Chapter 287: The Key Figure
At the Disney headquarters in Burbank, Michael Eisner invited Michael Ovitz to lunch, once again extending an offer—he wanted Ovitz to join Disney as his partner.
Ovitz seemed intrigued.
"By partner, you mean someone who co-manages the company, right? Like my relationship with Ronald Meyer at Creative Artists Agency?"
Eisner paused before replying,
"A film studio isn't the same as a talent agency. There's no precedent in the U.S. for co-chairing a company like this."
Ovitz nodded.
"Let me think it over."
He then asked,
"What's the situation with Jeffrey Katzenberg?"
Eisner sighed.
"I've already redistributed his responsibilities. We're basically in a cold war now."
"He's obsessed with becoming Disney's president… and frankly, I'm starting to not even want to see him around anymore."
Ovitz could only sigh inwardly. The relationship between the two had clearly reached a point of no return. Meanwhile, Katzenberg was already planning his next move—convincing Steven Spielberg to join him in founding a new studio.
On the other side, at Dawnlight's headquarters, Nancy Josephson brought the television script for Pride and Prejudice to Dawnlight Television.
Under Aaron's direction, Dawnlight Television and the BBC jointly acquired the project and began developing a new TV adaptation.
At the same time, Aaron pushed for deeper collaboration with the BBC, instructing AMC president Joven Adams to handle negotiations.
Meanwhile, My Best Friend's Wedding had achieved impressive results:
North America: $110 million
Overseas: $140 million
Global total: $250 million
Shortly after, Aaron flew from Los Angeles to London.
In London, at the Savoy Hotel, Dawnlight UK hosted a press event for Sense and Sensibility.
The event was led by Graham Broadstreet, head of Dawnlight UK, with director Ang Lee and cast members Emma Thompson, Hugh Grant, and Kate Winslet in attendance.
Sense and Sensibility, originally the debut novel of Jane Austen, hadn't been a major commercial success at the time of its publication.
Phantom Films had been considering an adaptation for years. Its president, Lindsay Doran, had previously worked with Emma Thompson and later selected her to adapt the screenplay.
"How did they end up choosing Ang Lee as director?" Aaron asked.
Broadstreet smiled.
"Because of his 'Father Knows Best' trilogy—his style fits perfectly."
"By the time the script reached him, it had already gone through several versions. His previous films also revolve around the tension between reason and emotion, so this project was a natural fit—and a new challenge."
Emma Thompson's casting as the lead was equally strategic. As both screenwriter and an Academy Award-winning actress, she brought credibility and efficiency to the production.
She had also specifically wanted Hugh Grant to play Edward Ferrars. After reading the script, Grant was so impressed that he even agreed to take a reduced salary.
Aaron's gaze shifted toward a young Kate Winslet nearby, who was cast in a supporting role.
The future global star was still just a 19-year-old newcomer.
Aaron nodded thoughtfully.
"Ang Lee's style is incredibly delicate—his films always carry deeper meaning."
"Perhaps Dawnlight should continue working with him in the future."
Sense and Sensibility revolves around love and marriage, contrasting two sisters—one guided by reason, the other by emotion—and the vastly different paths their romantic lives take.
In Jane Austen's works, the treatment of relationships largely downplays physical desire, instead elevating emotional connection as the foundation of marriage. Her stories often reveal an undercurrent of anxiety and restraint surrounding love, emphasizing that, in that era, marriage was a woman's primary path to social recognition and security.
Interestingly, this balance between reason and emotion—two opposing yet transformable forces—feels closer to Eastern philosophical traditions than typical Western narratives. It echoes elements of Confucian thought, where restraint, harmony, and emotional subtlety are valued.
That's precisely why Ang Lee is such a fitting choice—his ability to express delicate emotions through a reserved, almost understated lens allows him to interpret British classical elegance with an almost Eastern sensibility.
"By the way," Aaron asked, turning to Graham Broadstreet,
"What's Richard Curtis been up to lately?"
"The romantic comedy script Notting Hill we're developing—it feels perfectly suited to his style."
After all, Curtis had written and produced Four Weddings and a Funeral, which had been a massive success the previous year. Aaron had been preparing Notting Hill for a long time—it was finally time to move forward.
Broadstreet nodded.
"Richard Curtis is currently working with the BBC on a new comedy series, The Vicar of Dibley."
"Once that's underway, I'll invite him to adapt Notting Hill and begin production."
From the explosive success of Four Weddings and a Funeral, Broadstreet already understood the power of romantic comedies. Naturally, expectations for Notting Hill were high.
Of course, Curtis was extremely busy—having created Mr. Bean and Blackadder, and now continuing with new projects. His dominance in the romantic-comedy genre was undeniable.
Aaron stroked his chin thoughtfully.
"Have Curtis and Rowan Atkinson ever considered turning Mr. Bean into a film?"
Mr. Bean had been co-created by Curtis and Atkinson, and Atkinson himself was the undeniable soul of the character—a comedy icon with global recognition.
Broadstreet paused, considering the idea.
"Adapting Mr. Bean into a film…"
"It's definitely feasible. We'd just need to negotiate with ITV for the rights."
And realistically, would ITV turn down an offer from Dawnlight?
He nodded decisively.
"I think it's worth pursuing. We can talk to both Curtis and Rowan Atkinson first."
"After all—they're the heart and soul of Mr. Bean."
Since he was already planning to approach Curtis about Notting Hill, adding another project to the discussion was hardly an issue.
And one thing was certain—without Rowan Atkinson, there was no Mr. Bean.
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