"Yesterday afternoon, MGM Pictures abruptly announced that it would take over distribution of the family comedy My Stepmother Is an Alien, starring Dan Aykroyd and Kim Basinger, and scheduled it for December 23. My Stepmother Is an Alien is produced by independent Hollywood companies Weintraub Entertainment Group and Catalina Productions, with a production budget of $20 million."
"According to public reports, the film was originally slated for release by Columbia Pictures. This reporter contacted producer Franklin Levy, who stated that the production team could not reach agreement with Columbia on certain distribution terms and therefore turned to MGM."
"However, scheduling My Stepmother Is an Alien for December 23 places it in direct competition with MGM's other release, Rain Man, set for December 16."
"Rain Man is directed by Barry Levinson of Good Morning, Vietnam fame and stars Dustin Hoffman and Tom Cruise. The project previously made headlines for intense conflicts between the creative team and producers. Hoffman and Cruise publicly supported Levinson, condemning Daenerys Pictures for excessive interference in the creative process. Levinson subsequently departed the film, with reports claiming Simon Westeros personally took over post-production."
"When asked whether MGM's sudden acquisition of My Stepmother Is an Alien reflected a lack of confidence in Rain Man, whether Rain Man's release might be canceled, or whether other factors were at play, this reporter contacted MGM, Daenerys, and CAA but received no response."
"This publication will continue to follow developments."
Santa Monica.
In Simon's office at Daenerys Entertainment headquarters.
Simon set down the copy of Daily Variety and looked up at Amy Pascal and Robert Rehme, who had just taken seats across from him.
Amy spoke first. "I checked with a contact at Columbia. Internal test screenings for My Stepmother Is an Alien went poorly. Columbia wanted a higher commission and asked the producers to share marketing costs. Talks broke down."
Simon twirled a pencil between his fingers. "I'm not interested in that film."
Rehme, catching Simon's glance, continued. "On the MGM side, I saw their proposed marketing plan for Rain Man yesterday. It was shockingly slapdash—I suspect an intern threw it together. Tony Thomopoulos complained to me that the film has nothing going for it. MGM is also demanding we front five million dollars for marketing expenses immediately. Given the current situation, we'll be lucky to get the contractual minimum of one thousand screens no more. Even if they take the money, they won't promote it properly. We can station accountants to monitor per the agreement, but MGM has plenty of ways to circumvent oversight."
Simon had long understood that a film's successful release depended on quality, resources, and luck—far too many variables. Deliberately sabotaging one, however, was simple.
Glancing again at the newspaper on his desk, Simon recognized CAA's handiwork without needing reminders.
Dan Aykroyd was another major CAA client, elevated to A-list status by the 1984 runner-up hit Ghostbusters.
Without external pressure, an independent producer facing a year-end deadline would likely swallow Columbia's last-minute demands to avoid missing the holiday window.
CAA, growing ever more dominant in recent years, certainly had the influence to orchestrate the switch.
Dustin Hoffman, Tom Cruise, and even director Barry Levinson were all cornerstone CAA clients. Having burned bridges on Rain Man and successfully pinned blame on Daenerys, CAA clearly wanted no chance of redemption. The film's fate had to be failure the more resounding, the better.
Checking his watch as the two spoke, Simon noted a full morning of Batman auditions ahead, followed by appointments through the evening. Another busy day.
Cutting to the chase, he told Rehme, "Then go to MGM now and retrieve the distribution rights to Rain Man."
Rehme hesitated. "Simon, what if MGM refuses?"
Simon stood and buttoned his suit jacket. "That's your problem, Bob. If they won't release it, I'm afraid your year-end bonus will take a hit."
Rehme watched Simon stride out, then turned helplessly to Amy. "Simon seems in a bad mood today."
Amy rose as well. "He's probably exhausted. And anyone would be upset in this situation."
"All right," Rehme said, standing and following her out. "At root, this is a dispute between us and CAA. Though the majors haven't been friendly lately, Thomopoulos shouldn't want to burn bridges with Daenerys completely. Getting the rights back shouldn't be difficult. The question is, Amy. What should I offer?"
"MGM holds North American distribution across all channels, theatrical, home video, and television at fifteen percent. We retain overseas." Amy recalled the original terms. "Assuming twenty million domestic, five million should be reasonable to buy it back."
Rehme nodded; that matched his own estimate.
At twenty million domestic, MGM would earn three million in theatrical commission. Home video and television in North America alone would roughly match that another three million but over years. Five million upfront to reclaim the rights was an offer MGM could not refuse.
