Chapter 261 — Original Productions and New Films
Burbank — Dawnlight Pictures Headquarters Studio.
Inside the screening room, the rough cut of Legends of the Fall finished playing. The executives present—including Aaron—gave the film, directed by Edward Zwick, a strong and favorable evaluation.
Its sweeping score and richly layered cinematography delivered a striking cinematic texture, elevating the film's overall quality.
Moreover, the original author, Jim Harrison, expressed great satisfaction with this adaptation. Legends of the Fall was never meant to be a heavy, solemn piece—it was, at its heart, a highly engaging and emotionally compelling story.
As Kate Beckinsale's first Hollywood production, she had thrown herself into the role with remarkable dedication. During filming, she boldly trained in horseback riding and other demanding skills. By the later stages of production, she was even able to herd horses alongside real ranchers—an impressive display of courage and passion.
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"How is it? Feels good, doesn't it?"
In Aaron's office, Kate Beckinsale sat nestled in the man's arms, enjoying a moment of quiet intimacy.
"Mmm… My first Hollywood film—working with director Edward Zwick, alongside a veteran British actor like Anthony Hopkins, and rising Hollywood star Brad Pitt…"
"I think I've been incredibly lucky."
Kate wrapped her arms around his neck and kissed him softly. "I'm planning to head back to London soon. You can come find me there when you have time."
Aaron nodded. "Stay in Los Angeles with me for a few more days. I've booked a room at the Wilshire Hotel tonight—we'll celebrate properly."
"Alright."
As an Oxford dropout, Kate Beckinsale had long aspired to break into the film industry. Meeting Aaron Anderson, she felt, had been the greatest stroke of fortune in her life.
After Kate Beckinsale left, Aaron sat down with Tom Rothman to discuss The Silence of the Lambs prequel: Red Dragon.
Director Jonathan Demme, along with cast members Nicolas Cage, Anthony Hopkins, and Ralph Fiennes, had already begun rehearsals.
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"Philadelphia has been receiving strong reviews," Aaron noted, "and its North American box office has already surpassed $60 million. At the upcoming Oscars, Tom Hanks is going to be a very strong contender."
"As for international distribution… we might be in for a pleasant surprise."
After the success of The Silence of the Lambs, Jonathan Demme had once again delivered a thoughtful and outstanding film.
Tom Rothman smiled. "Philadelphia is definitely better suited for the European market."
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"By the way," Aaron suddenly asked, "I heard that Frank Marshall and Kathleen Kennedy—founding partners of Amblin Entertainment—have both left the company?"
Kathleen Kennedy had long collaborated with Steven Spielberg and had also served as president of Amblin.
"Yes," Rothman nodded. "They've established their own company, Kennedy/Marshall Productions. But their collaboration with Spielberg is ongoing."
"Kathleen Kennedy is still one of Spielberg's long-term producing partners."
Rothman understood what Aaron was thinking. Although the couple had left Amblin, they hadn't parted ways with Spielberg—their relationship remained close.
For now, management of Amblin had been handed over to Walter F. Parkes and Laurie MacDonald.
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"Alright then," Aaron said, shifting topics. "Any thoughts on a director for Good Will Hunting?"
"Gus Van Sant. He worked with us before on My Own Private Idaho. He should be a good fit for this script."
"True," Aaron nodded. "His films are emotionally very nuanced."
"However," Rothman added, "he's currently preparing a British black comedy project. Good Will Hunting may have to wait a while."
Aaron waved it off. "No rush. We can continue refining the script first."
"Besides, Gus Van Sant mostly works on independent films—it shouldn't take too long."
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"Oh, right. How's the preparation for Con Air coming along?"
After all, it was a major action film starring Tom Cruise, so Aaron was naturally invested.
"Jan de Bont is assembling the crew and casting," Rothman replied. "Tom Cruise has already started training for the role."
"Con Air should begin filming soon."
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Meanwhile, with the launch of Turner Broadcasting System's classic film channel Turner Classic Movies (TCM), it had become a direct competitor to Dawnlight's AMC.
TBS not only possessed MGM's early classic film library but also had companies like New Line Cinema and Castle Rock Entertainment under its umbrella. Naturally, it held a stronger competitive position than Dawnlight, which relied on the Samuel Goldwyn library.
However, Aaron had already shifted his focus toward original television productions and new theatrical releases. Dawnlight Pictures and Dawnlight Television were now fully backing AMC.
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The previous year, the sci-fi series The X-Files (Season 1), which aired on Fox Broadcasting Company, achieved both strong ratings and critical acclaim. A second season had already been ordered.
The show filled a gap in the market, blending crime investigation with paranormal mysteries, layered with conspiracy theories about government cover-ups. Its storytelling was gripping and multifaceted.
At times, it even incorporated horror elements to heighten the atmosphere—creating a unique fusion that left audiences screaming in fear one moment, yet unable to stop watching the next as they chased the truth behind each case.
Meanwhile, Dawnlight Television's medical drama ER and sitcom Friends both received unanimous praise for their pilot episodes.
Now, ER Season 1 and Friends Season 1 were in production, set to premiere in the fall on AMC and NBC.
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That evening, on his way to the Wilshire Hotel in Beverly Hills, Aaron received a call from Jack Wells in New York.
"The Minnesota Timberwolves have just been purchased by Glen Taylor for $88 million!"
"Heh, new owner for the Timberwolves, huh?" Aaron chuckled. "I always thought it'd be the New York Knicks instead."
After all, Viacom was currently seeking to sell the MSG Group, which included the Knicks, the Rangers, Madison Square Garden, and the MSG Network.
"Keep an eye on CVC Capital Partners and ITT Corporation," Aaron added. "It seems they're considering a joint acquisition of MSG Group. The Knicks and Madison Square Garden are the crown jewels."
That said, Aaron already owned the Houston Rockets, so he wasn't overly concerned about other teams.
After Michael Jordan's retirement, the NBA had taken a noticeable hit—attendance and ratings were both declining. Some owners choosing to sell their teams was hardly surprising.
Besides, among North America's four major sports leagues, only the NFL strictly prohibited corporate ownership, allowing only individuals to own teams.
In contrast, the other three leagues were largely dominated by corporate ownership. For instance, TBS owned both the Atlanta Hawks and the Atlanta Braves, while The Walt Disney Company owned the Anaheim Ducks and held a stake in the Los Angeles Angels.