Universal Studios, Burbank.
Tomorrow was Halloween, and the park would host a week of festivities. Thus, even on a Monday afternoon, the sprawling 200-hectare entertainment complex bustled with energy.
In an office building in the northern administrative district, MCA chairman Lew Wasserman and CEO Sid Sheinberg sat by a fifth-floor window.
Lew Wasserman, seventy-five, lean-faced with large tortoiseshell reading glasses, the man once jokingly compared by the press to E.T. had controlled MCA for thirty years, building a talent agency into a comprehensive media conglomerate.
Sid Sheinberg, just over fifty, had discovered Spielberg and remained another enduring Hollywood fixture with over a decade in power.
Occasionally glancing at the distant crowds, the two moguls discussed Daenerys Entertainment's Scream.
Sheinberg passed Wasserman a document he had studied repeatedly. "Marketing compiled this this morning. Daenerys's campaign for Scream is a textbook case. Precise teen targeting, ads on network youth programs, MTV, teen magazines; dual teams blanketing major cities. Above all, their distribution team's flawless execution it all fueled the success."
Wasserman opened it. "Could we apply this to John Carpenter's They Live?"
They Live, a sci-fi thriller from the Halloween creator, opened Friday.
Sheinberg shook his head regretfully. "Carpenter's film is average only four million budget. Not worth a major push."
Wasserman glanced at him. "Scream's budget wasn't high either?"
Sheinberg managed an awkward laugh.
The report detailed Daenerys's spend: $1.3 million on prints for 1,755 screens alone, plus ads, roadshows conservatively over $7 million, likely more with success prompting further investment, possibly exceeding the $10 million production.
Would Universal match it?
Perhaps.
But they needed a film of comparable quality first.
Scream's young, attractive cast connected effortlessly with teens. They Live was a buddy film with Black and white leads thirty somethings, little recognition. Fine on screen; in person, minimal appeal.
Seeing Wasserman unmoved, Sheinberg asked after a pause, "Lew, why did the MPAA matter fizzle out?"
Wasserman paused turning a page and recounted Jack Valenti's relayed message. Shaking his head, he concluded, "He's fundamentally reckless, willing to play by rules yet contemptuous of them, restrained yet ruthless. And only twenty. That youth is an advantage none of us possess. Sid, if we sell MCA soon, I intend to retire. I don't want trouble disrupting my later years."
Sheinberg remained reluctant. "Lew, do we simply allow Daenerys to grow unchecked?"
Wasserman eyed him shrewdly. "If you wish to act, feel free."
Sheinberg hesitated. "Gene from distribution mentioned something this morning. Scream producer Ron McMillan had an affair with an actress promised a major role he didn't deliver."
Such betrayals were commonplace in Hollywood.
Wasserman frowned slightly. "How old is she?"
Sheinberg uncertain. "Twenties, I believe."
"A woman in her twenties unless you offer substantial incentive, do you think she'd risk her career against Daenerys?" Wasserman pressed without pause. "Or if Daenerys traces it to you, don't you think they could find similar ammunition against Universal?"
The Scream rating ploy had been a whim to humble the newcomer, nearly escalating disastrously.
Recalling the young man's words still unsettled Wasserman. Age favored caution; he wanted no unwinnable old-guard war.
Sheinberg's idea was third-rate.
Few in Hollywood were spotless on such matters. Attack with scandals, and retaliation was inevitable.
Crucially, Universal gained little.
The strike's aftermath left Halloween barren; Scream's success stung but competed minimally with the majors.
Without compelling interest, petty schemes were not worth the cost.
Watching Wasserman, Sheinberg quickly abandoned the notion.
As MCA's longtime second-in-command, he knew Wasserman held true power. Any fallout, and Wasserman would sacrifice him to shield the company.
While Wasserman and Sheinberg discussed Scream, at Paramount Studios, president Sidney Ganis had just lunched with Wes Craven.
Ganis was pragmatic.
Paramount's year shone with summer billion-dollar hits Coming to America and Crocodile Dundee II. He wanted the momentum to continue no desire to challenge Daenerys.
Craven's Nightmare on Elm Street had propelled New Line; recent Final Destination and Scream successes Simon's influence aside made him a director worth pursuing.
No deal emerged from lunch, but Ganis learned Craven had no sequel commitment with Daenerys opportunity remained.
Seeing off Craven, Ganis asked his assistant, "Have you contacted Scream writer Bruce Joel Rubin?"
Assistant nodded. "Ten o'clock tomorrow."
Ganis nodded, then added, "Compile files on the creatives for Daenerys's year-end films."
Across Los Angeles that day, many discussed Daenerys matters.
Previously reliant on major pipelines, Scream's triumph elevated Daenerys to premier second-tier status behind only the Big Seven.
Some courted alliances, others plotted sabotage, some poached talent, others merely envied.
Unseen currents swirled around Daenerys; their ultimate direction unknown.
Post-weekend Halloween boosted weekday grosses far above normal.
Thus, after its first full week, Scream reached $20.71 million.
Driven by Scream, the October 28–November 3 North American total surged from $32.67 million to $47.36 million—Scream claiming 43 percent; sixteen other films split 57 percent.
Weekly chart: Scream $20.71 million; second Halloween 4 $5.23 million.
Jodie Foster's The Accused—strong word-of-mouth, steady hold—third week $3.69 million, third.
Fox's Alien Nation $2.92 million, fourth.
Sigourney Weaver's Gorillas in the Mist and Tom Hanks's Punchline fifth and sixth.
Warner's Scrooged seventh with $1.63 million opening week. New releases would erase it.
November 4, Friday.
Compared to last week's quiet, four new films opened.
Only Daenerys's limited 22-screen platform of Steel Magnolias carried weight; Paramount's U2 doc Rattle and Hum, Carpenter's They Live, and Diane Keaton's The Good Mother lacked major backing from Universal and Disney.
None challenged Scream.
Simon and Janet spent Halloween in New York, returning Friday morning.
Santa Monica.
Daenerys headquarters large conference room, Friday afternoon.
Simon, Amy Pascal, Robert Iger, Robert Rehme, and other executives heard Nancy Brill, recently hired consumer products head, outline department plans.
Nancy Brill, from Hasbro, mid-thirties, with refined French features, blonde hair pinned up, black suit sharp and professional.
Daenerys had few merchandisable projects. Early films like Run Lola Run rights sold; Pulp Fiction etc. elsewhere.
Currently reality shows and surging Scream.
Daenerys profited richly from core revenues. To avoid overexploitation, Simon urged caution Nancy's early years: team-building, channel expansion.
"Finally, video games. The Atari crash depression has passed. Japanese companies drive revival. Early Run Lola Run and recent Scream suit adaptation; we'll have more. Learning from Atari, outsource like films, invest in studios but avoid interfering."
Before the projector, Nancy concluded her philosophy, presented successful cases via PPT, then waited questions.