Malibu, Daenerys Studios.
It was April 12.
This marked the 12th day since Peter Jackson had arrived in Los Angeles. Yesterday, he had received a notice that Simon Westeros wanted to meet with him to discuss the movie he was preparing, The Frighteners, as well as another proposal he had submitted regarding the production of the Lord of the Rings series. As a result, he hadn't slept well all night, repeatedly pondering how to handle the meeting with the young Hollywood mogul.
The scheduled time was 4:30 PM, and Jackson arrived at Daenerys Studios an hour early.
Arriving too early, much like arriving late, can be just as unpleasant, so Peter Jackson, who was actually quite adept socially, didn't overlook this detail. After parking his car in the studio's administrative area, he didn't head directly to Building One but instead sat down at a café inside the studio. He bought a copy of The Hollywood Reporter and passed the time reading the latest Hollywood news while sipping coffee.
The North American Easter release season had just concluded the day before, and the main focus of this edition of The Hollywood Reporter was a summary of that period.
Aside from the domestic box office hit Batman v Superman: Dawn of Justice, which surpassed $650 million, there were two new releases from Daenerys Entertainment: Ace Ventura: Pet Detective 2 and The Haunting in Connecticut 2.
Ace Ventura: Pet Detective 2, starring Jim Carrey and released on March 29, had grossed $45.51 million in its first weekend. In its second weekend, the drop was 40%, with an additional $27.27 million in box office earnings. After two weeks, the sequel to the film that made Jim Carrey a household name two years ago during the Easter season had amassed a total of $72.78 million.
Following a tiered revenue-sharing model, Daenerys Entertainment easily recouped the entire $50 million in production and marketing costs within two weeks, turning a profit.
Then there was The Haunting in Connecticut 2, released on April 5.
In its first week, from April 5 to April 11, this fourth film in the Conjuring Universe franchise performed even better. With the same production and marketing budget as Ace Ventura 2, it grossed $51.69 million in just seven days.
It was all but certain to join the ranks of the $100 million box office club.
In recent years, Daenerys Entertainment has been heavily developing the Conjuring Universe series. While the franchise's commercial scale couldn't compare to the DC film universe, each of the previous three films—The Conjuring, The Haunting in Connecticut, and The Conjuring 2—had surpassed $100 million in box office earnings, which was considered something of a Hollywood miracle.
Moreover, the series had an exceptionally low budget.
Even though the global box office for the first three films hovered between $200 million and $300 million—perhaps less than the domestic earnings of a single DC film—on the other hand, the production costs were also much lower. For instance, The Haunting in Connecticut 2 had a budget of only $30 million, a mere fraction of the cost of Batman v Superman.
Daenerys Entertainment was renowned for controlling the budget of the DC Universe films. Batman v Superman: Dawn of Justice had a production budget of $135 million, on par with The Dark Knight Rises from two years ago.
As Peter Jackson read the news in The Hollywood Reporter, he couldn't help but feel a surge of ambition.
It had been eight years since he went to Melbourne and was unexpectedly hired as an assistant director for Batman Begins. That once up-and-coming genius boy had since risen to a position that everyone could only look up to, while Jackson himself hadn't stopped advancing.
Whether it was the quirky The Fat Hobbit Show or his most recent mockumentary Forgotten Silver, both had garnered a certain level of attention in the industry. Two years ago, Heavenly Creatures even won the Silver Lion at the Venice Film Festival.
Once you really enter the industry, you realize that the number of films produced worldwide each year runs into the thousands, but most fail to make a splash.
Thus, any film that can gain attention in any way is already a success.
Additionally, Peter Jackson had noticed something else: over the years, he had consistently been within Daenerys Entertainment's, or more likely Simon Westeros's, radar. From The Fat Hobbit Show to last year's Forgotten Silver, as well as Braindead and Heavenly Creatures in between, Jackson had released four films over eight years. Each time, Daenerys Entertainment had eagerly reached out to collaborate, smoothing over the most challenging hurdles for many filmmakers—funding and project approval.
The latest projects, The Frighteners and his proposal for the Lord of the Rings series, clearly followed this pattern.
This time, it was even more explicit.
Simon Westeros wanted to meet in person, a clear sign that he hadn't forgotten about the assistant director from the Batman Begins set all those years ago.
Keeping an eye on the time, at exactly 4:25 PM, Jackson arrived punctually at Simon Westeros's office in Building One of the administrative area.
After a brief wait in the lounge, the young man who seemed to have barely aged over the years soon appeared, surprising Jackson with his punctuality. In Hollywood, where self-important studio executives and big-name stars were notorious for their lack of punctuality—often deliberately so to project an air of superiority—Westeros's promptness was an exception.
