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🕑 Added 2025-06-29 16:24:43 +0000 UTCChapter 301: The Market Goes Wild
Following Hollywood’s windowed sales model, pay-per-view (PPV) on premium channels usually kicks off about two months before the release of VHS tapes or DVDs. Back in October, Spider-Man had already rolled out its PPV service. Unlike regular home TV viewing, PPV isn’t typically watched that way—though, of course, home users can order it on their TVs. The catch? PPV fees are sometimes pricier than a movie ticket. So, while the film’s still in theaters, most families opt for the cinema instead.
PPV is more for high-end spots like airport VIP lounges, first-class cabins on flights, luxury hotels, or upscale office buildings. The audience there? Busy folks who squeeze in a movie during downtime. For this crowd, PPV prices are steep, but the feedback from Universal so far is jaw-dropping—this revenue stream has already topped $20 million. A blockbuster like Spider-Man is bound to rake it in across every part of the windowed sales model.
On January 5th, a Friday, Traffic—a crime drama produced by Dunn Films and directed by Steven Soderbergh—hit North American theaters. Being an R-rated flick with a sensitive plot, it opened in just 1,510 cinemas. Back when 20th Century Fox dropped the project, they’d had these exact concerns. Dunn, though, seemed unfazed. In the short term, Traffic didn’t look like a box office champ—and sure enough, its opening weekend haul of $15.52 million lagged behind two holdovers, Cast Away and What Women Want.
But here’s the thing: the acting, the story, the depth—it’s the kind of film that’ll make waves when awards season rolls around. Critics and word-of-mouth are going to lose it. As the Traffic crew hits the awards circuit, that free buzz will keep the movie alive long-term. This is the masterpiece that’ll snag Soderbergh an Oscar for Best Director. Just wait.
Right now, Dunn’s laser-focused on Spider-Man’s VHS and DVD sales, though Saw’s disc release is also about to launch. Meanwhile, the Unsinkable crew hasn’t disbanded. After wrapping filming, James Cameron skipped a vacation and, in just two weeks, churned out a rough cut (sans effects) before rounding up the actors for dubbing. As the boss, Dunn figured he should swing by to check in.
Stepping into the break room outside the dubbing studio, he noticed the crew looked wrecked—disheveled hair, exhausted faces, red eyes, chapped lips. They clearly hadn’t rested in ages. Dunn felt a pang of guilt. If the staff were this beat, what about Cameron? No wonder he’d been daydreaming about kicking back with Charlize Theron and Liv Tyler—though both actresses were too wiped out to care. It wasn’t that they didn’t want to hang with Dunn; they were just too drained to muster the energy.
But there’s no helping it. Disney’s been hyping Pearl Harbor like crazy—carpet-bombing ads and even name-dropping Titanic, the highest-grossing film ever, as if they’re trying to ride its coattails. How could Dunn let that slide? Especially since Pearl Harbor’s key players, Jerry Bruckheimer and Michael Bay, are his sworn enemies. In this window, Dunn’s countering with two films: Luc Besson’s Mr. & Mrs. Smith and Cameron’s Unsinkable. Between the two, Dunn’s betting on Cameron.
He’d come to say hi, but before he could, lead actor Matthew McConaughey beat him to it, rushing over with a worried look. “Mr. Walker, have you been ripped off?”
“Huh?” Dunn blinked, instantly thinking of piracy. “Pirated discs? Is it Spider-Man or Saw?”
McConaughey laughed, shaking his head. “What? No, not piracy!”
“Didn’t you just say I’d been infringed?”
“Here’s the deal,” McConaughey explained. “I’ve been so swamped with filming I didn’t even spend Christmas with my niece. So, a few days ago, I made time to hit a bookstore and grab her a Harry Potter set. But then I saw this huge banner with your name on it!”
He eyed Dunn suspiciously. Dunn chuckled. “You mean a book, right?”
“Yeah, something like… Gone Girl? Wait—Mr. Walker, you didn’t actually write it, did you?” McConaughey’s jaw dropped.
Dunn shrugged casually. “Guess you haven’t checked it out. The author’s listed as two people: Isla Fisher and me. I came up with the outline; she filled in the details.”
McConaughey was speechless, staring at Dunn with a mix of envy and awe. Bestselling author Dunn? That’s wild.
