Chapter 418: Working with a Con Artist

Duke wasn't the only one. The special-mission team went on to approach quite a few other people in Hollywood. In their most extreme session, they gathered dozens of industry screenwriters, directors, and producers for a roundtable meeting, letting their imaginations run wild as they discussed how to destroy America.

Hollywood had taken a massive hit since 9/11. The slump in the theatrical market alone turned plenty of films into victims. Movies released right around the time of the attacks undoubtedly became casualties, while others scheduled for release scrambled to change their dates.

The Fellowship of the Ring took a hit as well. Its North American theatrical run, which had already been winding down, saw its single-day box office plunge below $100,000 overnight, making it highly likely that its final domestic gross would fall short of $470 million.

Merchandise sales suffered just as badly. In the two weeks following 9/11, North American merchandise brought in just over $2 million in total—less than a third of the sales from the single week prior.

The entertainment industry was merely a microcosm of the North American economy. The economic climate across all of America suffered a severe setback, with the fallout even spreading across the globe.

Grief lingered, but life went on all the same. Regardless of how the Federal Government pinpointed Bin Laden as the mastermind behind the scenes, Duke kept his focus squarely on his own work.

Outside of work, he also received calls from plenty of people reaching out specifically to thank him.

Thanks to his tip-off and the unexpected shooting, Christophe Rocancourt hadn't yet transferred their investments, meaning the money would soon be returned to its rightful owners. Meanwhile, the con artist—still lying in a hospital bed—and his ex-girlfriend Jessica Alba became the targets of their fury. Word from Frank Pierson indicated that these people were determined to put the pair in prison.

Duke wasn't innocent himself, though on the surface, he was also one of the victims, subtly placing him in the same camp as the rest. Out of the nearly fifty people who had been defrauded, forty called to thank him, clearly acknowledging the favor they owed.

This was especially true given that their ranks included plenty of conservatives like Frank Pierson.

All of this would prove a valuable asset in the future.

Conditions across North America didn't begin to improve until November. Although 9/11 would remain etched as a permanent scar on the nation and the public, time was enough to let people temporarily move past it. Even so, until the pain of that wound completely faded, the smarter people in Hollywood steered clear of any content or subject matter involving the World Trade Center or airplane terrorist attacks.

Over the next few years, any director who made a movie on the subject either had a screw loose or, like Michael Moore, had an ulterior motive.

"The global box office for The Fellowship of the Ring has already passed $1.1 billion."

In an office at the Artists Management Company, Martin Bob looked grim as he spoke to Michael Ovitz. "Judging from the current trend, the film's final gross will stay right around this level without any significant growth, but that's still more than our two packaged projects combined."

Compared to Martin Bob's heavy tone, Michael Ovitz sounded fairly optimistic. "We should look on the bright side, Martin. Fast & Furious pulled in $126.5 million in North America and $51.02 million overseas for a global total of $177.52 million. That already proves what the Artists Management Company can do!"

Bringing in box office numbers like that on a $38 million production budget—plus the subsequent merchandise revenue—was a result plenty of companies across Hollywood would envy.

"But—"

Martin Bob wanted to say more, but Michael Ovitz raised a hand to cut him off. "Pearl Harbor did fall short of expectations, sure, but over $172 million in North America and $410 million worldwide is more than enough for us to answer to Disney. Don't forget, once you factor in DVD and television broadcast rights, the project will actually still turn a profit."

"Still..."

Catching the look in Ovitz's eyes, Martin Bob could only swallow the rest of his words. Even if you added the box office of those two films together and multiplied it by two, the total would barely match a single movie from their archrival, Duke Rosenberg. How could that possibly be called a success?

Although they and Disney had deliberately moved up Pearl Harbor's release to avoid going head-to-head with his The Fellowship of the Ring, deep down they had always harbored hopes of beating Duke Rosenberg just once. Yet reality had proven brutal all over again!

"Martin..." Michael Ovitz suddenly let out a long sigh. "At this point, we have to admit that we made a mistake back at CAA. We overlooked the very person we should have valued most."

Martin Bob naturally knew who Ovitz meant. At the thought of the name that had haunted him like a nightmare all these years, his brows knitted into a tight knot.

If they had Duke Rosenberg, would so many films have fallen short of expectations? If they had Duke Rosenberg, would he have been forced to step down from CAA in disgrace?

The answer was obvious.

Yet Martin Bob also knew full well that, given their fundamental differences in philosophy, even if they had kept Duke Rosenberg back then, they would have inevitably parted ways in the end.

