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🕑 Added 2025-07-18 17:40:01 +0000 UTCChapter 341: Firing the Founding Team
In Hollywood, folks in the industry usually keep their beef under wraps, even if there’s tension. You won’t see them airing dirty laundry in the media unless things have gotten so bad there’s no turning back—like with Peter Jackson and Harvey Weinstein, or Dunn and Jerry Bruckheimer.
Take last year, for instance. Dunn genuinely reached out to Jerry Bruckheimer, inviting him to produce The Chronicles of Narnia. But then the feds came knocking, Dunn Films hit a crisis, and instead of standing by Dunn, Bruckheimer kicked him while he was down. That’s when the bad blood started. Since then, they’ve taken subtle jabs at each other in the press—not outright war, but enough to make their feud public.
This year, with Black Hawk Down, Bruckheimer’s grudge against Dunn hit a boiling point. He’d already locked in Ridley Scott to direct, only for Dunn to swoop in, snatch Scott away, and put him on Spider-Man 2. And that’s not all—Tom Hardy, a guy with solid war movie chops, was lined up for a key role in Black Hawk Down. But Hardy flat-out said no, then turned around and signed on for Dunn’s Pirates League: Curse of the Black Pearl. Talk about a slap in the face!
Now, with Pearl Harbor and Never Sinking set to drop on the same day, it’s a full-on showdown. No holding back—this is a fight to the finish. Bruckheimer’s feeling good about one thing, though: he’s got Disney in his corner. Dunn might be a big shot, but Dunn Films is just a small production outfit. Even with Universal Pictures handling distribution, they don’t have the muscle to go toe-to-toe with Disney. So, in the marketing game, Pearl Harbor is steamrolling Never Sinking. Everything seems to be breaking Bruckheimer’s way.
He’s riding a wave of confidence he’s never felt before. Dunn’s a force, no doubt—Bruckheimer’s not blind to that. But he’s no slouch either. His Armageddon was the top-grossing movie of 1998! With Pearl Harbor, two years in the making, and Disney’s backing, Bruckheimer’s convinced he can take Dunn on. Especially since word is Never Sinking was slapped together in under 12 months. James Cameron’s known for taking his sweet time on films—can a rushed commercial blockbuster like that really turn out decent? Bruckheimer’s betting big this time. He’s out to prove, on Disney’s behalf, that Dunn’s hot streak is all smoke and mirrors.
Lately, he’s done two big interviews—one with The Los Angeles Times for the average moviegoer, and one with Variety for the hardcore fans and industry insiders. In the LA Times chat, Bruckheimer said, “Look, Dunn Walker’s a talented director, no question. But let’s be real—Star Wars: Episode I – The Phantom Menace and Spider-Man? Pure popcorn flicks. Flashy effects, cheap laughs, and not much else. As for Titanic—sure, it’s a rare gem, but we all know James Cameron’s the real genius behind it, not Dunn Walker.”
He went on, “Pearl Harbor is a massive investment—$200 million. The director and I even waived our fees to make it look better. Yeah, it’s a war movie, but it’s about heart, reflection, learning from pain. We’re not here to churn out over-the-top, shallow popcorn entertainment. That stuff’s too loud, too simple, and has no artistic depth.” He even made a bold call on the box office: “Pearl Harbor holds its own against Titanic. With today’s tech being miles ahead of a few years ago, I can say with confidence it’ll be more thrilling, more gripping. Titanic set a box office legend, but Pearl Harbor’s got what it takes to challenge it.”
For Variety, he got sharper, taking direct aim. “Dunn Walker’s what, in his 20s? What kind of life experience does a kid that age have? His movies are all surface-level—shallow, obvious stuff. I’m not knocking him, but movies are a deep craft, and he’s still an outsider. Talent’s great, but it needs time to ripen. As for Never Sinking—I won’t trash a peer’s work. But that short production window? James is a genius, no doubt, but rushing him into a big commercial flick like that feels unfair.”
He wrapped it up, “Bottom line, Dunn’s too young, too restless. He doesn’t see the art in movies—he just sees dollar signs. Sure, his last few films made bank, but that’s not normal. These mindless entertainment flicks? They’re dumbing down the next generation.”
