Chapter 21
Hey everyone, sorry for the long wait. Each time I thought I was done with this chapter, I felt like I needed to add more to it. And that just kept on happening and happening till it turned into my longest chapter yet.
dreamer_0901 I think you mean restart it, but yes, great idea. I will work that in somehow.
Ser_Lanciscazzo I love that idea, and you are so right. I wish they would redo it. Find new actors to follow season one, extend season 2, and keep going. You know, I never thought of sports, but I can see something like that.
Patrick_Ugabi, thank you, and feel free to toss out any ideas you have for it.
DaoistsMthQw, that is an idea. I never thought of that.
There is a question at the bottom of this chapter; I need you guys and girls who read to answer. Please give it a look, and like last time, most votes win.
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"So, Elizabeth, would you say that not everyone gets a second chance in this business? And 'Showgirls' was kind of your exit from Hollywood?" Jimmy Kimmel asks bluntly.
"Definitely. I mean, I don't regret 'Showgirls,' and I never will. I think it was a great movie—one of my best works—and I still believe that, but not everyone agrees with me," Elizabeth answers.
"I would say so. It was a complete flop at the box office and pretty much got you blacklisted in Hollywood, right?" Jimmy says.
"It did, and it was very upsetting because I had put so much work into it. I got into shape, developed my character, and acted from the heart. Only to see it fall flat and have myself dragged over the coals by the media. It hurt. It still hurts," Elizabeth responds.
"But that wasn't the end for you, was it?" Jimmy asks, as an image of her in 'The Strangers' appears on the screen to an applauding audience.
Making her smile, Elizabeth replies, "No, no, it wasn't."
"Tell us how this came about. I mean, we all know you starred opposite Tiffani Thiessen in 'Saved by the Bell,' but where does Caesar come in?" Jimmy inquires.
"Well, Jimmy, Caesar comes in with Tiffani. People may not know this, but during the time of *Saved by the Bell* and *Showgirls*, Tiffani and I weren't really what you would call close friends," Elizabeth says, surprising everyone in the room.
"Really? I didn't know that. I mean, you both seem so close," Jimmy replies.
"Oh, we are now, but back then, we only talked occasionally. After the show, we drifted apart. However, after *Showgirls*, she was the only one who called me, even though it became clear that being my friend might not be in her best interests. That's very rare in Hollywood," Elizabeth explains.
"Was it really that bad?" Jimmy asks.
"It was," Elizabeth replies. "I mean, I was taking a beating in the media, and the calls and auditions I once took for granted just stopped coming. It was a tough time for me. Yet there was Tiff, still at the top of her game, reaching out to me. That meant a lot to me, and it still does."
"And is that when the offer to star in 'The Strangers' came into play?" Jimmy asked.
"Yes, you see, by 1997, it became very clear to me that I wouldn't be receiving any more leading roles. It didn't matter how talented I was or how well I fit the part; the studios wanted nothing to do with me. But Caesar recognized my talent and believed I deserved a second chance," Elizabeth replied, trying to mask the bitterness in her voice regarding those studios.
"It must have been scary when Caesar and Tiff broke up, right? I mean, your second chance could have disappeared just like that," Jimmy remarked, snapping his fingers.
"It was terrifying, but I was also angry. I had been promised a role, and because of one breakup, I felt like I could lose it," Elizabeth said.
"So, what did you do?" Jimmy asks.
"Well, I didn't call Tiff. Actually, I did, but only to check if she was okay after the breakup. I didn't ask about the movie. Instead, I called Caesar," Elizabeth replies.
"And how did that go?" Jimmy asks.
Chuckling softly, Elizabeth says, "Let me put it this way: I quickly learned what many others had already discovered. Caesar is a man of his word. As soon as I called him, the first thing he asked was, 'Have you read the script yet?' and then, 'Do you think you could take on the role?'
"Wow, that's incredible," Jimmy responds.
"I know, right? Here's a guy who just broke up with his girlfriend—the very girlfriend who helped me get this part. And his first words aren't about how I'm no longer needed. No, he wants to know if I've read the script yet. That's the kind of person he is. When he looks at you and says, 'This is your role. It's yours, you know, you have to either sink or swim. But he won't fire you unless you do something really stupid," Elizabeth says.
Fortunately, she didn't do anything stupid. Even though becoming the next scream queen wasn't her goal, if she hadn't landed the part in "The Strangers," who knows where she would be now? That's why she will always be grateful to Tiff and Caesar for being who they are, especially Caesar.
-1998-
After the birth of my children, life began to slow down for me when I decided to step back from the spotlight and focus on getting my affairs in order. I had often heard that children have a way of changing one's priorities, and I used to think that was complete bullshit—until it happened to me. Then I realized it was true. My children introduced new responsibilities into my life, and because of the complexities in my relationships with their mothers, I decided to end my relationship with Jennifer earlier than planned.
