It wasn't just Duke. This special mission group later brought in many others from Hollywood. In the most extreme instance, they assembled dozens of screenwriters, directors, and producers for a roundtable discussion to brainstorm ways to destroy America—a topic that had become wildly popular.
Since 9/11, Hollywood suffered a massive impact. The slump in the theater market alone caused many films to become casualties, particularly those released near the time of the event. They were undoubtedly victims of the terrorist attack. Many other films rescheduled their release dates to avoid the aftermath.
"The Fellowship of the Ring" also suffered. Already quiet in North America, its daily box office plummeted to less than $100,000, and its final North American gross might not even break $470 million.
Merchandising was similarly affected. In the two weeks following 9/11, related products in North America grossed only $2 million, less than a third of the previous week's sales.
The entertainment industry was merely a reflection of the broader U.S. economy. The entire American economy faced severe setbacks, with the effects spreading globally.
Sorrow lingered, but life had to go on. Regardless of the federal government's certainty that Bin Laden was the mastermind, Duke's primary focus remained on his work.
During his free time, he received numerous calls of gratitude.
Because of his warning and the unexpected shooting incident, Christophe Rocancourt hadn't yet transferred their investments. The money would soon be returned to its rightful owners. Meanwhile, the conman still lying in a hospital bed and his ex-girlfriend, Jessica Alba, became the targets of these victims' wrath.
According to Frank Pierson, these people were determined to send both of them to prison.
Though Duke wasn't entirely innocent—on the surface, he was also one of the victims—he now stood among these deceived individuals. Out of the nearly fifty victims, forty had called to thank him, clearly owing him a favor.
Notably, some, like Frank Pierson, were influential conservatives.
These connections would prove valuable in the future.
North America's situation didn't begin to improve until November. While 9/11 would remain an indelible scar on the nation and its people, time would allow for temporary forgetfulness. Before the pain fully subsided, Hollywood's more astute individuals avoided topics related to the World Trade Center or airplane terrorism.
In recent years, only two kinds of directors dared tackle such subjects—those who lacked sense and those with ulterior motives, like Michael Moore.
"The Fellowship of the Ring's global box office has already surpassed $1.1 billion."
Inside a management agency office, Martin Bob looked grim as he spoke to Michael Ovitz. "Although the current trajectory suggests the film's final box office will stagnate at this stage without significant growth, it still dwarfs the combined earnings of our two packaged projects."
Unlike Martin Bob's somber tone, Michael Ovitz remained optimistic.
"We should focus on the positives, Martin. 'The Fast and the Furious' grossed $126.5 million in North America and $51.02 million overseas, totaling $177.52 million globally. This demonstrates our company's capabilities!"
With a $38 million production budget, such box office numbers—and the subsequent merchandising income—were enviable across Hollywood.
"But…"
Martin Bob tried to say more but was interrupted by Michael Ovitz raising a hand.
"'Pearl Harbor' didn't meet expectations, true. But its $172 million North American gross and $410 million global gross are enough to account to Disney. Don't forget, factoring in DVD and TV rights, this project still turned a profit."
"However…"
Seeing Ovitz's gaze, Martin swallowed his words. Both films' combined earnings, even doubled, barely matched the box office of a single Duke Rosenberg film. That hardly qualified as a success.
Although they and Disney had deliberately moved up "Pearl Harbor" to avoid clashing with "The Fellowship of the Ring," they'd secretly hoped to outshine Duke Rosenberg. Reality, however, was once again cruel.
"Martin…" Michael Ovitz sighed deeply. "We must admit it now: back at CAA, we made a mistake. We overlooked the one person we should've prioritized."
Martin Bob knew exactly who Ovitz meant. Thinking of that nightmare of a name, his brow furrowed deeply.
Would so many films have fallen short of expectations if they had Duke Rosenberg? Would Martin have had to leave CAA in disgrace if Duke Rosenberg had stayed? The answer was obvious.
Yet Martin also understood that their ideological differences meant even if they had retained Duke, they would've eventually parted ways.
Both Ovitz and Bob were notoriously controlling agents, while Duke Rosenberg was known for resisting manipulation. Conflict would've been inevitable.
"Michael, will 'Pearl Harbor' impact our future collaboration with Disney?"
This was Martin's main concern. "It turned a profit, but the margins…"
"Don't worry," Ovitz said confidently. "Today's Disney isn't what it was a few years ago. Michael Eisner, driven by personal grudges, pushed out Robert Iger, who had close ties to Duke. Cooperation between Disney and Duke is practically nonexistent. Disney's live-action film production is in shambles."
He tapped his fingers on the desk. "As for animation, Disney's profits rely almost entirely on Pixar. You may not have noticed, but Pixar and Disney are on the verge of a split. Eisner and Steve Jobs have irreconcilable personal conflicts. Rumor has it Jobs is already seeking a new distributor for Pixar."
Ovitz smirked. "Eisner's grip on power is slipping. Without our support, he won't last long."
Only a few insiders knew Eisner's ambition extended beyond turning Disney into a media empire—he wanted that empire to bear his name.
Though Disney was no longer a family company, it wasn't Eisner's either, and the self-styled tyrant still had much ground to cover.
"Jobs still won't budge?"
Sitting in his expansive chair, Michael Eisner addressed Cook Dick across the desk.
"We can't make too many concessions on the new contract," Eisner said.
Pixar's original five-film distribution deal with Disney had highly unfavorable terms. Jobs, desperate at the time, had no choice but to agree. Disney not only took distribution fees but also claimed nearly 80% of profits from films and merchandising.
Having regained his footing, Jobs refused to tolerate such terms any longer.
"But Jobs is adamant," Cook replied. "He said if we don't compromise, Pixar will find a new distributor once the contract expires."
"A new distributor?" Eisner sneered. "Who could match Disney's ability to maximize the animation market?"
Cook hesitated before adding, "Jobs mentioned that Duke Rosenberg, a major Apple shareholder, has close ties with him. He's willing to bring Pixar into Warner Bros.' distribution network."
"Duke? Warner?" Eisner frowned.
It wasn't a secret among insiders that Duke held shares in Apple. Reports had even mentioned his deep discussions with Jobs during shareholder meetings. It was entirely possible they'd discussed Pixar's future.
After "Toy Story 2," Pixar had become Disney Animation's backbone. Calling it Disney's lifeline wasn't an exaggeration.
"Would they really team up?"
Eisner's question sounded more like he was talking to himself, not expecting Cook to answer. But he knew the possibility existed.
Disney couldn't afford to lose Pixar, and Eisner was keenly aware of this.
"I believe 'Harry Potter and the Sorcerer's Stone' is about to release?"
Eisner asked. Cook immediately confirmed.
"Yes, it's set to premiere in the U.K. and U.S. next week."
Eisner nodded thoughtfully. After a long pause, he said, "I recall the Harry Potter studio only signed for the first three films. Reach out to J.K. Rowling and secure the rights to the remaining books…"
He stopped, reconsidered, and added, "Actually, wait. Let's approach her after the first film's release."
If the series' debut succeeded, Disney would compete for involvement to at least distract Warner Bros. and Duke Rosenberg. If it failed, they'd simply watch Warner's blunder.
Cook jotted down the instructions before asking, "And Pixar?"
"Let's stall. We still have two films left under contract. There's no need to rush." Eisner then reminded, "Also, let Warner know I'll attend the North American premiere of 'Harry Potter and the Sorcerer's Stone.'"
...
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