[Chapter 447: Oversight Systems and New Projects]
After completing the personnel restructuring and political climate reform within Universal Group, it could be said that a solid foundation had been laid for the company. Whether Universal could truly revive and emerge with renewed vigor depended more on establishing a sound operating system.
This included transparent, performance-based evaluation and reward systems, performance management procedures, promotion protocols, and personnel assessment guidelines.
To prevent corruption and ensure the company's sustainable, healthy development -- while protecting its executives -- a comprehensive internal control system was also necessary. This included multi-tiered decision-making processes for major issues, contract approval workflows, business auditing procedures, financial payment protocols, and more.
Once these mechanisms were in place, combined with Linton's foresight, Universal would undergo a profound transformation, regaining vibrant new life and soaring forward.
Of course, there was no need for him to personally pour over every detail in the establishment of these systems. He only had to set the requirements. The Group would formulate a general management and internal control framework, and each branch office would create its own management guidelines and internal control mechanisms for his final review.
Regarding film project approvals, he made a special request that played to his unique advantage as a transmigrated person.
From now on, Universal Pictures' film projects with investments under $10 million would be approved by the review committee.
Projects exceeding $10 million, after passing committee approval, would require Linton's final oversight and green light.
Additionally, he planned to establish an oversight system to ensure that these policies and procedures were genuinely implemented.
This oversight had two parts: One was the creation of compliance departments at headquarters and each branch. The compliance department at headquarters would answer only to him, while branch compliance teams would report to headquarters' department, insulated from outside influence.
The other part involved hiring professional auditing firms to conduct comprehensive annual audits. These audits would not be mere formalities to appease shareholders but thorough examinations identifying operational issues.
With both internal and external dual supervision, the company's operations would be safeguarded against serious problems, and any issues would be quickly detected.
...
After another ten days of work, the initial management rules and internal control systems throughout Universal Group were established, though constant optimization would continue.
Simultaneously, Linton selected strong-willed and principled personnel to form the compliance departments at headquarters and primary branch offices.
The compliance team was lean -- only four people at headquarters, led by a recently retired prosecutor -- while branches had two to three members each.
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While Linton's sweeping reforms reshaped Universal's staff and internal governance, the company's business development also marched forward.
First up was the overseas release of Scream, which over the past month had launched in more than 50 countries and territories.
Starting November 16, the distribution department organized main leads -- including Jennifer, Akina Nakamori, Skeet Ulrich, and David Arquette -- to embark on a two-week international promotional tour.
The results were impressive. By December 10, overseas box office had reached $105 million, nearly rivaling North America's $108 million.
This horror movie nearly replicated the box-office miracle of Final Destination. Crossing $120 million domestically was now a foregone conclusion, and worldwide revenues stood to surpass $250 million.
This would generate enormous profits for Linton Films and Universal.
Zack, the director, reclaimed his status among Hollywood's upcoming top names, gaining the attention of major studios.
The biggest beneficiaries were the actors. Jennifer, with three global blockbuster films under her belt, had solidly secured her place as a leading lady in Hollywood.
Akina Nakamori also used the film and her brooding allure to break through internationally, especially in Asia, where she skyrocketed in fame.
Upon returning from the overseas tour, both threw themselves into parties with Linton for three consecutive nights before launching full-force into intensive business activities arranged by their agencies.
Other cast members like Skeet Ulrich and David Arquette also saw their careers boosted, moving from negligible status to firmly planting their feet in Hollywood as solid mid-tier stars.
...
Universal was also ramping up promotion for 12 Monkeys, scheduled for release on December 28.
Meanwhile, Linton Films readied two movies -- The Sixth Sense and As Good as It Gets -- set for December 14 and 21 releases, respectively, with overseas distribution efforts spearheaded by executives Levitt and Clinsman.
According to Linton's predictions, both films had strong blockbuster potential. Universal's distribution team wasn't skimping either, allocating $15 million overseas promotion budgets per film.
Clinsman took the opportunity to thoroughly inspect each overseas branch, intending to personally oversee the release campaigns across key overseas markets.
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On the production side, after streamlining the department, Bob quickly selected a project from many candidates: The Nutty Professor.
This sci-fi comedy was a tailor-made vehicle for Eddie Murphy, penned by the famed screenwriter Jerry Lewis.
The plot revolved around Professor Klump, who, after taking a special weight-loss drug, transforms from an obese man into a charming, confident, slim alter ego. His newfound charisma wins over everyone -- even the sharp-tongued lose debates to him.
His beautiful colleague, Professor Carla, who he only dreamed of getting close before, now agreed to go out with him.
But the drug was unstable, and its effects unpredictable; it might reverse just as his dreams seemed within reach.
After a series of humor-filled mishaps, Klump ultimately realizes that true worth lies within.
The film's concept was strong, production costs were modest at $20 million, and comedy was an easy genre for small-budget hits.
However, the obstacle was the casting. According to the script, lead roles were African American, an approach considered extremely risky by all major studios at the time. The mainstream North American audience remained predominantly white; films with black leads rarely had big box office success.
Jerry Lewis firmly refused to change the casting, insisting Eddie Murphy remain the lead. Earlier, the project had been shelved by Roman, the former production head.
In fact, Jerry Lewis had approached other major studios, all skeptical of the script's prospects.
After taking over Universal's production, Bob was intrigued by the story and its comedic conflicts despite uncertainties. He hesitated but ultimately decided to back the project.
To be cautious, he first reported the project to Linton for market prospect evaluation.
After reading the script, Linton immediately recalled the film's former success. In a previous life, this had been a massive hit, grossing $270 million globally and winning numerous awards. Naturally, he gave full support.
Moreover, considering Universal's recent upheavals followed by rebirth, the studio needed several hit films to rejuvenate morale and reshape its public image.
Linton also picked a major production from his company's script library -- Twister -- to hand over to Bob.
He recalled that in the mid-1990s, natural disaster films were sweeping through Hollywood. Last year, he had selected Twister and Armageddon as the simplest and highest-grossing stories, writing outlines and having the script department complete them while registering copyrights.
This time, to back Universal and support Bob, he brought Twister forward, with script costs to be paid at market rates.
Twister was a disaster adventure film about meteorologists Jo and Bill leading a team of storm chasers in Oklahoma, risking everything to deploy state-of-the-art instruments inside tornadoes. Through numerous dangers, they ultimately succeeded.
Thanks to Linton's backing, Universal swiftly approved both films and began preparations.
The Nutty Professor's budget was $20 million, produced by Brian Grazer and Jerry Lewis as co-producer, directed by Tom Shadyac, written by Jerry Lewis, starring Eddie Murphy.
Twister 's budget was $60 million, produced by Ian Bryce, co-produced by Linton, directed by Jan de Bont, and written by Linton.
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