Chapter 189: Another One Snatched Away
Chapter 189: Another One Snatched Away
Eric’s sudden rise absolutely counted as a unique anomaly in more than half a century of Hollywood history. This was not referring to how exceptionally brilliant Eric’s films were. In fact, upon closer examination, several of Eric’s movies—including Home Alone, Pretty Woman, and Running Out of Time—did not possess many outstanding artistic highlights, nor did they contain particularly groundbreaking innovations.
However, after several of Eric’s films consecutively achieved astonishing box office results, aside from the media outlets that eagerly analyzed and discussed why Eric’s films had attained such enormous commercial success in order to attract attention and boost sales or ratings, all the major film companies internally gathered professionals to conduct detailed analyses of Eric’s movies. Many of those conclusions would gradually manifest in Hollywood’s film market over the next few years. For example, there would certainly be an increase in child-oriented live-action films, more Cinderella-style romance movies, and even a small wave of cat-and-mouse police crime films.
Disney naturally was no exception in studying Eric’s films. But after reading the various analytical reports on Eric’s movies, Michael Eisner quickly realized that the reason Eric’s films repeatedly created box office miracles was not because they perfectly catered to children’s market demands or captured young women’s fantasies about Cinderella romances, as those reports claimed. The most important factor was Eric himself.
He arrived at this conclusion because none of the films Eric had participated in so far shared any similarities in genre. There was absolutely no discernible pattern. 17 Again was a youth campus film, Home Alone was a children’s comedy, Pretty Woman was a romance film, while Running Out of Time became a police action film. These completely unrelated genres had all succeeded. If one had to identify the greatest common denominator, then Eric himself was undoubtedly the most obvious one.
All of those film projects had been orchestrated by him personally. Of course, 17 Again was a Fox film, but if people mentioned it now, no one would believe its success came from James L. Brooks and Penny Marshall. Eric Williams was the key figure behind the film surpassing one hundred million dollars at the box office.
Thus, after reaching this conclusion, Michael Eisner paid even closer attention to every move Eric and Firefly made, always ready to win Eric over. If he could bring Eric under Disney’s banner, even better.
He was an extremely ambitious man. And as Disney continued to grow stronger, that ambition expanded as well. However, Michael Eisner had not yet become the stubborn and arrogant “Disney tyrant” who would eventually be disgracefully forced out in the future. Thanks to the achievements he had made over the past few years, his prestige within the Disney Group was currently unmatched.
Everyone knew Disney had risen through animation. Although Michael Eisner, after taking office, had placed heavy emphasis on developing live-action films, he also understood that animated films remained Disney’s greatest advantage. Maintaining Disney animation’s dominant position in Hollywood was absolutely necessary. While developing live-action films over the past few years, Michael Eisner had also carried out a series of efforts to expand Disney’s animation business, such as arranging videotape releases for many classic Disney animations and expanding licensing for character merchandise rights, all of which had achieved dazzling results.
Therefore, as Eric’s brilliance became increasingly impossible to ignore, and after he secretly acquired a 3D animation studio, Michael Eisner gradually began to view that studio with caution.
To many people, 3D films were still a completely unfamiliar concept. Until recently, Michael Eisner himself knew very little about 3D films. But with historical precedents such as sound films replacing silent films and color films burying black-and-white cinema, Michael Eisner could not help taking the matter seriously. He vaguely sensed that 3D films might once again bring about a revolutionary industry-wide trend.
Because of this, he once more watched Pixar’s Oscar-winning animated short Tin Toy together with Disney’s animation department executives. Although the baby character in Tin Toy was extremely crude, causing Disney’s veteran animators to sneer at it dismissively, the computer graphics experts Disney had specially invited from Silicon Valley carefully analyzed Tin Toy and explained a series of technical challenges and breakthroughs to Disney’s executives. They also stated that with sufficient financial support, Pixar’s technology was already fully capable of producing a 90-minute or longer 3D animated feature film whose quality would not fall far behind traditional 2D hand-drawn animation.
Recalling the words of that Silicon Valley computer expert, Michael Eisner looked at the slippery young fox before him, who stubbornly refused to budge no matter what, and knew Disney interfering with Pixar directly was impossible. Yet building Disney’s own 3D animation division could not be accomplished overnight either.
