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🕑 Added 2025-05-23 17:43:11 +0000 UTCChapter 202: Time for Another Showdown!
If you had to pick the best manager in Hollywood over the past 30 years, it’d hands-down be Michael Eisner.
Back in the ‘70s, ABC was sliding—losing money year after year. Then Michael Eisner stepped in, turned things around, and pulled them out of the red. In the early ‘80s, Paramount Pictures was on the brink of bankruptcy, dead last among Hollywood studios—even worse off than MGM, which was getting tossed around by capital. Eisner took the reins, and in just a few years, he dragged Paramount from the bottom of the Big Six to the top spot.
Meanwhile, Disney was stuck in a years-long slump—leaderless, chaotic, with its theme parks losing steam and Mickey Mouse and Donald Duck fading into distant memories. Enter Michael Eisner again. After saving two major companies, he swooped into Disney in 1984. With bold moves like pushing brand-driven product sales, upgrading the parks, and launching a film division for non-G-rated movies, he revived Disney’s film business in just a few years, turning it into an industry leader.
He didn’t stop there. Through smart, step-by-step acquisitions, he expanded Disney into TV and publishing, building a media empire. If Disney was a sleeping beauty, Michael Eisner was the prince who woke her up—he saved the Magic Kingdom.
Success after success naturally gave Eisner a king-like swagger and absolute control at Disney. No one dared challenge him inside the company, and even across Hollywood, he had few rivals. Sure, Jeffrey Katzenberg’s exit tanked Disney’s in-house animation, but Eisner snagged Pixar, the rising star of animation studios. Disney’s grip on animated films stayed unmatched.
Plus, with Touchstone Pictures, Hollywood Pictures, Miramax, and Jerry Bruckheimer Films firing on all cylinders, Disney’s live-action movies were gaining ground too.
That is, until this summer, when everything flipped. Disney’s big-budget flick Gone in 60 Seconds got crushed by Spider-Man, a blockbuster from Hollywood’s new hotshot, Dunn Pictures. For Michael Eisner—used to smooth sailing—it was a humiliation like never before. Some twenty-something kid had the nerve to outshine him?
If Joe Roth hadn’t delivered solid results over the past decade-plus—and if Eisner had a replacement lined up—Roth would’ve been fired on the spot. Katzenberg’s departure had already left Disney’s animation division quiet, stirring shareholder grumbles. That lesson hit hard, so Eisner had to tread carefully. If Roth left and Disney’s live-action films tanked further, it’d be a disaster.
Lucky for Roth, Scary Movie stormed the summer box office as a dark horse, easing some of the pressure on Eisner from the shareholders. Roth dodged a bullet and made a bold promise to Eisner: the next film, Unbreakable, would rake in enough to cover Gone in 60 Seconds’ losses.
Roth survived by the skin of his teeth, but what about 20th Century Fox? They didn’t have a Scary Movie-style hit to bail them out in the summer. Would Tom Rothman take the fall? Nope—he’d already built a safety net.
As Spider-Man’s buzz started fading from the entertainment pages, Disney seized the chance to save face. They hyped Scary Movie like it had already topped the weekly box office. At the same time, word dropped that M. Night Shyamalan—director of The Sixth Sense—had locked in a release date for his new film, Unbreakable: November 15th, hitting North America this year.
Dunn took Scary Movie’s success in stride. Harvey Weinstein might be a sleaze, but the guy’s talent was undeniable. A movie he produced pulling off a miracle? Not surprising. Taking him down would take years of building connections and clout.
But Unbreakable? That one made Dunn’s heart skip a beat. Bruce Willis’ rep might be in the gutter these days, but Shyamalan was a genius—great at building suspense and hooking audiences. With The Sixth Sense’s reputation behind it, Unbreakable could be a hit. And that wasn’t something Dunn wanted to see.