…
On Dunn’s desk sit two reports—one’s good news, the other’s a mixed bag. The good? Dunn Films is rolling in cash! After sweeping the Oscars, The Network crushed it at the box office. So far, it’s pulled in $110 million in North America and over $60 million overseas, netting Dunn Films a $62 million cut. Girl, Interrupted got a nice ticket sales bump too. But the real goldmine? VHS and DVD sales for Spider-Man and Saw.
Spider-Man moved 9.87 million discs in North America, raking in $270 million, plus 6.98 million overseas for over $100 million. That one movie alone brought Dunn Films $210 million from tapes and DVDs! Saw didn’t hit Spider-Man numbers in North America—2.14 million units—but overseas, where it skipped theaters for direct-to-video, it sold over 10 million copies. That’s another $40 million in the bank. By the end of April, Dunn Films’ revenue hit $330million!
After funding new projects like Spider-Man 2, Juno, Daredevil, Signs, and Harry Potter and the Sorcerer’s Stone, plus a fixed $100 million TV investment, they’ve still got nearly $300 million in cash reserves. That’s a huge win. A single box office smash like Spider-Man can spark a profit bonanza—who’d have thought, a year ago, Dunn Films was teetering on bankruptcy from a debt crisis?
This summer’s got Never Sinking and Mr. & Mrs. Smith, followed by A Beautiful Mind, The Chronicles of Narnia, and Juno. Next year, it’s Spider-Man 2, Pirates League: Curse of the Black Pearl, Signs, Harry Potter and the Sorcerer’s Stone, and New York Storm. The next few years look unstoppable for Dunn Films in the movie game. Dunn’s groundwork in the film industry is paying off—expanding the Marvel Universe, kicking off the Harry Potter and Pirates League series, and even eyeing Transformers. The company’s only getting stronger.
But the TV side? Not so rosy. Since Tarz TV jacked up its subscription fees, customers have revolted—subscriptions dropped 30%, down to 2.13 million. These are mostly early adopters too; once their memberships expire, half might not renew. Tarz’s president, Tony Grammo, has been griping to Dunn that without a big boost, the network’s toast.
Dunn saw this coming when he greenlit the price hike—he just didn’t expect it to hit this hard. Still, he’s not sweating it. On May 6th, the cavalry arrives: Spider-Man, with its $126 million global haul, will premiere exclusively on Tarz TV! Then, on May 26th, Saw hits the airwaves. June brings the premium drama Six Feet Under. And after that wraps? September’s all about Band of Brothers. So Dunn’s email back to Tony was short and sweet: “Hold steady!”
Still, Dunn’s feeling a little stuck. As Dunn Films grows, he can’t micromanage everything anymore—he’s got to delegate, unless it’s a passion project. Problem is, Tarz TV’s leadership isn’t cutting it. This isn’t the first time he’s been let down. He’s bought out plenty of companies but never axed a founding team. Now, though, it’s decision time. The TV business matters too much.
After mulling it over, Dunn picks up the phone and dials Brian Lord, a bigwig at CAA. “Brian, Tarz TV needs an exec. Can you help?”
Brian chuckles, “Dunn, I run a talent agency, not a headhunting firm!”
“Come on, Hollywood’s a small world. Who needs headhunters? You’ve got the connections,” Dunn says, brushing it off. The entertainment biz isn’t your typical corporate scene—headhunters don’t thrive here. It’s a tight circle of elites, all about relationships and favors.
Brian laughs again, “I’ve got some contacts, sure, and I can lend a hand. But honestly, I think you’d be better off talking to another old buddy of yours.”
“Oh? Who’s that?”
“Michael Ovitz!”
Chapter 342: The Charm of a Big Shot
Michael Ovitz didn’t let Dunn down. The very next day, he showed up at Dunn’s office with a stack of documents in hand. Though he’d stepped down as chairman of AG Agency, he was still a major shareholder, and Dunn’s directing contract was tied to AG. Plus, he and Dunn were solid partners—helping out with a small favor like this was no big deal.
So, Michael didn’t hesitate.
The guy he recommended was a real heavy hitter: Chris Albrecht, the current president and CEO of HBO. The chairman and CEO of the broader HBO network was Jeff Bewkes—a guy who’d climb the ranks and eventually take over Time Warner in 2006, known for being stubborn and full of himself.
Take Alan Horn, the president of Warner Bros. He couldn’t stand kissing up to Bewkes, got sidelined, and ended up leaving Warner for Disney. There, he built Disney’s movie empire—Marvel Studios, Lucasfilm, Fox Studios—you name it. Under Horn, Disney films grabbed nearly half of Hollywood’s market share.