“Eric, how about this? Pixar is already producing animated feature films, right? When the time comes, let Disney handle the distribution,” Michael Eisner suggested. Since he could not get involved with Pixar directly, he instead developed the idea of securing the distribution rights for the first 3D animated feature film. At the very least, that would keep the situation within Disney’s sphere of control.
Eric smiled. “Mr. Eisner, why rush things now? Pixar’s first animated feature won’t even be completed for at least another two years. Signing a contract now would force both sides to shoulder significant risks.”
Michael Eisner led Eric to a sofa and sat down before continuing patiently, “Eric, you haven’t been in Hollywood very long, so there are many things you still don’t fully understand. In truth, most major productions already secure distribution partners before filming even begins. That’s to ensure the investment can be recovered within the shortest possible timeframe. An animated feature costs at least thirty million dollars or more to produce. I imagine 3D animation would require even more. With that kind of investment, if you don’t prepare everything in advance, the risks later will only be greater.”
There were also things Michael Eisner left unsaid. For example, if the animated film ended up being terrible and no distributor wanted it, then tens of millions of dollars would go down the drain. Signing a distribution contract in advance could prevent that scenario. Even if the movie turned out awful, at least part of the costs could still be recovered. But he did not believe Pixar would produce a bad film under Eric’s supervision.
Eric gently swirled his wineglass and pretended to ponder for a moment before raising his head. “Mr. Eisner, all I can say is that when the time comes for distribution, Disney will definitely be my first choice.”
Which essentially still meant he promised nothing. A first choice was only a possible choice. In Hollywood, more often than not, the first choice rarely became the final choice.
While disappointed, Michael Eisner also felt a trace of anger. As Disney’s leader, very few people dared reject him so bluntly and repeatedly anymore. Although he did not lose control and display it openly, his tone nevertheless became noticeably colder.
“Eric, you should understand that offering such generous revenue-sharing terms for The Others and Steel Magnolias has already placed considerable pressure on me within Disney. So you need to at least give me something I can report back to the board. Your distribution partner for next year’s films still hasn’t been finalized, correct?”
Eric immediately sensed the dissatisfaction in Michael Eisner’s tone. Originally, he had no intention of seeking another distribution partner. Negotiations with New Line were already nearing completion, and next year Firefly would definitely focus on developing itself. However, thinking about the future, if Firefly wanted to rise, it would inevitably face pressure from all directions. Removing even one potential enemy was beneficial.
After thinking for a moment, Eric reluctantly raised one finger. “One film, Mr. Eisner. You know Firefly’s development direction, so I can only give Disney distribution rights for one film. But that won’t include videotape or merchandise rights.”
“One personally directed by you?” Michael Eisner revealed a trace of delight, though he still carefully confirmed it once more.
“Of course,” Eric nodded.
Michael Eisner finally smiled slightly and raised his wineglass. “Then, happy cooperation.”
“Happy cooperation,” Eric replied with a smile as he clinked glasses with him.
He knew the cooperation was now effectively settled. In Hollywood, many people’s words were no more reliable than passing gas. If you believed everything, you would eventually get cheated out of even your underwear. Yet sometimes spoken promises carried even more weight than contracts. Like now. Since he had already made the commitment, backing out later would mean becoming enemies with Disney.
Having gotten what he wanted, Michael Eisner stopped pressing Eric and, after offering a few reminders, gracefully departed to mingle with the other guests.
Watching Michael Eisner’s departing figure, Eric sighed softly and took a heavy swallow of wine whose taste he could no longer distinguish.
“Eric, so you were here. I’ve been looking everywhere for you,” Jeffrey hurried over not long after Eric finally found some peace and quiet, wiping the fine beads of sweat from his forehead with a handkerchief.
Eric shifted slightly to make room for Jeffrey and asked, “Didn’t you say you were going to discuss the acquisition with Robert Shaye and wouldn’t be coming?”
“Finished talking. There really wasn’t much left to discuss,” Jeffrey shook his head. Then, noticing Eric’s lingering gloomy expression, he asked, “What’s wrong with you? Disney offered such generous revenue sharing. Shouldn’t that be something worth celebrating?”