Chapter 223 – Still an Independent Studio?
By late August, Dawnlight Television officially greenlit Insomnia Café, pushing it into pre-production. As per Aaron's instruction, the project was retitled Friends.
At the same time, Aaron personally passed Jennifer Aniston's contact information to the show's creators, David Crane and Marta Kauffman.
But the real breakthrough came elsewhere.
CVC had agreed to sell AMC.
The final deal: $100 million for 80% ownership, with Charles Dolan retaining 20%.
"Pleasure doing business," Aaron said calmly. "Dawnlight will make AMC a top-rated network."
Since Dolan hadn't pushed the price much higher, Aaron had little reason to argue.
"I have confidence in you," Dolan replied with a faint smile.
AMC, under CVC, simply lacked competitiveness. It mainly aired classic films, had limited access to new releases, modest subscription fees, and weak advertising revenue. Let the young Aaron Anderson try his hand at revitalizing it.
Aaron, however, had no intention of maintaining the status quo.
AMC needed original programming.
It needed fresh theatrical releases.
It needed ambition.
---
Shortly after the deal, Aaron met with AMC's current head, Jovan Adams.
"Dawnlight's upcoming series ER will premiere on AMC next year," Aaron stated directly.
"We're also establishing an in-house production division for original programming. I'll appoint someone to oversee that."
"And from now on, AMC competes for newer films as well. We won't survive on classics alone."
Adams nodded in agreement.
"Turner is launching the Turner Classic Movies channel—TCM. They'll be our direct competitor."
He was referring to Turner Classic Movies, backed by Turner Broadcasting System (TBS).
"AMC already has licensing agreements with the major Hollywood studios," Adams continued. "But TCM entering the market has driven up our acquisition costs."
Aaron shrugged slightly. "When does TCM launch?"
"Next year."
TCM had the full backing of TBS—far more powerful than the Dolan family's CVC operation. The scale difference was enormous.
Aaron leaned back in his chair.
"Then we move faster."
AMC was no longer just a small cable network airing old films.
Under Dawnlight's control, it would become something far more aggressive.
And once a film studio controlled both content and distribution platforms—movies, television production, and a cable network—
Could it still be called an independent film company?
If Turner Classic Movies (TCM) entered the classic-film market, it would become AMC's most direct rival—and a far wealthier one at that.
"Ted Turner," Aaron tapped his fingers lightly on the table, "I've met him before. He's clearly interested in expanding deeper into Hollywood."
At the moment, Turner Broadcasting System (TBS) was arguably second only to the Capital Cities/ABC group among television conglomerates. Its market value was roughly comparable to Viacom, though its debt load was significant.
---
Meanwhile, The Piano had begun its North American run in August. Aaron hadn't followed it too closely, but within a month it had surpassed $20 million domestically.
That performance raised his expectations for Farewell My Concubine even higher.
At the same time, another Chinese-language film, The Wedding Banquet, directed by Ang Lee, was released in North America through Samuel Goldwyn Company. The film had already won the Golden Bear at the Berlin International Film Festival earlier that year and performed impressively, surpassing $10 million at the North American box office.
As the second installment of Ang Lee's "Father Knows Best" trilogy—following Pushing Hands—it further established his reputation among critics. The final chapter, Eat Drink Man Woman, was already in production, though its North American distribution rights had been secured by Samuel Goldwyn Company.
Dawnlight's specialty label, New Moon Pictures, was naturally interested in Ang Lee's work—but for now, that door was closed.
---
At the Carlyle Hotel in New York, Aaron attended a reception where he ran into Martin Shafer, co-founder and CEO of Castle Rock Entertainment.
"Turner Broadcasting is planning to acquire Castle Rock too?" Aaron asked, puzzled. "I heard Ted Turner had his eyes on New Line Cinema instead."
New Line had its own distribution pipeline and theater connections. Castle Rock was primarily a production company.
Shafer shrugged.
"New Line acquired our partner Nelson Entertainment, becoming our new collaborator. Turner isn't just targeting New Line—they've made an offer for Castle Rock as well."
After The Walt Disney Company's acquisition of Miramax, it was becoming clear: independent studios were steadily being absorbed into major entertainment conglomerates.
Aaron smiled faintly. "Seems like independent film companies in Hollywood can't escape being recruited by the big studios."
Shafer looked at him meaningfully.
"Unless you're like Dawnlight. Your rise has been unstoppable. Even the Big Six feel the pressure from you."
"And now you've acquired a cable network too. Congratulations."
Dawnlight had pushed the limits of what an independent studio could achieve—commercial hits, prestige films, and now television distribution. With its growing slate of large-scale productions, one had to wonder:
Was it still truly an "independent" studio?
---
"It's a good time," Aaron said, glancing across the room toward Sylvester Stallone. "The economic recovery is lifting Hollywood with it."
"Stallone's Cliffhanger seems to be doing well?"
Shafer followed his gaze.
"Very well. $84 million domestically, $170 million overseas—$250 million worldwide."
The film was produced by Carolco Pictures, another production company partnered with Columbia Pictures for distribution.
Aaron nodded. "Probably Stallone's strongest critical and commercial performance in years."
Shafer gave a helpless laugh.
"Impressive—but still not on Dawnlight's level."
He wasn't wrong.
Four Weddings and a Funeral — $50M domestic, $200M overseas, $250M worldwide on a sub-$10M budget.
The Mask of Zorro — $140M domestic, $150M overseas, $290M worldwide.
Speed — already at $110M domestic, $180M overseas and climbing.
The Piano — $30M domestic, $70M overseas, exceptional for an art-house release.
Aaron raised his glass and clinked it against Shafer's.
"Let's drink, Martin."
Then he added casually:
"How's production on The Shawshank Redemption coming along?"
Aaron personally loved the film—perhaps even more than Forrest Gump. It carried a deeper emotional resonance.
Shafer nodded.
"Because the director is relatively new, the shoot's been slower than expected. We're aiming to wrap in October."
Aaron leaned back slightly.
Another masterpiece quietly taking shape.
And Hollywood was only getting started.