“By the way, how’s it selling?” Dunn asked.
“They’ve got a massive banner in the prime spot saying, ‘Famous Director Dunn Walker’s Masterpiece: Gone Girl.’ With that kind of push, it’s gotta be flying off the shelves,” McConaughey said, a little exasperated. Dunn’s talent was almost unfair.
“Good. As long as it doesn’t tank my rep,” Dunn joked, spotting Heath Ledger stepping out of the studio. He walked over and lowered his voice. “Hey, no acting hurdles lately, right?”
Ledger grinned, genuinely grateful. “Thanks for checking in. I’m… I’m good.”
Dunn nodded. “In a few days, I’m visiting Coppola and Brando. Want to tag along?”
“What? For real?” Ledger’s voice shot up, like he’d just struck gold.
“Yeah,” Dunn said. “A while back, I hit some rough patches, and they both spoke up for me. I owe them a thank-you, no matter what. Plus, it’s awards season—I could use their connections.”
Ledger had vaguely heard about Dunn’s troubles and looked ashamed. “Dunn, I… I’m sorry I couldn’t—”
“Haha, Heath, don’t sweat it!” Dunn laughed, clapping his shoulder. “Everyone’s got their own stuff going on, and choices differ. Once you’re a big shot like Mel, I’ll be counting on you to back me up.”
Ledger straightened up, serious. “Dunn, you’ve got my word. I’ll always have your back.”
Dunn trusted that promise completely. With his ties to the “Aussie crew,” Ledger would stand by him even without the history. Plus, Dunn had just handed him a chance to chat with a legend like Marlon Brando—how could he not?
Just then, Dunn’s assistant, Isla Fisher, slipped over, barely hiding her excitement.
“What’s up? Gone Girl selling like crazy?” Dunn teased.
“Nope, not that,” she said, beaming. “Universal just sent word about Spider-Man’s first-week sales.”
“Oh? How’d it do?”
“DVDs sold 5.13 million copies—4.3 million standard, 830,000 deluxe. Plus, 380,000 VHS tapes. First-week total? $124 million!”
She didn’t whisper, so everyone in the break room—Unsinkable’s crew—heard it loud and clear. $124 million in week one! That’s up there with last year’s Star Wars: Episode I – The Phantom Menace. Even after the 20% retailer cut and 10% distributor fee, Dunn Films would pocket $87 million. Sure, week one’s the peak, and sales will drop off, but with Spider-Man hitting cable in May, topping 10 million units is totally doable.
Dunn Films is gearing up for Spider-Man 2 and Daredevil, and cash flow’s tight. This DVD haul is a lifesaver. Add in awards-season gains from Girl, Interrupted, Memento, and Traffic, and Dunn Films can fund Harry Potter and the Sorcerer’s Stone without loans or investors. A couple of years back, Dunn went into debt for Spider-Man, nearly tanking the company. Now, its massive profits have made him a titan again—and the studio’s finances are finally solid.
The break room erupted in thunderous applause. Everyone gazed at Dunn with admiration, celebrating his win. Grinning, he was about to tell Isla to grab some Gone Girl copies for signed giveaways when the studio door flew open. Out stormed James Cameron—beard scruffy, eyes bloodshot, face twitching. Was he exhausted or pissed? He roared, “Everybody, get out!”
“James…” Dunn winced, feeling awkward and a little guilty. This wasn’t the spot for a party.
Cameron, already a hothead on set, was stretched thin by the schedule. With no rest, he turned Dunn into his punching bag. “This is my turf!”
“Alright, alright, your turf…” Dunn muttered, half-laughing, half-crying. Grabbing Isla’s hand, he bolted out, dignity be damned. On set, Cameron was a lion—no one, not even Dunn, could tame him!
Chapter 302: A Piece of Cake
“A fantastic read with a gripping plot that rivals Hitchcock—impossible to put down. This moving story dives into the darkest corners of the human heart, giving you goosebumps and keeping your pulse racing until the very last page.”
— People
“A meticulously crafted masterpiece that explores themes of life, love, loss, and guilt, while also being an utterly captivating work of art. The great Dunn Walker, beyond his grand directorial talent, delivers a thrilling literary experience.”
