Chapter 201: Film and Television Antitrust
Following its North American release, Four Weddings and a Funeral earned $5.8 million at the box office during its opening weekend.
However, the film performed exceptionally well in the UK. This low-budget romantic comedy once again proved that Dawnlight Pictures had found a winning formula in the romance genre.
Meanwhile, The Crying Game wrapped up its theatrical run in North America with $62 million in box-office revenue. Considering its production cost was under £2 million, Dawnlight had clearly achieved both critical acclaim and commercial success.
Scent of a Woman followed a similar trajectory—$63 million in North America, $70 million overseas, and a global total of $130 million, another resounding double victory in reputation and profits.
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Washington, D.C. — Near the National Mall
The United States Holocaust Memorial Museum officially held its opening ceremony and opened its doors to the public.
Aaron Anderson was present for the inauguration.
Nicole Kidman—currently filming The Pelican Brief in Washington, D.C.—attended the event as his companion.
"Raoul Wallenberg Place, Number 100," Aaron said, standing at the entrance and pointing to the address marker. He explained quietly to the woman beside him,
"This entrance was originally part of 15th Street. After the federal government allocated the land for the construction of the Holocaust Memorial Museum, the street was renamed Raoul Wallenberg Place."
"It commemorates the Swedish diplomat who organized one of the largest rescue efforts of Jews during the Holocaust."
Nicole Kidman's expression grew solemn. Lowering her voice, she asked,
"I heard you donated five million dollars on Spielberg's behalf?"
Aaron nodded, wrapping an arm around her waist as they walked into the museum.
"Spielberg didn't take a cent in director's fees for Schindler's List. Setting aside its artistic value," he said calmly,
"the film was also a massive commercial success—$96 million at the North American box office alone, and $220 million internationally."
The numbers spoke for themselves.
At the box office alone, Schindler's List generated $120 million in profit for Dawnlight Pictures. Aaron's decision to donate $5 million—in the name of Steven Spielberg and the entire production team—to the Holocaust Memorial Museum was only natural.
In addition, the Jewish artifacts collected during production and the preserved film prints themselves had immense historical and commemorative value.
Nicole Kidman clicked her tongue in disbelief.
"I never imagined that a black-and-white film about the Holocaust could be this successful."
"I remember that when you agreed to support Steven Spielberg as director, a lot of people were laughing at you," she added.
Aaron pressed his lips together slightly.
"They're probably regretting it to the bone now."
With a global box office of $320 million and a sweeping victory at the Oscars, Schindler's List still had substantial revenue ahead—from home video sales to television broadcasts.
Fortunately, when Dawnlight agreed to fully support Spielberg in making the film, Spielberg had relinquished all backend profits. Dawnlight never interfered in the production process—everything was done according to Spielberg's vision.
Also attending the inauguration ceremony were newly elected U.S. President Bill Clinton, Israeli President Chaim Herzog, Harvey Meyerhoff, Chairman of the U.S. Holocaust Memorial Council, and Elie Wiesel, recipient of the 1986 Nobel Peace Prize.
At the evening banquet, Clinton spoke privately with Aaron about the current state of Hollywood.
"Aaron," Clinton said, "I've always held Hollywood's popular culture in high regard. It represents a distinct form of modern liberal expression—a cultural trend in its own right."
Aaron smiled lightly.
"From Hollywood's perspective, we hope the MPAA ratings system can allow more flexibility and choice—especially when it comes to depictions of violence and sexuality."
As a major player within the industry, Aaron naturally wanted Hollywood to thrive. A more prosperous industry meant faster growth for Dawnlight as well.
During President Bush's term, Washington's stance toward Hollywood had been ambiguous at best, and MPAA enforcement had grown increasingly strict.
The MPAA served as the bridge between Washington and Hollywood. White House attitudes carried enormous weight in how ratings standards were applied.
"Don't worry," Clinton said with a smile. "The President's office will speak with Jack Valenti about it."
Hollywood's support came with expectations—and Clinton understood that the real power brokers weren't the movie stars, but studio heads like Aaron Anderson.
"In that case," Aaron said, raising his glass, "the friendship between Hollywood and the White House will only grow stronger."
They clinked glasses.
After taking a sip, Clinton added, "Your earlier suggestion that I pay closer attention to the LGBT community was well taken."
Aaron shook his head slightly.
"At the moment, the dominant movements are still Black civil rights and feminism. Sexual minority groups haven't yet amassed comparable influence."
"More importantly," he continued, "due to antitrust regulations, major television networks still aren't allowed to merge with large film studios. Hollywood's conservative forces remain quite strong."
At present, the three major broadcast networks were firmly held:
ABC by Metromedia, NBC by General Electric, and CBS by Loews Corporation.
The fourth major network, FOX, belonged to News Corporation.
The most influential cable news channel, CNN, was owned by Turner Broadcasting (TBS), while MTV belonged to Viacom.
Compared to these broadcasting giants, film studios were still at a disadvantage.
"Many people are already calling for television networks and major film studios to be allowed to merge," Aaron said.
"The distribution power of television combined with film studios' content production would be a perfect match."
Aaron had been following the issue closely. Everyone understood how crucial broadcast networks were—but whether such mergers would lead to price hikes or monopolies was a question the federal government couldn't ignore.
Clinton sighed.
"The Antitrust Committee is already studying the feasibility. In the end, it'll come down to whether Congress passes the bill."
Hollywood's lobbying teams had already approached countless lawmakers. A merger between television and film groups would create massive, diversified media conglomerates.
Clinton looked at Aaron.
"And you—are you planning to enter the television business as well?"
Aaron chuckled.
"Who wouldn't want to? But my current strength isn't enough yet. Maybe I'll start by acquiring a cable network."
With Dawnlight's content pipeline, producing high-ratings television series would be well within reach.
"Any targets in mind?" Clinton asked.
"Yes," Aaron replied.
"The Dolan family's Cablevision subsidiary—Rainbow Media's AMC (American Movie Classics) network."
AMC had originally been a premium cable channel dedicated to classic American films, but had since transitioned into basic cable. At present, it hadn't yet begun producing original scripted series—making it the perfect target.