Made In Hollywood

"Although Sony Entertainment is an outsider, they have acquired Columbia Pictures."

In the café, Doug Walter put down his coffee cup, looked at Sony Columbia executive Milk Ince across from him, and said, "Warner Bros. and the other major studios recognize Sony Columbia's place in Hollywood."

Milk Ince nodded solemnly. "In maintaining our common interests and market share, Sony Columbia is aligned with Warner Bros. and the other major companies."

In fact, as early as last year, executives from the six major studios had met and reached a consensus on certain matters. Warner Bros., Paramount Pictures, Universal Pictures, Walt Disney, Sony Columbia, and 20th Century Fox compete with one another while cooperating but will never allow new companies outside the traditional forces to join their ranks and share the largest slice of the pie.

In this regard, the six companies, including the declining MGM, naturally stand united.

"Mil, Warner Bros. has already reached an agreement with Universal Pictures, Walt Disney, 20th Century Fox, and Paramount Pictures," Doug Walter went straight to the point, "This summer, just like the past two years, we will do our utmost—from promotion to distribution to theaters—to suppress DreamWorks!"

"Sony Entertainment has no objections."

It was clear that before coming, Sony Entertainment had already made a decision. "We will align with you on this matter."

Steven Spielberg is undoubtedly Hollywood's most popular director, but DreamWorks is not just Spielberg's. Even if it were, the major companies would show no mercy in suppressing it.

Now that even Universal Pictures and Paramount Pictures, Spielberg's closest collaborators, have joined in, Sony Columbia, represented by Milk Ince, wouldn't hesitate.

After finishing his coffee, Doug Walter continued, "DreamWorks has been established for several years now. David Geffen, Jeffrey Katzenberg, and Steven Spielberg are ambitious, aiming to grow DreamWorks into a major company. They are not just involved in live-action films but also animation, music, book publishing, and various other areas. Warner Bros. and Time Warner don't want to see a giant company rise and take a market share that should belong to us."

"Sony Entertainment doesn't want that either," Milk Ince echoed.

"DreamWorks' big production this year is Deep Impact."

Ordering another coffee, Doug Walter resumed, "The investment is as high as $80 million. If you include promotional expenses, it surpasses $110 million. If this project fails, DreamWorks' cash flow will undoubtedly face issues."

"Then let's do our best to make it fail."

Although Warner Bros.' The Matrix is Sony Columbia's main competitor, the competition between the two doesn't affect their cooperation on this matter. Both men tacitly avoided mentioning this. While The Matrix and Godzilla compete for immediate profits, DreamWorks' rise poses a severe threat to long-term interests.

This is just an ordinary example of the competition and cooperation in Hollywood.

After a brief meeting with Sony Columbia representatives, Doug Walter left the café. Once in his car, he made several calls to Universal Pictures, Paramount Pictures, and 20th Century Fox. Some individuals in these companies were also secretly collaborating to target DreamWorks' big production.

This is the simplest and most effective method: as long as the over $100 million investment cannot be recovered, even a company like DreamWorks, which seems financially strong, will face financial strain, perhaps even a breakdown.

"Doug." In the Universal Pictures office, CEO Ron Meyer spoke over the phone, "I've said it many times. Universal will align with the other companies. We only have one attitude toward DreamWorks: unless they abandon their current ambitions and transition to being just another production company, Universal will not change its stance!"

As soon as he hung up, Ron Meyer's assistant reminded him, "Mr. Spielberg is on the line."

"Steven?"

Frowning slightly, Ron Meyer immediately said, "Put him through!"

Universal participating in suppressing DreamWorks is one thing; collaborating with Spielberg is another. Ron Meyer has always hoped Spielberg would direct Jurassic Park 3.

"Hi, Steven."

In Hollywood, top directors are an absolute rarity. Just as Jeff Robinov treats Duke, Ron Meyer, even over the phone, wouldn't hold back his smile. "I was just thinking of asking you for a golf game…"

"What? Oh, no problem. That's just a small issue. Duke Rosenberg has had his time in the spotlight this summer. It's about time he had some bad luck! Don't worry; Universal will support your stance on the rating for The Matrix. As long as his film is anything like the previous ones, I guarantee it'll get an R-rating."