— The New Yorker
“This book constantly peels back layers of truth while cleverly setting up twist after twist. Ella Fisher’s sharp wit brings today’s cultural quirks to life. With its intricate structure and elaborate storytelling, it’s hard to let go of. In short, this book is a blast.”
— New York Daily News
“‘How did things get so messed up?’ The answer lies in Dunn Walker and Ella Fisher’s latest collaboration. When two people tie the knot but one can’t figure out who’s really lying next to them, what kind of chaos unfolds? Gone Girl gives you a glimpse.”
— USA Today
“Heavy-hitters will love the mind games in Gone Girl. In Hollywood director Dunn’s suspense-packed new release, a shaky marriage turns into a full-on thriller. This book’s buzz isn’t just about Dunn’s fame—it’s the wild, rollercoaster story inside.”
— The New York Times
…
Gold always shines through.
Gone Girl barely needed any promotion before it became a hot topic across major media book channels, outshining even the Harry Potter series in hype.
Harry Potter is just lightweight kids’ stuff, written by a Brit whose style doesn’t quite match American tastes. Gone Girl, on the other hand, is pure, home-grown American.
While Spider-Man DVDs were flying off shelves nationwide, Gone Girl took the country by storm in much the same way.
On The New York Times bestseller list, Gone Girl quietly broke into the top ten, landing at number four—right behind Jim Grace’s Death, Philip Roth’s The Human Stain, and Harry Potter and the Goblet of Fire.
Dunn even had to keep a stack of signed copies in his office to hand out to visiting friends and VIPs.
Sometimes, he couldn’t help but grumble, “These guys—showing up for the tiniest things. Are they just here for the book?”
The famous Oprah Winfrey Show sent multiple invites, but Dunn wasn’t interested and passed the gig to Ella Fisher.
Movies need hype—that’s the entertainment game.
Books, though, are about culture. It’s all about reputation and quality. Dunn didn’t want to rely on fan hype to sell copies—he had some standards, after all.
…
Awards season has arrived.
This year’s Oscars are set for March 24.
But results from other major U.S. awards are already rolling in one by one.
The prestigious New York Film Critics Circle Awards, one of the top three critics’ awards in the U.S., is a key Oscar predictor.
Last year, Dunn Pictures scored nominations for three films: Girl, Interrupted, Memento, and Traffic. (Traffic had a limited four-theater run in December 2000, so even though it hit wide release in 2001, it counts as a 2000 film.)
Dunn usually wouldn’t bother with an event like this, but Natalie wouldn’t let it go. She begged him to go with her, no matter what.
Her standout performance in Girl, Interrupted had her name buzzing—she might just snag Best Supporting Actress at the Oscars.
Plus, her family’s from New York, and the New York Film Critics Circle would likely give her a little extra love and hand her the award!
This could be her first big win in her acting career!
Dunn had to share this moment with her!
With such a grand excuse, Dunn couldn’t say no.
Since Dunn was going, the main crews from Girl, Interrupted, Memento, and Traffic had to “tag along” too.
The ceremony was simple, low on commercial vibes, and had fewer categories than the Oscars.
In the end, Dunn Pictures cleaned up!
The biggest winner was Traffic—a project 20th Century Fox had dumped but Bill Mechanic stubbornly brought to Dunn Pictures.
That night, Steven Soderbergh took home Best Picture for Traffic and beat out Girl, Interrupted’s Sam Mendes and Cast Away’s Robert Zemeckis to win Best Director!
Benicio Del Toro, also from Traffic, nabbed Best Supporting Actor with ease.
Best Screenplay went to You Can Count on Me, and Tom Hanks won Best Actor for Cast Away.
As for Best Actress and Best Supporting Actress… it felt like a repeat of last year’s Cannes!
Nicole Kidman and Natalie Portman walked away hand in hand once again!
For Nicole, this award was nice but no big deal—she’d already won a Golden Globe and didn’t care much for this second-tier prize.
But for Natalie, it was different. She gave a long, heartfelt speech, her pretty face glowing with excitement.
Stepping off the stage, Dunn gave her a gentle hug. “Congrats!”
“Thanks!”
Natalie flashed a sweet smile, chin up, beaming with pride.
Dunn leaned in, whispering, “Be honest—did you… get a heads-up you’d win?”
“Huh?”
Natalie’s cheeks flushed as she pouted and glared at him.
