he couldn''t help but wonder if Mathilda was
still that same Mathilda.
As they passed a movie theater, Eric caught sight of the towering poster for Jurassic Park
stered on the outside wall and snapped back to reality. Jurassic Park was about to premiere -- now that was what mattered most.
The $25 million promotional budget had been fully utilized, and without hesitation, Eric had allocated another $25 million. With the sessful saturation release of Mr. & Mrs. Smith as a reference, he decided to raise the opening number for Jurassic Park to over 3,000 screens. Without a doubt, Jurassic Park would be the first film in North America to open on over
3,000 screens.
Now, Jurassic Park was entering its final countdown phase.N?v(el)B\\jnn
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