However, Jackson quickly realized why. Simon Westeros had no need for such trivial power plays. Being where he was now, this punctuality only made him more admirable.
With that thought, Jackson quickly stood up, smiling as he extended his hand to greet Simon, "Hello, Mr. Westeros."
Simon shook his hand and smiled back. "Just call me Simon, like back on the Batman set. So, how have you been lately?"
Peter Jackson smiled as well. "Not bad."
He refrained from asking the customary question in return, largely due to a natural deference one feels in front of someone of higher status. Besides, did Simon Westeros really need to be asked how he was doing?
Simon didn't linger on small talk. After greeting Jackson, they both entered the office and sat down in the meeting area.
An assistant who had followed them in placed two sets of documents in front of Simon and Jackson, while another assistant served them coffee before both quietly left.
Simon opened the file and got straight to the point. "Let's talk about The Frighteners first, Peter. I read last week's production meeting notes on the project. The direction everyone is leaning toward—a mix of horror and comedy, aiming for something like Ghostbusters—is great. But I noticed one potential issue: balancing horror and comedy is tricky. Take Ghostbusters, for example. Even though it's about 'ghosts,' its tone is light and fantastical, not scary. The audience feels entertained. But with The Frighteners, you're going for horror-comedy, and the script has many genuinely frightening moments. If not handled properly, it could end up being neither scary nor funny. Have you considered this?"
Peter Jackson hadn't expected Simon to be so direct, and he almost lost track of the conversation, but he quickly gathered himself and replied, "Of course, Simon. I've been discussing this with my team recently, and we've decided the film will lean more toward comedy. Comedy will take precedence over horror. We're also aware of the challenge you mentioned, and we believe that casting the right lead actor will be crucial. We've been auditioning actors for that role these past few days."
In the original version of The Frighteners, the lead was Michael J. Fox, star of the Back to the Future series.
The film had ultimately flopped, and while the reasons were many, the lead casting failure was a significant factor. While the Back to the Future series contained comedic elements, Michael J. Fox was more of a teenage heartthrob, and by the mid-90s, a washed-up one at that. He lacked the potential of a true comedic star.
The decision to cast Fox at the time was mainly influenced by The Frighteners' producer, Robert Zemeckis, the director of Back to the Future. There were clear personal reasons behind the casting choice.
But in reality, The Frighteners needed a genuine comedic actor.
Simon considered these details while asking, "Do you have any candidates in mind so far?"
Peter Jackson nodded and explained, "I'm looking for someone around 30 years old with an air of failure about them. We've considered Dana Carvey, Rob Lowe, Michael J. Fox, and Frank Whaley, and we've even done some screen tests. So far, Dana Carvey's performance has been the best."
Dana Carvey was one of the co-stars of the Wayne's World series, alongside Mike Myers. However, Carvey's prominence was overshadowed by Myers, who had more creative control.
Simon recalled Carvey's performance in Wayne's World and shook his head. "Carvey definitely has that 'loser' vibe, but the lead in The Frighteners is a small-time con artist who uses his psychic abilities to scam people. He needs to come across as both street-smart and cunning, and Carvey is a bit too goofy for that."
Having dismissed Jackson's current preference, Simon didn't dwell further on
the discussion. After some thought, he suggested, "The comedy in The Frighteners leans toward dark humor, so the lead actor's performance needs to be more understated, with a sense of contrast. I'll give you two names: one is Ben Stiller, and the other is Adam Sandler. Hmm... Sandler can be a bit goofy too, so let's go with Stiller." As he spoke, Simon quickly jotted down a name on a piece of paper, tore it off, and handed it to Peter Jackson. "I'm not sure what Stiller's current availability is, but you should contact him. I think he could be a good fit for what you're looking for."
Peter Jackson took the note seriously and said, "I'll get on it right away."
Every director hopes to have full control over their projects, but Peter Jackson knew his place. He realized he had no leverage to negotiate with Simon, and besides, Simon's film expertise far surpassed that of any studio executive or accountant. His choices were based on experience, not external meddling.
After passing Jackson the note, Simon seemed to recall something else. He quickly wrote another line on a second piece of paper, tore it off, and handed it to Jackson, saying, "I also recommend you watch this film. It's a Hong Kong movie called Mr. Vampire, a perfect example of the horror-comedy genre. It was the 1985 box office champion in Hong Kong. I suggest you watch it multiple times; it could provide some valuable inspiration. Oh, and regarding the female lead: based on the script, I think you should cast someone with a goddess-like aura."