He called in Nina Jacobson. With Spider-Man blowing up at the box office, Marvel Studios was riding high, and as president, Nina was thriving. Lately, she’d been hitting up top Hollywood parties, soaking in the praise. All of it stemmed from her choice to join Dunn’s then-empty-shell Marvel Studios way back when. Looking back, she felt lucky and grateful.
Nina got straight to it. “Dunn, you know how Disney’s production team treats Jerry Bruckheimer—like he’s royalty. After The Sixth Sense killed it, they’ve probably thrown their best offer at Shyamalan to keep him. Unless something unexpected happens, there’s no way we’re poaching him.”
“Unexpected?” Dunn asked.
“Yeah,” Nina said. “Like if Unbreakable flops and Disney drops him. Otherwise, him walking away from Disney on his own? Slim chance.”
Dunn nodded, crossing his legs, his expression sour. Unless a juggernaut like Spider-Man crashed its release window, making Unbreakable—with its $75 million budget—lose money would be tough. Mid-November was pre-Christmas season—no big releases were scheduled then, nothing to siphon off its box office.
Universal’s Cast Away had clout, with Tom Hanks starring, but it was an artsy film. Even if it did well, it’d be a slow burn, not a market-dominating rocket like Spider-Man. As for Dunn Pictures’ other two films, Girl, Interrupted and Memento? Not even in the running.
Girl, Interrupted was set for mid-August. Sure, it had Nicole Kidman and Natalie Portman leading, and it nabbed the Palme d’Or, but its heavy plot and deep themes wouldn’t click with North American audiences. Dunn’s bar was low—recoup the $40 million budget, and he’d call it a win. Overseas markets still respected the Palme d’Or, so even if it flopped in the U.S., international sales could break even.
Memento was slated for mid-September. That one was even bleaker and more mind-bending than Girl, Interrupted. Still, its “high-IQ movie” marketing hook could draw in curious cinephiles who fancied themselves geniuses. With a $5 million budget, even if it sold zero tickets, its niche appeal and quality would make a killing on VHS and DVD.
Nina saw Dunn’s hesitation and jumped in. “Look, I’ve got a solid connection with Shyamalan. If Unbreakable doesn’t hit Disney’s expectations and they cool off on him, we’ve got a shot.”
“Oh?” Dunn’s eyes lit up with a spark of excitement. “You can pull that off?”
Nina nodded confidently. “Yeah. I’ve met him twice recently—I’ve got a good read on him. Disney built him up and treated him well, so he’s not the type to ditch them out of nowhere. But if Disney’s attitude shifts first, he’d have a reason to walk.”
“Alright, let’s do it!” Dunn slapped his hand down, pumped up. “We already took on Gone in 60 Seconds in a showdown. Now let’s go toe-to-toe with Unbreakable too!”
Nina knew Dunn Pictures’ lineup inside out and frowned. “A showdown? No offense, Dunn, but with Girl, Interrupted and Memento, beating Unbreakable at the box office is a long shot.”
Dunn waved it off with a grin. “Those two are locked in—Universal won’t let us shift their dates.”
Nina’s eyes flickered with confusion. “So what’s your plan?”
Dunn glanced at her, a sly smile tugging at his lips. “We’ve got more than just Girl, Interrupted and Memento coming out this year.”
Now Nina was really lost. Dunn Pictures and its subsidiaries had only greenlit three films last year: Spider-Man, Girl, Interrupted, and Memento. What else was there? A movie funded this year hitting theaters already? Steven Soderbergh’s Traffic wasn’t even finished—probably set for next year. The other projects were $100 million-plus blockbusters; no way they’d be ready in under a couple of years.
Dunn grinned at her. “Nina, did you forget? We’ve got Fury Films too!”
Chapter 203: Even B-Movies Can Go Wild
Nina Jacobson knows all about Rampage Films.
It’s a little studio under Dunn Films, set up to crank out low-budget B-movies—horror, thrillers, that kind of thing. Registered with just $5 million in capital.