Fortunately for me, Jennifer viewed our relationship as exactly what it was. In her own words, we had fun, and the sex was great, but it was time for me to become a father. So, she understood when I decided to end things early. That said, we made our breakup quite public. From the public's perspective, it was a messy situation. While nothing happened that could damage our reputations, our PR teams managed to craft a story that had people taking sides and generating interest in the narrative of our personal lives and careers. To outsiders, it seemed like we weren't on speaking terms. I was portrayed as the controlling boyfriend trying to dictate her career, while she was seen as an ungrateful brat who didn't appreciate what I had done for her. In reality, we were already discussing her second album.
That was still a year or two away, however. In the meantime, I had gotten back together with Tiff. There were several reasons for this, mostly because we never truly broke up. Yes, she slapped the shit out of me and declared it was over, but that was more of a heat-of-the-moment reaction than anything else. Neither of us genuinely wanted to end the relationship at that time. I only started dating Jennifer because the opportunity arose. This decision put me in the doghouse with Tiff for a while, but after our son was born, she agreed to give our relationship another chance. If only for his sake.
I didn't try to get back together with Salma, and it wasn't just because of Tiff. Before the birth of our daughter, Salma and I were in a good place. While there was still attraction between us, we both agreed that it was better not to date. Her parents already hated me, and the media attention surrounding our daughter was a headache Salma didn't want to deal with. After all, everyone already knew, or at least suspected, that Julia was mine, even if Salma wasn't openly admitting it. I wasn't sure why she chose not to, but I was confident she had her reasons. This situation made visiting difficult, but nothing could stop me from seeing my daughter.
Now, outside my personal life, I was not nearly as busy. 1998 was proving to be a slower year than 1997, but that didn't mean I didn't have work to do. My overall plan for this year had taken a left turn off a cliff after the birth of my children. Not wishing to be that far away from them, I was only working on Shakespeare in Love. Flying in and out of England more often than I would have preferred, but that was the life of a father, I guess? I didn't want to be one of these deadbeat dads who claimed they were too busy to spend time with their kids after all.
It gave Steven a headache, but he didn't say anything. Being a father himself and an overall agreeable man outside of his dealings with movies, he was understanding. However, he did convince me to hire a personal assistant finally. Between my earnings from the films I had written, my scriptwriting for TV shows, royalties from Jennifer's album, and my investments, I was making more than enough to afford one. I just didn't feel like I needed help, but in Steven's words, I was becoming too important to handle everything on my own.
These were words of wisdom I would have likely ignored if they had come from anyone else. It wasn't as if Steven was the first to say this; David, Danny, Tiff, and many others had suggested the same thing, but I had brushed them off. So why did I listen to Steven? Because he was Steven Spielberg—a man of such respect that his soft voice and calm demeanor spoke louder than the loudest shout. Out of respect for him, I finally broke down and hired an assistant.
You know what? He was right. I did need help, and it wasn't until I hired someone that I could truly see the situation for what it was. I began to recognize who my friends were and who my enemies were. Please make no mistake, I had more than a few enemies at that point. Chief among them was Sean Combs, who was determined to go after me. He was still angry that I hadn't mentioned his name to the media after the club incident.
From what little I heard, the man was going around the music industry talking negatively about me to anyone who would listen. Honestly, I didn't care too much since I wasn't yet heavily involved in the music industry. Sure, I wrote for Jennifer's album, but beyond that, my involvement was minimal. So, his attempts to sabotage my opportunities were more amusing than anything else. Plus, the idiot forgot something important: the music industry is just one part of the larger entertainment industry. They are all interconnected in some way, and I had stronger connections with the industry elites than he did, including several Sony executives through Thomas Mottola.
Despite Sean's popularity, the record executives were unsurprisingly indifferent to it. There would always be another aspiring singer or rapper, just as there would always be another writer. However, few had achieved the level of success I had in so short a time. At that moment, they held me in higher regard than Sean, primarily because they were eager to see if I could replicate my earlier achievements on Jennifer's album. I had co-written and composed "If You Had My Love," which reached number one on the US Billboard Hot 100, as well as "Waiting for Tonight," which peaked at number 8, and "Let's Get Loud," which made it into the top ten in several countries. The executives were much more interested in me than in Sean. They even went so far as to introduce me to Mariah Carey and Destiny's Child, expressing a desire to know if I would be willing to collaborate with either or both on their upcoming albums.
Of course, I was willing to work with them. When I first met Mariah Carey, I found her a bit overwhelming, but she turned out to be cool. Destiny's Child, on the other hand, was still young and coming off their first album, which they weren't happy with. It had only achieved modest success, and they felt pressured into a role they didn't enjoy. Like many young artists, they desired more creative control. Understandably, the girls were hesitant to work with me, but the future mega star Beyoncé was more open to the idea.