Chris Albrecht, now 45 and at the peak of his energy and ability, was cut from a similar cloth. He’d been with HBO for over 20 years, serving as president and CEO since 1997. He’d played a huge role in turning HBO around, especially as a fierce advocate for original programming. Those early HBO classics? All thanks to him. The network had tons of channels, but the flagship HBO station’s golden era was tied directly to his efforts.
You could even argue HBO’s later success didn’t owe much to Jeff Bewkes. By 2002, Bewkes had moved up to chair Time Warner’s entertainment and networks division, leaving Albrecht to steer the ship.
But power’s power.
Chris Albrecht had a stubborn streak, much like Alan Horn. He didn’t play nice with Bewkes, his boss, and got held back at work for years. Finally, fed up, he jumped ship to a rising film company, IG Entertainment, as chairman and CEO, hoping to carve out his own turf.
Too bad movies aren’t TV.
Albrecht was a titan in television, but Hollywood’s film scene runs on connections more than skill. After three years at IG with little to show for it, he decided to return to TV in January 2010. His pick? None other than Starz.
Back in the TV game, Albrecht doubled down on original content, shaking up Starz’s old habit of just buying shows. He churned out a string of stellar dramas, including the legendary Spartacus. That move alone pulled Starz out of the gutter, locking it in as North America’s third-biggest premium cable network—behind HBO and Showtime, both backed by massive media giants with no real competition.
Dunn skimmed the guy’s profile, a smirk tugging at his lips. Kind of funny, right? History looping back on itself? Thanks to Dunn’s influence, the entertainment world had shifted, and now Chris Albrecht was getting an offer from—fatefully—Starz again.
Michael Ovitz noticed Dunn’s odd expression and chimed in, “Chris isn’t exactly thriving at HBO. But I’m sure if he joins Starz, you two would click.”
“Oh? How so?”
“Simple. Band of Brothers. That insane show? Chris was pushing HBO to jump in and co-develop it with Spielberg. You know how it went—HBO’s terms were too tough, so Spielberg teamed up with you instead.”
Dunn laughed. “Guess we’re meant to cross paths then! Done deal—I like this guy!”
“Just like that?” Michael Ovitz raised an eyebrow. Dunn’s big decisions always seemed so casual, almost distracted.
“Yep!” Dunn waved a hand. “When’s the soonest he could start at Starz?”
Michael thought for a sec. “Work handoffs are tricky. August at the earliest.”
“Perfect!” Dunn boomed. “When he starts, I’ll hand him the Band of Brothers rights as a welcome gift!”
Michael shook his head inwardly. Dunn was starting to carry himself like a real big shot. Most people couldn’t wrap their heads around his choices. Band of Brothers had a $120 million budget—its North American TV rights alone would outprice Spider-Man, easily $50 million or more!
Sure, TV rights are usually buyouts, unlike movies, but still—that’s a fortune. Starz couldn’t pull in $50 million in a year with its current setup! Dunn might be young, but that kind of boldness left even Michael Ovitz quietly impressed.
“By the way, Wall Street…” Michael shifted gears. “I talked to them. Like you figured, even without voting rights, they’re keen to invest in Legendary Pictures.”
Dunn grinned knowingly. “Of course! Capital chases profit. With the big national tax cuts, Hollywood’s a goldmine for them now!”
“But…” Michael paused, “if you take this $500 million, your shares will get diluted big time.”
“How much?”
“Less than 15%.”
“And you?”
“Around 18%.”
Michael ran Legendary Pictures. Though his initial stake was smaller than Dunn’s, he held an extra 5% in management shares.
“How much voting power will we have?”
“Over 60%.”
“Good enough!” Dunn nodded, waving grandly. “I don’t care about share size. I care about this industry taking off! Michael, you’ve seen it—pooled investments are Hollywood’s capital lifeline. I want this place to grow healthier.”
Michael agreed. “With this round of funding, Legendary’s cash needs are covered. It can stand on its own going forward. Maybe even go public someday.”
Translation: a chance for Dunn to cash out down the line.
Dunn just smiled, unbothered. Legendary’s profits? Pocket change to him. He had bigger ways to make money. What he valued was the status and clout it brought.
Come May, the summer blockbuster season kicked off with Universal’s The Mummy Returns. Dunn hit the premiere, greeted personally by Universal’s chairman and CEO, Ron Meyer, who made a big deal of introducing him to the key crew: producer Sean Daniel, director Stephen Sommers, and star Brendan Fraser.