Ron Meyer remembered clearly that The Matrix was only a collaboration between Duke's studio and Warner Bros. How many of the other five companies with influence in the MPAA genuinely wanted to see this partnership succeed?

In Hollywood, secrets are few, especially in nearly publicized competitions. When Doug Walter learned of Michael Ovitz and Spielberg's collaboration to challenge Warner Bros.' summer blockbuster The Matrix, he wasn't surprised.

When he brought this up at Duke's studio, Duke was equally unsurprised.

This is Hollywood's norm. Sony Columbia actually considers Deep Impact one of its competitors; otherwise, they wouldn't have so readily agreed to this meeting with Doug Walter.

"We're also in contact with DreamWorks."

Sitting across from Duke, Doug Walter naturally said, "DreamWorks hasn't explicitly stated anything, but with Godzilla releasing in their third weekend, if Deep Impact underperforms, its theater count will inevitably be affected by Godzilla."

"So…" Duke nodded. "If the timing is right, they'll also target Sony Columbia?"

Doug Walter, experienced with such matters, said, "To achieve major success in a summer packed with releases, one must use every means to win the competition."

Duke wasn't new to summer releases and understood these principles. He frowned and asked, "Is achieving a PG-13 rating very difficult?"

"Unless you make significant edits to the film," Doug Walter sighed lightly, "Warner Bros. hasn't been in the MPAA long enough. Moreover, Duke…"

He smiled helplessly. "While the North American film market's total revenue grows yearly, the market size remains limited. The more share we grab, the less profit others make. The Matrix is just a collaboration between your studio and Warner Bros.; we won't get support from others."

"Doug, do your best to secure it," Duke said, massaging his forehead. "It's impossible to make major edits to The Matrix. If we can't get it, then an R-rating it is."

In its previous life, The Matrix was R-rated.

Doug Walter nodded and added, "Don't worry, Duke. We won't let our competitors have it easy."

Warner Bros. wasn't shy about employing tactics comparable to DreamWorks and Sony Columbia.

Resting his chin on one hand, Duke tried recalling information about Godzilla and Deep Impact. Both films had undergone changes compared to the originals, especially Godzilla. Although still directed by Roland Emmerich, it had become a Michael Ovitz package deal. Could this introduce variables?

Though Michael Ovitz was a failure as a studio head, his skills as an agent were not to be underestimated.

After some thought, Duke asked, "Doug, does Deep Impact feature Morgan Freeman?"

"He's one of the leads," Doug Walter replied, his eyes lighting up. "Have you heard the rumors?"

Duke shrugged. "Some rumors can be deadly for both actors and films."

The veteran Black actor might seem the perfect gentleman, but Duke vividly remembered some jokes that circulated about him in the past were grounded in truth. Compared to Woody Allen, his actions were far worse. This wasn't the 21st century yet, and society's tolerance wasn't as high as after the internet explosion.

A leading actor embroiled in scandal could bring a film under boycott—not an uncommon occurrence.

Deep Impact releases the weekend before The Matrix. If its box office performance is poor, its theater count will undoubtedly drop significantly in its second week under the suppression of the six major studios. This would allow The Matrix to secure more theaters.

The number of theaters directly affects a film's box office performance.

As Warner Bros.' largest individual shareholder, suppressing DreamWorks' rise was naturally Duke's choice.

"Warner will handle this," Doug Walter said, preparing to leave. "Duke, Warner hopes you can finish the film earlier to facilitate test screenings and promotions."

Duke nodded. "No later than April 10."

"Are you attending this year's Oscars?" Doug Walter asked.

"Me? I'll pass."

Knowing Warner wanted it for promotional purposes, Duke shook his head but suggested, "Try securing presenter slots for Keanu Reeves and Charlize Theron. Lead actors generate more buzz than directors."

Even the choice of Oscar presenters involves backstage maneuvering by studios and agencies