Beyoncé was aware of my body of work, and while I was primarily known for movies, the fact remained that everything I had touched had been successful. As the team leader, her opinion carried more weight than the others. I could see why she held that position, too. Knowing the future, I was aware that she would become a major star, but even then, there was something special about her. She had that unique quality that set her apart from the rest.
Anyway, aside from that, Sony was also interested in my screenwriting skills. Like many other major studios, they wanted to share in the success I was experiencing. In truth, Sean was too insignificant for me to care about, and our conflict was entirely one-sided. He could do what he wanted and say what he liked, but in the end, no one would pay attention to him. Not even Jennifer, who had initially shown some interest in him, quickly lost interest. In her own words, she wouldn't even speak to him anymore because his pettiness was too much for her to handle.
It was clear that I could choose to ignore Sean. However, my next and perhaps greatest enemy was someone I couldn't overlook. To clarify, my foes in Hollywood were strictly business-related; none of it was personal. It was like what The Godfather said: it was business, never personal. At that point, no one hated me on a personal level—except for Sean. These people simply didn't like seeing my success without having a part in it. They craved a taste of it, and if they couldn't get that, their next best option was to bring me down.
Out of everyone, no one was more opposed to me than Harvey Weinstein, likely for business reasons. While I may have given him "Urban Legend," which grossed over 100 million at the box office, that wasn't enough for him. He wanted a 400-million-dollar film, not just one that made 100 million. This could have been one reason for his animosity towards me. Another reason might be that I kept him at a distance; I didn't associate with him and rarely spoke to him, even before I began hearing rumors about him and women.
I believed the rumors, not just because they came from a source I trusted, but because I had seen the way he looked at Tiff or Salma when we were at a party and he was present. It's not unusual for women to receive lustful looks from men, and I wasn't so insecure that it bothered me. However, the way he looked at them unsettled me. I had been around rapists, both on the street and in juvenile hall, and they all had this same look in their eyes when they regarded women. To them, women were not human; they were mere objects. I don't mean trophy wives or anything like that—they were things to be used and discarded when they broke or when interest faded.
Now I was fully aware I was a womanizer, but every woman I was with was consensual. Jennifer, Tiff, and Salma all knew what they were getting into with me. That any relationship with me most likely wouldn't work out, so no promises were ever made. It was just good fun. Harvey did not strike me as the type to care if it was consensual or not. Luckily for the women who were associated with me, after the Nightclub Incident, he seemed to keep his eyes to himself. I tell you something, nothing makes people hesitate more than the threat of violence towards them if they mistreat a woman. Especially now that I have a daughter of my own. The public may have been wondering who the father of Salma's kid was, but those at the top of the industry knew well and good it was me.
Harvey was my biggest enemy in Hollywood at the moment, but the real concern was who was behind him. While Harvey could have been a problem for anyone else, I had Robert Shaye in my corner, even though he didn't particularly like me. We had come to an understanding. After Warner Bros forced me to take "Scream" away from New Line, I started ghostwriting for Robert on the side. In return for my work, he agreed not only to pay me but also to keep certain people, like Harvey, off my back. This arrangement effectively neutralized any threat Harvey might have posed.
The real issue stemmed from Disney, which owned Miramax. Since I didn't write films typical of Disney, you might assume they wouldn't care about me. And you'd be correct; they didn't. However, Harvey had connections within Disney. Using those connections, Disney had ABC, which they owned, run a story about me being sued for plagiarism before anyone, including myself, was even aware I was being sued. Interestingly, the person suing me was Kevin Williamson, the original writer of Scream.
They didn't have a solid case. I knew it, and they knew it as well. So it was puzzling that Kevin, whom I had met on the set of Dawson's Creek (a show I wasn't working on), would even attempt it. The reality is that millions of scripts are written every day, with countless more archived in the vaults of every major studio. It wouldn't be challenging to find a script that resembles every movie ever made. Honestly, you could put on a blindfold, throw a rock, and likely hit one.
Given the circumstances, it all came down to who copyrighted their script first and got it made. I beat Kevin in both respects, so why would he even try to sue me? I would guess it stemmed from two main factors. First, Disney, like several other major players, was growing tired of my success without reaping any benefits; however, they weren't looking to blacklist me in Hollywood—they just wanted to hinder my momentum. As for Kevin, his motivations were simpler to understand. He disliked me intensely. From the first moment we met on set, it was clear that he resented my writing "Scream."
Although he knew I had copyrighted my script before he even finished his, he felt that my work mirrored his too closely and believed I had stolen ideas from him. He was right to some extent, but he had no proof. Ultimately, it didn't matter much to him at this point, and he likely saw this as his chance to get back at me.
