Chapter 52: Independent Production, Full Control
With Pretty Woman opening in 1,350 theaters across North America, it earned $12 million over its opening weekend.
A lighthearted romantic comedy, Pretty Woman instantly captivated audiences with its charm, leaving a strong impression.
The romantic premise was playful and intriguing—a millionaire and a streetwise woman crossing paths. Perfectly executed by Al Pacino and Julia Roberts, the performances elevated the story.
At the same time, the 62nd Academy Awards were being held at the Los Angeles Music Center downtown.
That evening, at the Hilton Garden Inn on North Highland Avenue in Hollywood, Aaron Anderson accompanied Jennifer Connelly to meet producer John Hughes.
"This story is about a smooth-talking young man working at a department store in a small town. One night, he ends up locked inside with the town's wealthiest and most beautiful mayor's daughter…"
John Hughes narrated as Aaron flipped through the script Sparkling Days, frowning deeper with every page.
Aaron casually handed the script to Jennifer and looked at Hughes. "It's definitely a teen film, but there's far too much sexual innuendo—this is an R-rated movie. It's essentially selling Jennifer Connelly's looks and figure."
Hughes, the screenwriter behind Home Alone, wasn't surprising—writing children's and coming-of-age films was his specialty.
He chuckled. "Aaron, it's a low-budget romantic comedy from Universal. We have to consider the box office."
Seeing Jennifer Connelly with Aaron didn't faze him—they were young, after all. Plus, Jennifer hadn't had a major project in quite some time; her popularity and influence were minimal.
Aaron shook his head. "Connelly is focusing on her studies. This type of role isn't suitable for her."
Though it wasn't as provocative as last year's Sliver, this script had plenty of suggestive scenes—an R-rated rom-com with no real substance. A novice director, unknown actors, and the only selling point was Jennifer Connelly's figure. Since she didn't take Sliver, there was no reason for her to take this one.
Jennifer returned the script to Hughes. "Mr. Hughes, I'm following Aaron's advice."
Hughes didn't change expression much. "A bit of a shame, then."
"By the way, Aaron, congratulations—Pretty Woman's projected results are excellent. Disney really profited this time!"
Last year, Aaron's bold moves in the CAA lobby had caught everyone's attention. Recently, the scandal involving Warren Beatty and Isabelle Adjani had further tarnished their public images.
Aaron smiled. "We still have to wait for summer, though—Dick Tracy is coming."
After John Hughes left, Aaron smiled wryly. "See? Nowadays, every man seems to be after your figure."
Jennifer Connelly sighed. "These are the kinds of scripts that keep coming my way!"
The two returned to their hotel room, where the Oscars were still being broadcast live. At that moment, the ceremony was presenting the award for Best Supporting Actress.
Julia Roberts had been nominated for Steel Magnolia, and thanks to the release of Pretty Woman, her popularity had risen rapidly.
Aaron wrapped his arms around Jennifer from behind, appreciating her figure, and kept his eyes on the TV. "Do you think Julia Roberts is beautiful?"
"Of course," Jennifer replied. "Very sexy, especially her smile."
"You don't think… her mouth is a bit too big?"
Big-mouthed actresses could be appealing—like a young Anne Hathaway, whom Aaron liked—but Julia Roberts?
"Hmm, a big mouth… isn't that even sexier?"
Jennifer smiled, turned, and kissed Aaron.
"Sweetheart, you're heading back to school tomorrow, right?"
Aaron helped her out of her clothes and carried her to the bedroom.
"Yeah…"
What's so great about the Oscars anyway?
The 62nd Academy Awards concluded successfully. Driving Miss Daisy took home three major awards: Best Picture, Best Actress, and Best Adapted Screenplay—the evening's biggest winner.
Oliver Stone won Best Director for Born on the Fourth of July, and Daniel Day-Lewis earned Best Actor for My Left Foot.
Dead Poets Society won Best Original Screenplay, and Cinema Paradiso took home Best Foreign Language Film.
Meanwhile, Pretty Woman earned another $13.5 million in its second week, bringing its ten-day total to $32 million. Phone Booth, in its fourth week, surpassed $20 million at the box office.
Just after April Fool's Day, Aaron Anderson hosted a celebration for Phone Booth at the Wilshire Beverly Hills Hotel.
Director David Fincher, lead Nicolas Cage, actor Adam Sandler, Nicole Kidman, Quentin Tarantino, and Jack Wells all attended.
Phone Booth was undoubtedly a success—Sunrise Pictures had spent only $1.6 million to produce it. According to industry forecasts, its total box office could reach $40 million.
"Why a celebration already?"
Nicole Kidman hugged Aaron and kissed him, slightly puzzled.
"I'm heading to New York next. New Line's Teenage Mutant Ninja Turtles just opened—it's one of my projects. Plus, I need to focus on prepping Ghost—it's going to be a busy time."
Edward Zwick and Bruce Robin had just gone to Chicago to scout locations. By now, they didn't doubt that Sunrise Pictures could independently produce this fantasy romance.
Aaron wasn't too keen on accepting major studio funding. Doing so would mean he'd have to convince them to cast Nicole Kidman as the lead.
Independent production was simpler: sign a distribution deal, fund part of it yourself, secure a bank loan with the distribution rights, and the film was under his control—no extra complications.
"By the way, you have partners in Australia, right? You can handle this. I authorize you to sell Phone Booth's Australian distribution rights," Aaron said.
"Price it between $1.5 and $2 million, covering theatrical release, VHS, and TV broadcast rights."
For Aaron, the most important international markets were Europe and Japan. The European rights had already been sold during financing.
This time in New York, he planned to sell the Asian rights to a Japanese company—he might even have to fly to Japan personally.
"And me?" Nicole Kidman thought for a moment. "Then I'll have to go back to Australia!"