Sure, Rampage Films recently wrapped a movie—Saw, produced and written by Dunn himself.
But a cheap horror flick with a budget under $1.5 million going toe-to-toe with Unbreakable, a $75 million blockbuster with big stars?
Nina Jacobson isn’t buying it—not in a million years!
Dunn cracks up. “Nina, I can tell what you’re thinking. Yep, it’s Saw!”
Nina sucks in a sharp breath, her gaze turning weird as she looks at him.
Boss, are you getting cocky?
Sure, every movie you’ve produced or directed has been a smash hit. Even romantic comedies like My Big Fat Greek Wedding and The Wedding Crashers raked in over $200 million in North America—crazy impressive stuff.
But…
That doesn’t mean slapping your name on something guarantees a box office bonanza!
Take Christopher Nolan’s debut, Following. Lucasfilm handled distribution, and “Dunn Walker” was listed as producer. Box office? Barely $2 million.
Okay, $2 million is still a huge return—hundreds of times the profit—since Following cost just $6,000 to make, and Dunn Films scooped up the rights for $50,000.
But that just proves “Dunn Walker” can draw fans and keep a movie from tanking.
Big box office—$100 million, $200 million in North America? That takes a polished mid-budget film, like Greek Wedding or Crashers.
Saw cost less than $1.5 million. Say it pulls $10 million—everyone’d believe it. Dunn’s name alone could drag in a loyal fanbase.
But pitting Saw against Unbreakable? That’s nuts.
How many die-hard Dunn fans are out there? A couple million, tops.
A blockbuster’s audience? Tens of millions.
They’re not even in the same league!
Nina gives him a skeptical look. “You’re banking on a newbie director who’s only shot music videos to take on Unbreakable?”
She’s clearly not sold!
Dunn meets her eyes, dead serious. “Nina, don’t underestimate him just because he’s done ads and videos. Remember his name—Zack Snyder. Give it a few years, and he’ll be a cornerstone director for Marvel Studios!”
Nina’s face shifts, surprised. “You’re saying… he’ll direct superhero movies someday?”
“Guaranteed!”
Dunn pauses, then buzzes his secretary through the intercom to summon Glenn Morgan, Rampage Films’ president, for a meeting.
Nina’s still struggling to wrap her head around it.
Unbreakable—$75 million budget, Samuel L. Jackson and Bruce Willis in the cast, directed by M. Night Shyamalan riding the Sixth Sense wave. It could hold its own against summer heavyweights.
And a B-grade horror flick like Saw is supposed to challenge it?
Dunn’s her boss—she wants Saw to win. But is that even possible? If it flops in this showdown, Dunn’s golden reputation takes a hit.
Right now, Dunn’s untouchable—unbeatable!
No need to risk that for a $1.5 million gamble.
Saw’s credits scream “Dunn Walker” as producer and writer. If it goes head-to-head with Unbreakable, Disney won’t miss the chance to crow about “beating” Dunn.
But Nina’s worries? Wasted breath. Dunn’s stubborn as a rock.
Soon, Glenn Morgan shows up. When he hears Dunn’s plan, his jaw drops—same shocked look Nina had!
“Boss, this… this…”
Glenn’s eyes bug out like he’s seen a ghost in broad daylight.
Dunn grins. “What, scared?”
“N-no… it’s not that… I’m worried it’ll mess up the company’s big picture.”
Glenn’s being real. If Saw tanks against Unbreakable, losing money’s the least of it—losing face is the real blow.
Everyone in Hollywood knows Dunn Films has been steamrolling, shrugging off Fox and Disney’s combined chokehold.
But throwing Saw into the ring? It’s like escaping a tiger only to jump back into its jaws!
Dunn waves a hand, all swagger. “Enough—this is my call, and no one’s questioning it! I’ve said it before: from now on, I’m targeting every Disney movie. Unbreakable? Big deal. Dunn Films doesn’t back down. Even with a B-movie, we’ll still take ‘em on!”
