Chapter 225 – MGM Returns to the Battlefield
Beverly Hills, Bel Air.
Aaron lay back against the pillows, lighting a cigarette. In his arms, the sensual Monica Bellucci curled comfortably against him.
"I received a script from Italy," Monica said lazily. "It's a crime comedy. I'll probably head back there for a while."
Aaron exhaled a thin stream of smoke. "That's fine. The projects here at Dawnlight Pictures are mostly genre films—horror, modest budgets, nothing too heavy."
He glanced at her. "Right now, the goal is to get you visible in Hollywood. Build your résumé. Gain experience."
He stubbed out the cigarette and pulled her closer.
Monica hadn't come from a formal acting background. She hadn't studied performance and had entered the industry later than most, transitioning from modeling. Her striking beauty and commanding presence had opened the door—but longevity would require more than that.
"I know," she replied softly. "I'm not in a rush. And my English is fluent now."
She brushed a playful kiss against his lips. "You'll give me more opportunities, won't you?"
Aaron smiled faintly. "Of course."
---
Meanwhile, Hollywood was in turmoil.
The bidding war between Viacom and QVC for Paramount Communications had entered a fever pitch. Industry papers updated developments daily. At its core, it was a battle between media mogul Sumner Redstone and Hollywood heavyweight Barry Diller—while Martin Davis sat back, watching the offers climb.
At the same time, MCA/Universal's summer juggernaut, Jurassic Park, had shattered expectations. Its North American box office had surpassed $320 million, with global receipts breaking $900 million.
Even more enviable was Universal Studios' expansion: a Jurassic Park theme park attraction was already under construction, scheduled to open the following year.
Currently, the most popular rides at Universal Studios Hollywood were E.T. Adventure and the Backdraft special effects show. Once Jurassic Park opened, the crowds would be even more overwhelming.
---
Burbank, Los Angeles.
Aaron stood at the construction site of Dawnlight Pictures' new headquarters, gazing at the nearly completed structure with quiet satisfaction.
"By next spring, we can move into the new headquarters," Evelyn Beckett explained beside him. "The new soundstages and production facilities will be finished in the second half of next year. But some of the lots are already operational."
Aaron nodded.
Dawnlight was no longer just an upstart independent studio. It was building infrastructure—literally and figuratively.
And with every new project, every acquisition, every strategic move, it was positioning itself not as a challenger… but as a future major player.
Aaron nodded. "No rush. Let it be built step by step. Dawnlight Television will be launching new series every year, and now that we've acquired AMC, it'll begin producing original programming as well."
"Our own production base will solve a lot of long-term issues."
Soundstages, recording studios, prop warehouses, post-production facilities, plus outdoor backlots with constructed streets and buildings—once completed, the Dawnlight production complex would become one of the group's most valuable strategic assets.
"By the way, that Chinese-language film Farewell My Concubine has been released, right?"
Evelyn Beckett nodded. "It premiered in New York and Los Angeles first. As for Rumble in the Bronx, our co-production with Golden Harvest in Hong Kong, it's expected to wrap next month."
---
That evening, at the Four Seasons Hotel in Los Angeles, Aaron discussed Interview with the Vampire with David Geffen.
"Neil Jordan is very demanding," Geffen said. "That's why production is moving slowly. We probably won't wrap until the end of next month."
Geffen had invested nearly $40 million into the project—he clearly believed in it.
Aaron smiled. "High standards are a good thing. When Interview with the Vampire opens next year, the quality will speak for itself. That'll draw even more attention."
He paused before adding, "I heard Lou Wasserman and Sid Sheinberg from MCA/Universal visited Osaka to meet Matsushita's new president, Yoichi Morishita. They hoped to expand into cable television and push forward the Universal Studios Osaka project—but both proposals were rejected."
Morishita had replaced Akio Tanii earlier in the year after a scandal forced the latter to step down. Unlike his predecessor, the new leadership appeared less enthusiastic about Hollywood.
Geffen shrugged. "Morishita isn't like Tanii. He's far more reserved when it comes to Hollywood ventures."
Aaron didn't comment immediately.
After all, since Matsushita acquired MCA/Universal, Universal's financial performance had been disappointing. Only this year had Jurassic Park, directed by Steven Spielberg, delivered a massive turnaround. But one blockbuster couldn't fix deeper structural problems.
"As for Universal Studios Osaka," Geffen continued, "Matsushita is only willing to license the brand. They won't invest capital directly."
Aaron took a sip of his drink. "Seagram's attempted to invest in Time Warner before but failed. Edgar Bronfman Jr. hasn't given up on entering Hollywood."
Seagram, controlled by the wealthy Bronfman family, had profited enormously over the past decade from its DuPont holdings. Since taking over as CEO, Edgar Bronfman Jr. had been actively selling DuPont shares and positioning Seagram for a Hollywood push.
Geffen narrowed his eyes. "You think Bronfman might set his sights on MCA/Universal?"
Aaron spread his hands lightly. "Why not?"
"Did Michael Ovitz tell you that?"
Aaron shook his head. "Just speculation. Though Ovitz was the one who introduced Bronfman to Steve Ross in the first place."
Geffen snorted. "Michael Ovitz is a tumor. Ever since playing roles in the Columbia and Universal acquisitions, he's started seeing himself as Hollywood royalty."
Aaron nodded. "MGM and CAA are now strategically aligned. CAA's influence inside MGM is enormous."
"Ovitz is packaging projects nonstop for MGM."
In effect, CAA had become MGM's unofficial film consultant. François Gille, Crédit Lyonnais' representative overseeing MGM, had a close relationship with Ovitz and often followed his advice.
Originally slated for asset liquidation, MGM/United Artists—after receiving fresh capital injections from Crédit Lyonnais—was preparing for a new campaign in the industry.
Hollywood's battlefield was shifting once again.
And everyone was choosing sides.