Peter Jackson, now holding two notes, was almost overwhelmed. He instinctively asked, "A goddess-like aura?"
Simon explained, "Someone who gives off an untouchable, otherworldly charm, like Cindy Crawford."
"You mean I should cast a supermodel?" Jackson asked, slightly puzzled.
"Not exactly. The female lead isn't just a pretty face; she still needs to be able to act. But she should also be stunning and captivating. By the end of the film, when she gets together with the male lead, the audience should feel like they're witnessing a loser's ultimate triumph—a deeply satisfying payoff."
Peter Jackson wasn't one of those overly pretentious filmmakers, so Simon's explanation left him feeling enlightened. "So, Simon, do you think Nicole Kidman would be a good fit?"
"Nicole's too tall, and her vibe is a bit too cold for a comedy," Simon said, pausing briefly before suggesting, "Mia Sara—that's more like what I had in mind."
Jackson recalled who Mia Sara was. Her most famous role was in Ferris Bueller's Day Off, one of the top-grossing films of 1986, which he had seen back in New Zealand. The film's male lead? Matthew Broderick.
Peter Jackson was aware of some of Simon Westeros's history.
Not sure how to respond, Jackson hesitated, but Simon seemed to recall that connection as well. It wasn't about his long-forgotten grudge against Matthew Broderick. That former star had disappeared from Hollywood long ago. Rather, Ferris Bueller's Day Off was now a decade-old film.
Picking up the phone on the side table next to the couch, Simon pressed a button, and his assistant, A Girl, entered. Simon instructed her, "Mia Sara, the lead actress from Ferris Bueller's Day Off. I want her most recent photos."
A Girl nodded and quickly left the room.
Turning back to Jackson, Simon continued, "Let's move on, Peter. I believe you've felt Daenerys's support over the years, all of which was arranged by me personally."
So it was true.
Even though Jackson had long suspected as much, he still showed an expression of surprise and joy, tinged with gratitude. He slightly rose from his seat and said, "Thank you, Simon."
Simon waved for him to sit back down. "Of course, I should also tell you, you're just one among many. Before you, there were people like Michael Bay and Brett Ratner. They're in the same category, and some of them haven't always been successful."
"The reason I'm backing you is, first of all, because you're pragmatic. This is incredibly important in Hollywood, where many filmmakers are brimming with creative talent but are often too proud and stubborn to work well with others."
"Movies are never made by just one person. If a filmmaker can't pragmatically lead a team to complete a project, no matter how talented they are, they'll never be able to fully showcase their abilities. Secondly, while being pragmatic, you're not lacking in talent either. Whether it's The Fat Hobbit Show or your Silver Lion-winning Heavenly Creatures, you've proven that. So I hope The Frighteners can be your big break into Hollywood."
Michael Bay?
His first film, Bad Boys, grossed over $100 million. Jurassic Park: The Lost World even outgrossed Spielberg's original.
And Brett Ratner?
Last year, he directed This Man from Earth, a small experiment that grossed over $200 million in North America alone. He's now helming Charlie's Angels in Charlie's Angels, another hot project.
Jackson could think of many more names.
Every filmmaker still climbing the Hollywood ladder, himself included, likely dreamed of being part of that group.
The fact that Simon Westeros had already placed him in that category left Peter Jackson momentarily speechless. He instinctively wanted to stand again, but remembering Simon's earlier gesture, he sank back into his chair. He leaned slightly forward and said, "Simon, I promise, I'll do my absolute best to make The Frighteners a success."
Simon nodded in approval. "Alright then. Since we've established that the film will lean toward comedy, my final piece of advice is this: you need to distance yourself from the cult film style you developed in Bad Taste and The Fat Hobbit Show. Okay, let's wrap that up. Now let's talk about your idea for adapting the Lord of the Rings series. First, tell me, why do you want to make this movie?"
Peter Jackson, having anticipated this would be the main focus of the meeting, took a moment to gather his thoughts before answering. "Simon, I actually didn't come across Tolkien's work until I was 17. It was through the 1978 animated adaptation by Ralph Bakshi. The books were incredibly popular, so everyone went to see the movie, and I followed the crowd into the theater. But I was incredibly disappointed."
"Shortly after that, I took a train from Wellington to Auckland for a trip, and because it was a long journey, I bought a copy of The Lord of the Rings. That trip completely changed my perspective. As I read Tolkien's epic, grand tales and admired the breathtaking scenery outside—the snow-capped mountains, the endless plains stretching toward the horizon, the roaring rivers beneath towering cliffs—I had a revelation. My homeland, New Zealand, was Middle-earth. And if I ever got the chance, I knew I had to bring those stories to life on New Zealand soil."
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