Both he and Michael Ovitz were agents with an overwhelming need for control, while Duke Rosenberg was notoriously averse to being bossed around. How could the two sides not have clashed?

"Michael, will Pearl Harbor affect our upcoming partnership with Disney?"

That was what worried Martin Bob the most. "Even though it turned a profit, the profit numbers..."

"Rest assured, it won't have much of an impact," Michael Ovitz said with complete confidence. "Disney today isn't the Disney of a few years ago. Out of his own selfish interests, Michael Eisner drove out Robert Iger, who had the best relationship with Duke. There's virtually no chance of the two sides working together now, and Disney's already fragile live-action film production is completely mired in trouble."

He tapped his fingers lightly on the desk. "On the animation side, Disney Animation's profits are basically being propped up by Pixar Studio right now. You might not have noticed, but Pixar and Disney are right on the verge of a split. The personal conflict between Michael Eisner and Steve Jobs is beyond repair, and word has it that Steve Jobs is preparing to find a new distributor for Pixar."

A wave of inexplicable satisfaction washed over Michael Ovitz. "Eisner's hold on his seat is already shaky. If he loses our support on top of that, I doubt he'll last more than a few years."

Only a handful of people, himself included, knew that Michael Eisner's ambition went beyond building Disney into a media empire—he wanted that media empire to bear his own name from here on out!

Although Walt Disney had long ceased to be the Disney family's Disney, it wasn't Michael Eisner's Disney either.

The tyrant of Disney knew he still had a long road ahead of him.

"Steve Jobs still refuses to back down?"

Sitting in his spacious office chair, Michael Eisner looked across at Dick Cook. "We can't make too many concessions on the new contract."

Back then, Pixar Studio had signed a five-film animated feature distribution deal with Disney all at once under extremely harsh terms. Steve Jobs had been backed nearly into a corner at the time; otherwise, how could he possibly have agreed to it?

Disney didn't just take a distribution fee; under that agreement, they pocketed nearly eighty percent of all proceeds from the films, merchandise included!

Now that Steve Jobs had caught his breath, there was no way he would continue to tolerate a contract like that.

"But Steve Jobs is taking a very hard line," said Dick Cook, who was leading the negotiations and hated being caught in the middle. "He claims that if we don't give ground, Pixar will choose a new distributor once the contract expires."

"A new distributor?" A cold smile tugged at the corner of Michael Eisner's mouth. "Who could he possibly choose? What other company can expand the market for animated films to an infinite scale the way Disney does!"

Dick Cook waited a moment before replying, "Jobs claims that Duke Rosenberg is a major Apple shareholder and that the two of them share an extraordinary friendship. According to him, the man is willing to help bring Pixar Studio into Warner Brothers' distribution network."

"Duke? Warner?" Michael Eisner frowned.

The fact that Duke Rosenberg was an Apple shareholder was no secret to well-informed insiders. Eisner had heard people mention that when Duke attended Apple's shareholders' meeting, he had spoken at length with Steve Jobs. It was hard to say whether their conversation had touched upon the future of Pixar Studio.

After Toy Story 2, Pixar Studio held extraordinary significance for Disney; calling it the pillar of Disney Animation was no exaggeration at all.

"Would they really team up?"

Michael Eisner's question sounded more like he was talking to himself, and he didn't expect Dick Cook to have an answer—yet he knew the possibility was real.

Disney could not afford to lose Pixar Studio! Michael Eisner was dead certain of that.

"If I remember right, Harry Potter and the Sorcerer's Stone is coming out soon?"

Hearing Michael Eisner's question, Dick Cook answered at once, "Yes, it opens simultaneously in Britain and America in a week."

Michael Eisner nodded and thought for a good while before saying, "Didn't the Harry Potter Studio only sign a contract with Joanne Rowling for the first three books? Have someone get in touch with Joanne Rowling and find a way to secure the adaptation rights to the later installments..."

He paused mid-thought. "Actually, hold off for now. Wait until after Harry Potter and the Sorcerer's Stone hits theaters before approaching her."

If the first installment of the series succeeded, they would naturally jump into the fight for the rights—at the very least, it would divide the attention and energy of Duke Rosenberg and Warner Brothers. And if it failed, they could simply sit back and watch Warner make a fool of itself.

Dick Cook made a note of it, then asked, "What about Pixar Studio?"

"Drag it out for now. Don't we still have two more films left on the contract? There's no need for us to rush." Michael Eisner added a final reminder, "Give Warner a heads-up in advance—I'll be attending the North American Premiere of Harry Potter and the Sorcerer's Stone."