Dunn chuckled. “I’ve heard with these smaller awards, they tip off the agents so winners show up. Judging by your face… I’m guessing I’m right.”
“My face?” Natalie huffed, lips pursed. “Yeah, fine, my agent told me. So what? It’s not the Oscars or the Golden Globes. Why would I get all dressed up and show up just to clap for someone else? Didn’t you notice the other nominees didn’t even bother coming?”
“Then just tell me straight up!”
“I wanted to surprise you!”
Dunn held her hand, grinning. “Okay, surprise it is—definitely a surprise! But… I think the real shocker’s still coming.”
Natalie’s eyes sparkled—she knew what he meant—and her cheeks turned an adorable shade of pink.
Nicole Kidman winning Best Actress at the Oscars for Girl, Interrupted? Tough odds. Not because she wasn’t great, but the competition—Laura Linney in You Can Count on Me and Julia Roberts in Erin Brockovich—had breakout performances too.
Best Supporting Actress, though?
Even setting aside personal bias, Natalie Portman was honestly phenomenal!
Plus, she’s Jewish. With some maneuvering in Jewish circles, and Dunn paying a visit to Francis Coppola for Italian support…
Add in Dunn’s ties to the Aussie, British, and French entertainment scenes, and a little networking…
It’s starting to look like the big prize is already in the bag!
Chapter 303: Interview at the Hotel
At the start of 2001, Dunn Films was gearing up to launch two major productions. Prep work had been wrapped up last year for Tim Burton’s Pirates League: Curse of the Black Pearl and Martin Scorsese’s New York Storm. Beyond these flagship projects, Dunn’s subsidiaries were also kicking into gear. Rose Pictures was producing Juno, while Focus Features and Rose Pictures teamed up for Resident Evil, both now in the final stages of casting.
Resident Evil, in particular, was locked and loaded—script, crew, budget, studio, effects company, everything was set. Barring any surprises, director Zack Snyder would start shooting his second film by the end of January. With a female lead and some feminist undertones, Rose Pictures stepped in as a co-producer, and Kathleen Kennedy joined as a producer. Still, after years of prep and familiarity with the project, Dunn handed the casting reins to Zack Snyder and his fiancée, Deborah Johnson. It was a sign of trust.
That day, Dunn played a supporting role at a big signing ceremony. 20th Century Fox, following Warner Bros., became the second studio to partner with Legendary Pictures on a co-financing deal. He skipped the afterparty, though, because Deborah Johnson had asked him to meet up and finalize the lead actress for Resident Evil. With a $35 million budget, it wasn’t a small film, and Dunn had been working hard to build a rapport with the Snyder couple. Since they valued his input, he couldn’t exactly play hard to get.
The meeting spot? The Jeremy Hotel in West Hollywood—not the office, which felt a little odd. Still, Dunn didn’t overthink it. The place was a hotspot for industry folks, practically an extension of Hollywood’s office scene.
In the hotel lobby, he spotted Deborah Johnson hurrying toward him. “Been waiting long?” he said with a grin. “Hey, where’s Zack?”
“Oh, him? Still tinkering with storyboards—the fourth version!” Deborah shook her head, a mix of exasperation and pride in her tone. A hardworking guy’s got charm, after all.
Dunn raised an eyebrow, caught off guard. “Storyboards? Where?”
“At home!”
“At home?” Dunn blurted out, staring at her. He took a deep breath, feeling something weird was afoot. Struggling for words, he said, “If we’re picking the lead, how’s the director not here?”
“He chose her, I agreed, and now it’s just your take that matters. Him being here or not doesn’t change much,” Deborah said, dragging out her words with a sly, mysterious look. “Besides, some things are easier without him around, right?”
Dunn’s heart skipped a beat, suddenly paranoid she was up to something shady. His face hardened. “Deborah, Zack’s my good friend, and you’re his fiancée!”
“Yeah, so?”
“I brought you from the ad world into movies—an exception, sure—but it’s because I saw your talent and value my friendship with Zack. If you’ve got… other ideas, I don’t think that’s necessary. It’d mess up your relationship with him and mine with Zack too!”
His words hit heavy. Deborah blinked, confused at first, then caught on. Her face flushed red as she laughed, half-annoyed, half-amused. “Dunn, my big boss! I see you as a friend too—what are you thinking? I’m not one of those starlets trading favors for roles!”