Glenn’s face twists with unease. “Boss, this’ll make our job a nightmare.”
“What’s the issue? The movie itself?”
“No, Zack’s great—movie’s in good hands. It’s distribution I’m worried about.”
Dunn glances at him, staying quiet.
Glenn’s a content guy—solid on the creative side—but he’s weak on management, networking, and connections. Niche films like Rampage’s run on a totally different playbook from mainstream blockbusters, and they’ve got to handle distribution in-house.
But from his tone, Glenn’s out of his depth on the distribution front.
He explains slowly, “B-movie distribution usually starts with a preview, then a test screening. After that, theaters decide if it’s worth scaling up. The whole process takes about 15-20 days.”
Dunn nods, thinking it over. “No problem—we’ll roll with it. Halloween’s November 1, right? We’ll drop it then. After two weeks of market testing, it’ll hit Unbreakable’s release day. Perfect timing.”
After Glenn leaves, Dunn lets out a long sigh.
Dunn Films doesn’t have a distribution arm—or even the talent for it. He’d figured he’d nab Universal Pictures down the line and just use their setup.
But now? One distribution team won’t cut it.
Take Disney—they’ve got three: Buena Vista, Walt Disney Animation, and Miramax.
Buena Vista and Disney Animation overlap a lot, so really, it’s two models: one for slick commercial releases, one for indie films.
But “indie” doesn’t always mean small-scale test runs—it depends on the distributor’s clout, channels, and the movie itself.
Like Miramax’s Harvey Weinstein—an indie film god. He’s a shark among Hollywood studios and has deep ties with theater chains across the U.S.
Take Scary Movie this summer. Total niche indie vibe, but Miramax played it like a pro commercial release—skipped previews, tests, and reviews, and launched in 2,912 theaters.
Even wilder? It’s R-rated. Saving Private Ryan topped out at 2,800 theaters. But Scary Movie? After a strong opening, it jumped to 3,301 theaters in week two!
3,301 screens at once—what’s that mean?
In 2000, only three movies outdid Scary Movie’s theater count: Mission: Impossible 2 ($130 million budget), Spider-Man ($150 million), and The Perfect Storm ($140 million).
Scary Movie? Just $19 million to make!
Last year’s The Wedding Crashers was a hit too—PG-rated, family-friendly—but never broke 3,000 theaters. That gap shows Weinstein’s pull and savvy.
Dunn’s not dreaming of landing a Weinstein-level powerhouse, but the idea of building his own distribution arm keeps nagging at him.
Nina stands to leave, noticing Dunn lost in thought. She smiles. “Oh, by the way, I might need some time off soon.”
“Hm?”
Dunn snaps back, grinning. “Sure thing. Spider-Man’s box office is cruising—once this rush dies down, take a vacation. Chill out.”
Nina shakes her head, still smiling. “Not what I meant. I’m… well, I’m pregnant, Dunn!”
“Pfft!”
Dunn jumps up, laughing loud. “Nina, the way you said that, it’s like you’re carrying my kid!”
Nina chuckles, then scolds playfully, “Don’t be ridiculous! Watch it, or my husband’ll deck you!”
Dunn smirks, steps over, and gives her a light hug. “Congrats, Nina. I can tell you’re over the moon. How far along?”
“Over four months.”
Nina rubs her belly, glowing with that mom vibe.
“Nice, awesome! I was wondering why you’ve been looking a little… curvier lately. This is great! When’s the due date?”
“January next year. I’m planning to take off from September—six months. Just not sure if it’ll mess up Spider-Man’s sequel prep.”
Dunn waves it off. “No worries—movie stuff’s covered. New projects won’t kick off ‘til after the Oscars, right when you’re back.”
Nina sighs in relief, smiling. “While I’m out, I can handle Marvel Studios’ big stuff over the phone with Kevin. So no stress there.”
