Chapter 137 – Italian Allure
At twenty-eight, Monica Bellucci possessed a face that could stop conversation, lips made for temptation, and a figure of voluptuous elegance. Her long black hair only sharpened the aura of exotic allure that seemed to follow her everywhere.
In West London's Hammersmith district, at an upscale restaurant along the Thames, Aaron pulled out a chair for her like a gentleman.
"Please, sit."
"Thank you, Aaron."
After sitting down, Aaron took a sip of coffee and studied her casually.
"Are you planning to develop your career in Hollywood?"
Monica smiled helplessly.
"If I ever get the chance—of course. But I've only just entered film acting.
I only appear for a few minutes in Bram Stoker's Dracula."
She had just finished leading an Italian drama film that leaned heavily into sensual themes — scheduled for a summer release back home.
"Besides," she added, "I might already be considered too old by Hollywood standards. And frankly… they don't exactly like my type of body."
Aaron smiled faintly.
"Opportunities favor the prepared. What matters is whether you recognize one when it comes."
To him, she was, for now, just another European model stepping into cinema — talented, beautiful, but still unknown.
After a brief, unhappy marriage and an early divorce, Monica no longer sought romance.
What she wanted now was her career.
"Are you done shooting your scenes for the film?" he asked.
She nodded.
"Just over a week of filming. Hopefully Director Coppola gives me a little more screen time in editing."
"And what's next?"
"European modeling, commercials… and when the film releases, I'll look for any opportunity in the U.S.
If you want to move into film seriously, Hollywood is unavoidable."
After all, Bram Stoker's Dracula was technically her first step into American cinema.
---
Later That Night — Hotel Bedroom
Monica pressed herself against him, her lips burning with intent.
Aaron flipped them over, pinning her gently to the bed.
If anyone rivaled her breathtaking figure, it would be Salma Hayek.
"Hollywood isn't easy," he murmured.
"Especially for a foreign actress."
"I'm learning English," she whispered back.
"And I'm willing to start from the bottom."
Had she not already done exactly that by appearing in this film for only minutes?
"When you go to Hollywood," Aaron added, "come find Dawnlight Pictures."
After all, Sophie Marceau had already moved west, and Tony Scott's True Romance was about to begin production.
One more European beauty wasn't a problem.
She wrapped her arms around his neck, her voice low and smiling:
"Aaron… don't you want to experience a little Italian passion tonight?"
He returned her smile.
"We have the whole weekend."
---
After an unhurried, indulgent weekend together, Aaron purchased a riverside duplex villa in Hammersmith for £1.2 million.
London… was beginning to feel like a second home.
It was bought specifically for Catherine Zeta-Jones to use as her home in London.
After all, as a girl from Swansea in Wales, she had no real support network in the city.
At Pinewood Studios, Aaron received her call right on time — she'd already moved into the new place.
"Do you want to renovate it?" he asked.
"No need. I like the minimalist style just the way it is.
Are you coming over this weekend?"
"Depends. I'll call you when I know."
Aaron hung up, and moments later, Evelyn Beckett stepped into the office.
"Did you need me, boss?"
"Yes. This script — Damage — is worth investing in."
The director was Louis Malle, and the stars were Jeremy Irons and Juliette Binoche.
Binoche hardly needed an introduction, and Irons was no minor figure either — he had just won the Academy Award for Best Actor last year for Reversal of Fortune.
The script was adapted from the novel of the same name by British author Josephine Hart, a story steeped in desire, betrayal, and transgression.
It followed Steve, who falls into a forbidden affair with his son's girlfriend.
The tragedy culminates when the boy accidentally witnesses his father in bed with her — and, overwhelmed, falls to his death down the stairs.
"Channel 4 in the UK and Canal+ in France are both investors," Evelyn added.
"In North America, Miramax and New Line are also interested."
Aaron remained unconcerned.
"Two and a half million dollars for North American distribution rights.
They'll accept it. This film has limited commercial appeal."
"Jeremy Irons… he also starred in Steven Soderbergh's Kafka last year, didn't he?"
"Yes. And he just finished another one — M. Butterfly. It's coming out this year."
Irons was a classic British dramatic actor, known for European art films rather than commercial blockbusters.
Most of his market was concentrated in Europe.
"M. Butterfly?" Aaron nodded slowly.
He remembered it well.
Another lead actor was John Lone — cross-dressing, tragic love, and East-meets-West themes.
At the same time in China, Farewell My Concubine was being filmed.
John Lone had originally been considered for that lead role — but when it fell through, he chose M. Butterfly instead.
In his previous life, Farewell My Concubine had lost the Academy Award for Best Foreign Film due to weak campaigning ——
it was only with Crouching Tiger, Hidden Dragon years later that a Chinese-language film finally won the Oscar.
Zhang Yimou's Ju Dou and Raise the Red Lantern were both nominated in consecutive years —
Ju Dou had been distributed by Orion Classics, while this year Raise the Red Lantern was now being released by Dawnlight.
But winning?
Still unlikely.
Aaron stood and added one more instruction:
"Also—register our two new subsidiary labels immediately:
New Moon Pictures — for foreign art films and independent dramas.
Twilight Pictures — for horror, thriller, and violent B-movies."
-