Honestly? Dunn couldn’t care less.
The Mummy series had it all—thrills, adventure, fantasy, action—a killer concept. But these guys tanked it in just two films. Impressive, in a bad way. Especially Brendan Fraser. The dude was a lumbering oaf—no looks, no acting chops. A TV bit-player at best. How he landed a blockbuster lead was beyond Dunn.
He shook their hands with a blank face, keeping it short—three polite, empty sentences max per person. Total small talk.
To Ron Meyer, though, it felt different. Dunn’s vibe was growing stronger, more like a true mogul every day.
“Wonder how he holds up with a pretty woman…” Ron mused to himself, then chuckled. “Dunn, meet our stunning leading lady, Rachel Weisz—a brilliant British actress.”
Dunn eyed the elegant, bold English beauty in her silver-gray gown and smiled lightly, shaking her hand. “Hey, Rachel. Nice to meet you.”
She gripped his hand eagerly. “Mr. Walker, I’m a huge fan! I love your movies!”
“Thanks.”
Her enthusiasm met Dunn’s standard reply, and she wasn’t thrilled. After a beat, she leaned in close, whispering fast in his ear, “I’m amazing in bed!”
Pulling back, her face glowed with a flirty shine.
Dunn didn’t flinch, just smiled like he hadn’t heard a thing. “Maybe we’ll work together sometime.”
Then he turned to the next guy, suddenly interested, even reaching out for a handshake. “This must be Dwayne Johnson, right?”
Ron Meyer blinked, thrown by Dunn’s indifference to Rachel’s obvious move. Something was up there.
Meanwhile, Dwayne “The Rock” Johnson—huge, towering, and built like a tank—bent forward, grabbing Dunn’s hand with both of his, all humble and awestruck. “Mr. Walker, I can’t believe you know my name!”
Dunn gave him a firm shake and a grin. “I’m rooting for your switch. Hollywood’s got way more room to grow than the wrestling ring!”
“Mr. Walker, I—”
“Easy, man,” Dunn laughed. “Put in the sweat you gave the ring, and I promise Hollywood will pay you back big!”
“Thank you! Thank you!”
The Mummy Returns was Dwayne’s first film, and here he was, getting high praise from a titan like Dunn Walker at the premiere. He was floored.
Dunn nodded, his tone carrying weight. “Hollywood’s waters run deep, though. You’ll face tough calls. Hope you pick the right path when it counts.”
Dwayne thumped his chest, booming, “Sir, I’ll always back you!”
Dunn smiled faintly. Smart guy.
Chapter 343: Fooling Who?
The Mummy Returns is honestly a total mess of a movie. It tosses character development out the window and treats the story like a sidekick to special effects and action scenes. If it weren’t piggybacking off the first Mummy, this sequel wouldn’t have a leg to stand on.
Lucky for Universal, they brought in Industrial Light & Magic for the effects, roping in the world’s top talent—150 crew members, 30 animators, and nearly seven months of work to polish every stunt shot to perfection. In 2001, when cutting-edge effects were still a rare treat, that might just be the film’s biggest selling point.
After the screening, Ron Meyer, sitting next to Dunn, noticed him yawning and looking bored. A little worried, he asked, “Dunn, is the movie really that bad?”
In the world of commercial films, Dunn’s a certified legend. His track record speaks for itself. Ron, though? He used to run CAA, so he’s a pro at management, not movie-making.
Dunn shrugged casually. “Yeah, it’s pretty awful.”
Ron’s face dropped. “I told you we should’ve had you come give notes at the internal screening. Now…”
Dunn waved him off with a small smile. “Relax. It’s a dud, sure, but the box office? It’ll be fine.”
“Huh?” Ron looked puzzled.
Dunn explained, “The Mummy Returns hits theaters May 4th, so it’s got a timing edge. The next big releases—Pearl Harbor and Never Sinking—don’t drop until May 25th. Three weeks is plenty of time to break even.”
He wasn’t just talking out of his hat. In its past life, The Mummy Returns pulled in $200 million in North America, with $160 million of that coming in the first three weeks. That’s the standard blockbuster pace.
Ron let out a relieved breath. “Ha, honestly, I don’t like it either. It’s a chaotic mess!”
Now it was Dunn’s turn to be surprised. “You don’t like it? Why didn’t you push for changes?”