“Huh?” Dunn frowned. “You’re not…?”
“What? No! I asked you here… to audition the lead actress. Don’t get the wrong idea!”
“But you picked a hotel…”
Realizing the mix-up, Dunn’s sheepish look betrayed his embarrassment.
Deborah gave him a playful shove, brushing it off. “The hotel’s… for other reasons. Just come upstairs with me!”
They took the elevator to the top floor. Dunn shot her a puzzled glance. He’d been to the Jeremy Hotel before—the top floor was all presidential suites. For a simple audition, this was over-the-top extravagant. Unless…
His expression shifted, and he cleared his throat. “So, uh… how many candidates are there for the lead?”
“Just one!”
Well, there it was.
Dunn’s suspicions clicked into place. After rounds of auditions, they’d narrowed it to one pick—no competition. She was basically locked in. With the film about to start shooting, swapping her out wasn’t an option. Deborah inviting him here today wasn’t about “auditioning” anyone—it was more like meeting the lead.
By now, Deborah knew he’d seen through it. She looked a little guilty but owned it. “Zack and I talked it over. You’re the boss and a friend who’s done so much for us—we wanted to give something back. If this setup’s not your style, though…”
“Alright, enough!” Dunn waved her off, chuckling despite himself. “Deborah, you’re new to Hollywood—does the ad world pull this kind of thing too?”
She shook her head. “Not much in ads—most people there are already established. But I’ve done fashion shorts, worked with models. That world… yeah, I’ve seen this before.”
“No wonder,” Dunn said with a nod. “So, who’s this lead you picked?”
“Milla Jovovich, a Ukrainian-American actress.”
“Her, huh…” Dunn’s eyes narrowed, muttering to himself.
Deborah glanced at him, curious. “You know her?”
He paused, then shook his head with a soft sigh. “Know her? She’s Luc Besson’s ex-wife.”
Deborah’s face fell, worried she’d crossed a line. “Dunn, is that… a problem?”
He waved it off with a laugh. “Why would it be? They’re divorced!”
Relieved, she relaxed. “Right. Milla’s perfect for Resident Evil—gorgeous, killer body, great with action, solid acting chops. Plus, post-divorce, her fame’s dipped, so her rate’s low.”
Dunn nodded faintly. “Yeah, that’s her personality flaw.”
Deborah sighed, having heard the rumors. “Can’t help it—Hollywood’s brutal. Who doesn’t want a strong backer? For actresses, sometimes their body’s the best leverage.”
It was true. Milla Jovovich had been a stunner since childhood—print modeling, TV gigs—but her career never took off. She even tried singing, dropped an album, and still couldn’t break through. Then she met Luc Besson and starred in The Fifth Element. The film was a global hit, Besson became a world-class director, and Milla rode the wave. At 21, thinking she’d found her ticket, she married the guy—16 years her senior—and carved out a name in movies.
But then Besson’s Joan of Arc tanked. Hard. Hollywood shunned him, French critics trashed him, and Milla, as the lead, got dragged down too. She lost cred in the commercial market and faced pushback in France’s arthouse scene. It was Besson’s lowest point—he even considered quitting. Milla, still young with years ahead, wasn’t about to tie her future to a sinking ship. Divorce was her only move.
Post-split, Besson’s career hit rock bottom. But last year, he met Dunn Walker at Cannes, landed a $100 million gig with Dunn Films—Mr. & Mrs. Smith with Mel Gibson—and turned it around. Milla, meanwhile, couldn’t snag lead roles anymore. Stuck with her looks and figure, she took small, eye-candy parts. Her acting career was in the gutter.
She regretted it but couldn’t turn back. She needed a new lifeline. In another life, Resident Evil’s director was Paul Anderson, a Brit. Milla seized that chance, latched onto him, nabbed the lead, and later married him. The franchise gave her solid B-list status in Hollywood. This time, though, Paul Anderson wasn’t an option—Dunn held the Resident Evil rights.
For a movie like this, banking on visual punch, Milla’s action skills, face, and figure were pure gold. She’d aced the auditions, winning over Zack Snyder and Deborah Johnson. One last hurdle, and she’d be the lead again. That hurdle? Dunn Walker—a backer a hundred, maybe a thousand times stronger than Besson. For a young, driven actress, this was a rare shot!