“Perfect!”
Chapter 204: Bruce’s Silent Struggles
Things between Dunn Pictures and Warner Bros. were going great—The Chronicles of Narnia had already started filming.
With Spider-Man lighting up the box office, Marvel’s superheroes were on the rise. The latest stats showed Spider-Man crushing Superman by a landslide and trailing just slightly behind Batman, making him America’s second-favorite superhero.
On top of that, the movie sparked a craze for a book—Harry Potter. In Spider-Man, the shameless plug for Harry Potter was so over-the-top it drew flak from nitpicky media folks and critics. But the more they griped, the bigger Harry Potter got.
Before this, the first three books in the series had built a decent following among kids, thanks to their easy language and straightforward plots—classic children’s reads. But Spider-Man’s boost sent the series soaring among teens too.
By its fourth week, Spider-Man’s hype had cooled a bit, but it had already piled up $390 million in North America and $550 million overseas—$940 million worldwide. That locked it in as the year’s box office champ.
In the latest New York Times bestseller list for the past week, the Harry Potter series made history, landing in the top ten for the first time:
#3: Harry Potter and the Sorcerer’s Stone
#4: Harry Potter and the Chamber of Secrets
#7: Harry Potter and the Prisoner of Azkaban
The newest book, Harry Potter and the Goblet of Fire, had hit shelves in the UK, but it wasn’t out in the U.S. yet. Dealers said it’d land in North America on August 1st. Teens hooked on this magical fantasy world were already kicking off a buying frenzy.
Dunn’s influence through movies was shining through in a big way.
Right now, J.K. Rowling was working on the fifth book, but Dunn had passed word through David Heyman to slow her roll. For the past few years, Rowling had churned out a book a year, driven by financial pressures to rake in royalties. Now, with Spider-Man supercharging Harry Potter’s sales, she wasn’t strapped for cash anymore—she could chase bigger opportunities. And compared to book sales, movies were the real jackpot.
Syncing up with Dunn Pictures’ film plans was her top priority now. But she and Dunn weren’t the only ones keeping tabs on Harry Potter—Warner Bros. was too. They held priority partnership rights for Dunn Pictures’ Harry Potter movies. Sure, it was “priority,” but for Warner, it might as well have been a done deal.
With Dunn Pictures already clashing with Disney and Fox, there was no way they’d risk ticking off Warner too. Warner called up, asking when Dunn planned to kick off the Harry Potter project. Luckily, Dunn had a solid excuse: Dunn Pictures had a lot of big films in the pipeline this year, so it’d have to wait. Plus, Harry Potter was just starting to catch fire—its fanbase needed more time to simmer.
Dunn’s confidence was rock-solid. Warner Bros. was currently caught up in an internal power struggle. The dot-com crash had hit Yahoo hardest, and they were courting Warner Bros. Entertainment’s chairman and CEO, Terry Semel, to step in as their board chairman and CEO to pull them out of the mess. Semel hadn’t said yes yet, but everyone knew his exit was coming.
Warner might be a Hollywood heavyweight, but compared to a shiny new internet giant like Yahoo, it didn’t have the same pull. The top spot Semel would leave behind was up for grabs, with Warner Bros.’ vice chairman and administrative president Barry Meyer duking it out with president and COO Alan Horn. For Warner’s execs, the power game was the priority—content operations were taking a backseat.
After brushing off Warner’s inquiry, Dunn finally welcomed a team from Germany’s famed Lürssen shipyard—design and model-building experts. Five of them—four guys and one woman—showed up at his office lugging a big suitcase. They popped it open and pulled out yacht parts, assembling a sleek, luxurious private yacht model right in front of him.
A month and a half ago, Lürssen had started designing a yacht for a big client like Dunn. They’d hashed out blueprints over fax, and now here was the real deal in model form.
“I don’t know much about yachts,” Dunn said. “The details are up to you guys.”
