Overhauling the film and TV industry wasn't like flipping the internet or tech world upside down—it couldn't be a clean break. Change had to start small, bit by bit.
Even new concepts in film leaned on cutting-edge tech: 3D, giant screens, holograms, VR, multi-screen setups, streaming platforms.
Bottom line? Tech was still the ultimate game-changer!
Companies like IMAX and Dolby Laboratories were the future of movie tech.
IMAX, born in 1967, specialized in high-def giant screens. After decades of growth, it had teamed up with major theater chains to build over 75 cinemas across North America.
Headquartered in New York, it went public on NASDAQ in 1994. Current stock price? $103. Market cap? $64 million.
Acquiring Dolby Labs, though, would be trickier—it was privately held.
Founded in 1965 in San Francisco, Dolby focused on audio—think noise reduction and surround sound systems.
Lucky break: Dr. Dolby was getting old and in poor health. He needed to settle his affairs fast.
If Dolby stayed private and passed to his son, U.S. inheritance tax would hit hard!
So, two options: sell the company or take it public.
Only cash or stocks could be passed to heirs via trusts or charities.
But going public wasn't on the table short-term. Dolby had solid cash flow, no debt—too clean. Low debt made stock financing messy and impractical.
In short, both IMAX and Dolby posed acquisition challenges, but with the right price, it was doable.
"No way Universal's up for grabs!"
Bill Mechanic shot it down instantly.
Dunn grinned. "Vivendi's riding high right now—they'd never sell Universal. We just float the rumor, tip off the feds, and feel out Vivendi's stance."
No country wanted its media in foreign hands—Rupert Murdoch even took U.S. citizenship for that reason.
If the feds caught wind Dunn wanted Universal, they'd roll out the red carpet.
In Dunn's original playbook, snapping up IMAX and Dolby wasn't on the radar. But with a new goal to shake up Hollywood, tech had to be locked down.
Both companies had sky-high potential anyway.
Imagine blending IMAX's giant screens with Dolby Atmos—Dolby Cinema! That'd be next-level movie magic.
Dunn was headed to the Chicago set at Fox Studios when he spotted a freshly decorated quote on his company's first floor. It lit a fire in him:
"New Order, New Model, New Power, New Hollywood!"
The revolution started now!
Chicago had been filming for over a month. With newbie director Rob Marshall at the helm, executive producer Kathleen Kennedy had been on set nonstop, swamped.
The second she saw Dunn, she griped, "Big boss, I signed on at Rose Pictures part-time! You're piling way too much on me. Juno to Resident Evil, The Hours to Chicago—I'm busier than a full-timer!"
Dunn caught the smirk in her tone—she was happy, just riffing in that American humor way. He laughed, "What, you doubting my commitment to women's rights? I'm proving it to you! Oh, and haven't you heard? Gone Girl's gearing up too—Rose Pictures is on it."
Kathleen shook her head, turning serious. "Dunn, I don't think that's smart. Rose Pictures is small—cranking out a few films a year is plenty. No need to overdo it. Pushing women's rights takes time, not a rush job."
Dunn said, "You've heard the company's new strategic slogan, right?"
"New Order, New Model, New Power, New Hollywood—yeah?" Kathleen gave him a half-smile.
Dunn shot her a thumbs-up. "Exactly. You get my vision. Hollywood's suffocating women—I'm dying to change that."
Kathleen eyed him, teasing, "If you mean it, you might have to stop playing the field."
Dunn puffed up, all righteous. "The big picture comes first!"
Inside, he cracked up.
Equality wouldn't cramp his style!
Worst case, even if Hollywood's women rose up, refusing to trade favors for roles, killing the casting couch…
There was always the modeling world.
That place was a dark goldmine.
His charmed life wouldn't take a hit—gold-diggers were everywhere!
Especially in America's money-worshipping culture.
Kathleen mulled it over. "Gone Girl can get a tentative greenlight, but we'll shoot after the new year—Rose shouldn't juggle too many films. Also, I think my work here's basically full-time now."
"Oh?"
Dunn's eyes lit up.
Kathleen was Rose Pictures' president, but she still ran Kennedy/Marshall, the production company she owned with her husband.
"Frank and I have been on the phone every night, talking it out," she said, pausing to lock eyes with Dunn. "We agree—your vision's our goal too!"
Now Dunn was pumped.
Was this his call to arms, answered by the masses?
Kathleen Kennedy and Frank Marshall were Hollywood's elite producers!
Dunn swallowed hard. "You and Mr. Marshall want to join Dunn Films?"
"Can we?"
"Yes! Hell yes!" Dunn slapped his hand down, then hesitated. "But Kathleen, I don't know Frank well. You, though—I know your talent. Running Rose full-time? That's beneath you."
Skill-wise, Kathleen outshone even Marvel's president, Nina Jacobson, yet she was stuck with tiny Rose Pictures—overqualified.
Kathleen tucked a strand of hair behind her ear, smiling. "No biggie. As a woman, I love Rose's mission."
Dunn nodded, lowering his voice. "Kathleen, you know I made a killing in the stock market. I've funneled $7 billion into Dunn Films. Let's team up—you, me, Frank—and do something huge!"
"$7 billion?"
Kathleen gasped, shock all over her face.
She was tight with Steven Spielberg—she knew DreamWorks launched with three heavyweights plus Allen Paul's cash, totaling just $1 billion.
That alone had rocked Hollywood.
But Dunn? Ruthless. With Dunn Films debt-free and raking in profits, he still dumped $7 billion into it!
What was he plotting?
Kathleen's heart raced. This cemented her faith in Dunn's resolve, guts, and killer instinct!
What DreamWorks couldn't pull off, Dunn Films just might!
Dunn clapped her shoulder. "I told you—I'm building a new pattern, a new order in Hollywood. Trust me, you've made the right call!"
Her pulse jumped at his words. She took a deep breath. "Hollywood needs a shake-up. DreamWorks flopped, but that doesn't mean the old system's invincible!"
Dunn grinned, nodding toward Catherine Zeta-Jones dancing her heart out on set. "What about her? She say anything lately?"
Kathleen knew about Dunn's beef with Kirk Douglas. She shook her head. "She's all in on acting—never mentions family stuff."
She dropped her voice. "Honestly, Michael Douglas is decent—good rep. He's visited the set a few times and hinted at smoothing things over with you through me. It's old man Douglas—he's got some beef with you."
"Beef?" Dunn's lip curled, amused. "Not a misunderstanding. I chewed him out over the phone that time."
"What?"
Kathleen's jaw dropped.