With a teasing note, Rehme asked, "Amy, do you really think Rain Man will only do twenty million?"
Walking down the hallway outside Simon's office, Amy rolled her eyes lightly. "Don't you?"
Rain Man had been a project many in Hollywood dismissed from the start. The post-production turmoil, combined with the leads' refusal to promote, were all severe handicaps.
Though the industry respected Simon's track record beyond his five directorial efforts, he had proven his eye with When Harry Met Sally to many, the finished Rain Man felt utterly ordinary, lacking the spark of that romantic comedy.
Twenty million domestic was already generous.
Amy suspected Simon's insistence now stemmed more from youthful pride.
Their boss, after all, was only just twenty.
Rehme let the question hang with a smile. Noticing Amy descending the stairs with him, he asked, "Heading out too?"
"Consumer products division. I'm meeting a prospective manager in Century City this morning."
Though the New World acquisition was complete, restructuring and expansion continued.
From Star Wars onward, merchandising had become a major revenue stream for studios. With Daenerys's growing slate of self-distributed films, it promised significant income.
Establishing a consumer products division for licensing and merchandise was one of Amy's recent priorities.
"Oh, actually, I think we should acquire a record label soon or start our own division. From Run Lola Runq on, our soundtrack albums have sold well. I hear Pulp Fiction's has moved over six million units." Rehme shook his head. "Such a shame. From current trends, Pulp Fiction will likely be this year's box-office champion single-handedly carrying Orion. That profit should have been ours."
Last year's crash had hit most studios hard.
Without Pulp Fiction, Orion releasing over a dozen films with none breaking out would have been in dire straits, perhaps bankrupt like Cannon or De Laurentiis.
Now, with domestic nearing $150 million and global potentially reaching $300 million, Orion's losses elsewhere were covered.
"No one expected Pulp Fiction to explode like that not even Simon, probably. Nothing to be done," Amy said regretfully. "As for records, Simon and I discussed it early on. You know that hit single he wrote for Madonna? His musical talent rivals his filmmaking. We're just not familiar with the business, and no one has time right now. It's on hold."
Rehme nodded understandingly. "I saw the tape of him playing 'Flight of the Bumblebee' on guitar. Astonishing. I still don't know how he became… this."
They chatted idly to the parking garage and drove off to their respective destinations.
Downstairs, Simon entered the audition room to begin the morning's work.
This was the final round for key supporting roles in Batman. Besides Bruce Wayne/Batman and Selina Kyle/Catwoman, the three most critical characters in the first film were Bruce's butler Alfred Pennyworth, Gotham police commissioner James Gordon, and the primary villain Black Mask.
In the original timeline's major Batman films, starting with Tim Burton, the iconic rogues had been Joker, Riddler, Two-Face, and others. Black Mask never appeared. In truth, the character was not yet a well-known villain; he debuted in the comics only in 1985, three years ago.
After thoroughly studying the Batman canon, however, Simon decided Black Mask was perfect for the series opener.
In the comics, Black Mask real name Roman Sionis was born into one of Gotham's wealthiest families and had been Bruce Wayne's childhood classmate.
Roman's upbringing was tragic. Though privileged, the Sionis family carried a hereditary streak of volatile violence. Roman grew up amid his parents' verbal and physical abuse, becoming withdrawn and developing a habit of collecting masks to hide behind. When his parents cdisapproving of the obsession burned his collection, Roman snapped, killed them in a fire, and inherited the fortune.
His inherited violent tendencies resurfaced; he became quick-tempered and aggressive. Mismanaging the family business, he drove it to the brink of ruin.
When Bruce Wayne returned to Gotham after years abroad and out of old school ties had Wayne Enterprises acquire the failing Sionis company, Roman was left with nothing. He blamed Bruce and descended into crime, becoming one of Gotham's most notorious villains.
In the comics, Roman also had deep ties to Catwoman perfect for weaving connections among Bruce, Selina, and Roman in the film.
Simon's screenplay diverged significantly from the source.
Two men from similar backgrounds: one striving to fight evil as the fearsome Batman, the other plunging into darkness as the ruthless Black Mask. The contrast offered rich thematic depth.
A novice Batman, through this encounter, would complete his first transformation into the Dark Knight. The relatively straightforward good-versus-evil conflict fit Simon's vision for the series: starting accessible and world building.
Simon had a clear positioning for Batman: blockbuster popcorn entertainment. While prioritizing commercial appeal, he refused to abandon deeper explorations of humanity, good, and evil.