Arthur Smith's Hollywood Odyssey

[Chapter 605: Speed 2: Cruise Control]

After Arthur spoke with Luc Besson, he met with Howard Stringer, the chairman of Sony America, as well as Nobuyuki Idei, the president of Sony. Over the past few years, Sony had undergone effective reforms under Idei's leadership. However, the CEO position still remained with Norio Ohga, meaning that Sony was effectively being managed by both men in tandem.

In Japan, the president held significant power. Though the title of CEO was introduced to align with international practices, it did not wholly diminish Ohga's authority, as a considerable amount of power still rested with him.

In 1994, Sony had developed the world's first high-brightness, green LED plasma display. The following year, they launched the Digital Handycam line of home digital camcorders and Cybershot digital cameras. Last year, Sony began collaborating with Intel to produce VAIO desktop and laptop computers. This year, they even released a DVD player. Sony's manufacturing capabilities remained as formidable as ever.

...

Later that night, back in his penthouse apartment at MGM Tower, Arthur reflected on Luc Besson's science fiction blockbuster. Just breaking even at the box office was often enough to guarantee profitability, especially with television rights, video sales, and the emerging market of DVDs all contributing to the bottom line.

Sophie Marceau poured Arthur a glass of brandy as she settled onto the sofa, chuckling, "So, are you regretting MGM's lack of investment in The Fifth Element?"

Arthur shook his head and took a sip. "There's no regret, really. In fact, I admire Gaumont's courage. French films have never had much of a market in Hollywood; they're typically reserved for award ceremonies."

Gaumont's willingness to invest $90 million in Luc Besson's film was remarkable -- at that point, that was more than 500 million francs. Who else would dare to make such an investment, aside from Hollywood productions? Even though Sony Columbia contributed, the lion's share still originated from Gaumont. Were they aiming to revitalize French cinema?

"You've seen how The Fifth Element performed in the North American market; it wasn't great," Arthur noted, glancing at Sophie. "I heard the Cannes Film Festival is giving The Fifth Element a grand showcase, right?"

Sophie nodded, "It's not just big; it's spectacular! Gaumont built about 9,300 square meters of screening area at Cannes, and all the guests received a Swatch watch themed after The Fifth Element as their ticket to enter the screening. Not only that, but there was also a futuristic ballet performance, a fashion show by Jean-Paul Gaultier, and a fireworks display!"

Sophie exclaimed, "The premiere for The Fifth Element was indeed grand and impressive!"

Arthur finished his drink, "Gaumont really went all out. The production cost for The Fifth Element alone was $90 million. Adding marketing expenses, the total cost wouldn't be less than $100 million."

For what Sophie had just mentioned, Gaumont must have spent at least a couple of million dollars to make it happen.

Sophie cuddled close to Arthur. "The English Patient grossed $230 million worldwide. The level of acclaim for it being Oscar's Best Picture was quite unexpected!"

Arthur kissed her. "Most of that was due to the international gross; it brought in $150 million. By the way, Juliette Binoche won Best Supporting Actress at the Oscars, but she was awarded Best Actress at both the Berlin and European Film Festivals."

Sophie wrapped her arms around Arthur's neck. "Why did you submit her for supporting actress?"

Arthur held her waist and laughed while explaining, "The decision was made based on the situation at that time. In The English Patient, Kristin Scott Thomas and Juliette Binoche had similar amounts of screentime. The distinction between lead and supporting actress is rather blurry. The determination mainly depended on the scenario; perhaps it was thought easier for Juliette to win in the supporting category."

"Hmm," Sophie smiled, playfully blowing a little puff of air in his direction. "You see, if you wanted to, you could develop works with artistic merit. Galaxy already has enough commercial hits. It would be great to produce more deep, thoughtful films."

Arthur nodded, "You've got a point there. After winning Best Picture again, the praise for Galaxy has only increased. Now, many filmmakers are calling for more investment in art films from Galaxy, and there are discussions with United Artists regarding this. They're likely to increase the distribution of European art films."

After all, many filmmakers viewed commercial movies as mere products. To them, true cinema should represent something meaningful.

...

Meanwhile, the highly anticipated fourth Batman film, Batman & Robin, had hit theaters. It opened in 2,934 theaters across North America, but its debut weekend grossed only $42.87 million, which was a drop from the $52.78 million opening of its predecessor, Batman Forever.

Most critically, Batman & Robin had received scathing reviews, from its over-the-top character designs to poorly executed writing and production.

Back in the MGM office, Arthur sat in his chair, flipping through the newspaper, feeling a sense of lament over the Batman & Robin coverage. The first Batman film had been directed by Tim Burton and released in 1989. It had been a sensation at the time; Arthur vaguely remembered participating in Burton's film, Edward Scissorhands, that same year.

At that moment, Amy Pascal walked into the office and noticed the newspaper in Arthur's hands, chuckling, "Warner Bros. really messed this one up!"

"Yeah, they really dropped the ball. How could a superhero movie turn out so poorly?" Arthur shook his head.

"The script for the fifth Batman film will undoubtedly be shelved by Warner Bros.," Amy remarked as she took a seat.

"By the way, is there something you wanted to discuss?" Arthur asked.

Amy smiled. "I have a sequel script I'd like your opinion on!"

"What film is it for?" Arthur set down the newspaper and looked at Amy.

Amy shrugged playfully and pulled out a script from her bag, handing it to Arthur. "It's the sequel Speed 2: Cruise Control, adapted by the original director Jan de Bont."

*****

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