He loved the model—elegant lines, sharp style. He’d seen the blueprints ages ago, but seeing it in 3D was a whole different vibe.
The Lürssen expert walked him through it. “The yacht’s got five levels. Bottom’s the engine room and machinery. Second level’s a submarine dock, plus space for five speedboats. Third’s all entertainment—bar, disco, restaurant, dance floor, med bay, gym, pool, you name it. Fourth’s the living area—eight suites for about 20 guests, plus a small garden. Top floor’s the owner’s suite, over 4,000 square feet, with a sea-view walkway. The master bedroom’s ceiling retracts so you can sleep under the stars.”
Dunn remembered something Natalie had mentioned. “Oh, do you guys include a helicopter?”
“We’ll provide a submarine, but the helicopter’s a separate order from a specialty company. It’d park on the sports deck. Mr. Walker, this yacht’s 125 meters long—hands down the longest, prettiest, most luxurious private yacht in the world right now.”
Dunn gave a faint smile. World’s biggest? That wouldn’t last long. With guys like Larry Ellison, Roman Abramovich, and Middle Eastern tycoons jumping in, private yachts were only going to get bigger, pricier, and flashier. His “Nat”—named after Natalie—came with a helicopter, submarine, speedboats, and interior fittings, clocking in at $210 million. Construction would take at least 25 months—a massive investment. By comparison, the plane he’d ordered from Gulfstream, including upgrades and decor, was a steal at $38 million.
Gone in 60 Seconds bombed at the box office, but for various reasons, Michael Eisner didn’t swing the axe—Joe Roth got a second chance. Roth knew he had to seize it. This time, Unbreakable couldn’t flop.
Director M. Night Shyamalan? Solid. Star Samuel L. Jackson? No issues. The wildcard? Bruce Willis.
Last year, the Golden Club scandal blew up, and Willis was caught in the muck with no clear explanation. Thankfully, bigger names got tangled up later, shifting the media’s spotlight. But this year, a cheating scandal during his marriage hit the headlines, tanking his already shaky rep even further.
The priority now was damage control. If Willis stirred up more drama when Unbreakable dropped and it hurt the box office, it’d be a disaster.
“Bruce, have you sorted out your personal mess yet?” Joe Roth called him up, his tone sharp.
Ever since the cheating scandal broke, Roth had laid into him: get divorced, fast! Willis and his wife had been separated for over two years—dragging it out was killing his image.
Bruce Willis sounded like he might cry. “We’re talking… her demands…”
“I don’t care what she’s asking for—deal with it!” Roth snapped. “You can’t let your personal crap tank this movie’s box office. You’re an actor—movies are your life, not that money!”
Willis hadn’t signed a prenup, which was why he and his wife, separated for two years, were still legally hitched—he couldn’t afford the divorce payout. Now, with the cheating scandal out there, he was screwed. If it went to court, it’d be a straight 50-50 split, no excuses. Cheating was a big deal in the U.S.—no judge or jury would let him off easy.
After 20 years grinding in Hollywood—hustling favors, investing, managing money—Willis had scraped together $380 million. Divorce would slice that in half, handing over $190 million. How could he stomach that?
Last year, The Sixth Sense blew up, and Willis pocketed over $65 million from profit shares. He was so hyped he threw a three-day rager, inviting everyone. Who’d have thought a year later he’d be staring down a $200 million hit?
Back when he’d blasted Dunn’s Wedding Crashers, he’d been riding high—The Sixth Sense was a smash, and he didn’t give a damn about the Golden Club mess. But this summer, Dunn struck again, and he didn’t pull punches.
Hearing Roth’s threatening tone, Willis could barely speak. If he’d thought twice back then—if he hadn’t taken Roth’s advice and trashed Wedding Crashers—he wouldn’t have crossed Dunn. Maybe he wouldn’t be facing this divorce nightmare now.
“Sigh…” Bruce Willis let out a long, bitter breath, his face a mask of regret.