Ron shook his head, keeping it cool. “To keep a tight-knit management team, you’ve got to let go of some control.”
Dunn mulled that over for a bit, then cracked a grin. “Good thing I’ve already handed off the reins at Dunn Films.”
Ron chuckled, losing interest in The Mummy Returns. He shifted gears to chat more with Dunn. “Lately, Pearl Harbor’s been making a lot of noise. Aside from Ben Affleck and Kate Beckinsale, the whole crew’s been throwing around some pretty fiery comments.”
Dunn just shrugged, unbothered. “Small-time actors, you know? They’ll do anything to grab attention and make a name for themselves. It’s par for the course.”
Ron shot him a sly, half-smirk. “And you’re just gonna let it slide? That doesn’t sound like you.”
Dunn laughed. “What do you want me to do? Strip down and charge in like the old days?”
Back when Dunn had nothing to lose, he’d go barefoot into any fight—shirt off, ready to brawl. Now? He’s a different beast. With Dunn Films and his patchwork investments as his heavy artillery, he’s got the air of a big shot. A few pesky grasshoppers hopping around don’t warrant his personal attention anymore.
Ron was genuinely impressed by how much Dunn had matured. The growth was unreal! Just last year, Dunn was still acting like a reckless kid half the time. Now, with the Pearl Harbor crew poking at him nonstop, he’s steady as a rock.
Ron said, “Without your help, I’m worried Jamie won’t hold up.”
Dunn shook his head, calm as ever. “James isn’t great at trash talk, sure, but the movie market boils down to quality. Jerry Bruckheimer and Michael Bay can yap all they want—it doesn’t matter. All I know is Never Sinking has James Cameron at the helm.”
Ron grinned. “Didn’t expect you to have so much faith in Jamie. His biggest box office haul’s what, $500 million? Terminator 2?”
In this timeline, without Titanic to boost him, James Cameron’s rep and skills don’t quite match Steven Spielberg’s. Some skepticism’s only natural. Pearl Harbor’s hyping itself up so hard that even if it doesn’t touch Titanic, it’s still got a $1 billion floor. Can Cameron’s Never Sinking stand up to that?
Ron figured Never Sinking probably wouldn’t lose money—Dunn’s the producer, after all, and his commercial instincts are razor-sharp. Even if ticket sales flop, DVDs, TV deals, and merch could cover it. But Dunn’s real edge? His golden streak. Since breaking into the biz, he’s never flopped a movie or tanked at the box office. If Pearl Harbor overshadows Never Sinking, even without a loss, it’d dent Dunn’s invincible image big-time.
Dunn’s lips curled into a faint smile as he shook his head. “James… heh, I’ve got total confidence in him.”
It’s not just Cameron’s past-life glory fueling that trust. When Dunn directed Spider-Man, he “channeled” Cameron’s mojo, pushing it to a global haul of over $1.26 billion—way past the original’s $820 million. Sure, Never Sinking is a fresh project with no past-life benchmark, but Spider-Man’s triumph is Dunn’s biggest confidence booster.
Ron paused, forcing a smile. “Guess Pearl Harbor’s gonna own the promo season, then.”
As Never Sinking’s distributor, Universal handles the marketing and release. With Pearl Harbor crushing their hype, Ron’s feeling the heat. He’d hoped Dunn’s golden touch could save some face, but the guy’s not budging.
Dunn’s tone turned dry and mocking. “Don’t you start stirring the pot either. Let them run wild! I’d love to see how long Jerry Bruckheimer and Michael Bay can keep this hot streak going.”
Ron’s face stiffened a bit, and he quickly changed the subject, lowering his voice. “I think I just saw Ms. Weisz earlier…”
Before he could finish, Dunn cut him off with a raised hand. “Don’t go there. I’m keeping it in check.”
“In check?” Ron almost laughed out loud. He’d buy anything Dunn said about anything else, but this? “Who’re you kidding?”
…
Sure enough, after the screening wrapped and the crew took their bows, Dunn slipped over to Rachel Weisz’s side.
“Ms. Weisz, your moves… they’re pretty impressive, huh?”
“Huh?” Rachel blinked, her cheeks flushing a soft, radiant pink.
Dunn grinned. “How about we find a chance to… test them out?”
“Sure, let’s give it a shot!” Rachel flashed a dazzling, shy smile. “It’d be my pleasure.”