However, it was a foolish decision on his part to let his emotions get the best of him. This angered Arnold, and while I couldn't stand up against Disney alone, Arnold's recent string of successes. Most of which were due to me, had made him a significant figure at Warner Bros. He had a lot of influence and didn't react well when they began attacking his prized asset. Since he was somewhat of a friend, he agreed to help me. With his support, I quickly countersued, and Warner Bros responded by using their own news network, CNN, to mount an attack. Although I wasn't on Warner Bros's favorite list, they were willing to defend me because of Arnold's backing. Additionally, it made for great news.
The story of a rags-to-riches Mexican street kid from nowhere versus the privileged white Hollywood elites is captivating. You couldn't ask for a better narrative in the '90s. That's why I advised Alex to prolong the lawsuit as much as possible. The unexpected media coverage would only boost interest in my next movie. As for Kevin, he was undoubtedly regretting his actions. He was fired from *Dawson's Creek* by Warner Bros. almost immediately because of this mess. Kevin, of course, would likely try to sue them for breach of contract, but according to Arnold, the situation was finalized. Warner Bros would not work with Kevin again, so long as Arnold had a say in it.
With the support of Warner Bros behind me, I felt mostly safe for the time being. However, I wasn't naïve. Warner Bros may be in my corner today, but tomorrow could be a different story. If something were to happen to Arnold or if we had a falling out, I would be in serious trouble. Still, I couldn't help but smile at the sight of one of my enemies facing a downfall.
"What are you smiling about?" I heard Brad Pitt's voice ask.
Looking up at my sort-of friend, who is more of a business partner, I replied, "I'm in a good mood."
"You're in a good mood? The guy who's currently being sued for plagiarism and is in a public feud with your ex is in a good mood?" Brad remarked as he sat down next to me on the patio of his Malibu home.
"You mean that ex?" I pointed at Jennifer, who was sitting by the pool in a one-piece bathing suit, chatting with my current girlfriend, Tiff.
Looking over at the Latina beauty and rising pop star, Brad shook his head. "You've got some big balls, Caesar."
"About average, to be honest," I replied, causing him to chuckle dryly.
Like many others, Brad didn't understand how Caesar kept attracting such beautiful women. No offense to Caesar, but whether successful or not, he didn't see the appeal. That is, until the nightclub incident, which Brad sadly missed. He wished he had gone when Caesar invited him, but he opted for a party at Tom Cruise's house instead. Talk about a missed opportunity.
"So, how is the work on Fight Club going?" I asked him.
I hadn't had a chance to contribute to it yet, as I was busy with Shakespeare in Love. I could only write the script for the movie after David acquired the rights to the book and took it to Fox, which was very interested in making a film from one of my scripts. That was all I could really do. I couldn't even help with casting and could only offer my recommendations. I suggested Edward Norton for the lead role and Helena Bonham Carter as Marla Singer. Casting Brad was, of course, a no-brainer, but it was harder to get Edward Norton his role than I had first thought. Names like Matt Damon, Mark Wahlberg, and Sean Penn were discussed, and it ended up being quite close, according to what David told me. Ultimately, however, Edward got the role after several auditions and a big push by Brad and David.
However, while Edward got his role, Helena Bonham Carter did not get hers despite David's strong support and her impressive audition. Due to the film's dark themes, they opted for an unexpected choice: Fairuza Balk, known for her role in *The Craft*, landed the part. I didn't have all the details on why she was chosen over Helena, but honestly, I didn't care much. The role of Marla wasn't that significant to the overall story. As long as the actor had the right look and their performance wasn't terrible, anyone could take on the role, and Fairuza Balk certainly had the look down. As for her acting, it was decent.
"It's going well. David and I still wish you were on set with us; other than that, things are running smoothly," Brad replied.
Brad clearly remembered the first time he read the *Fight Club*script. He was less than halfway through when he realized he wanted to play Tyler Durden. It was the kind of character he loved to play. The complexity of the role and its dark tone reminded him a lot of *Se7en*, which he considered his breakout role. He had to admit that after *Se7en*, he hadn't undertaken anything as complex or fulfilling until he started playing Tyler Durden. While he felt he had accomplished great work since *Se7en*, he didn't believe he had reached that same level of depth until now. But he could sense it—he felt that the role of Tyler would be one of the crowning achievements of his career. It was as if something inside him suggested that people would be discussing this movie for years to come.
"Good, I'm glad to hear that. I don't know about you, Brad, but something tells me that like *Se7en*, this film is going to be a great success. If not at the box office, then certainly in the minds of the audience," I said to him.
"I hear that," Brad says as he sips his beer.
If I were being honest with Brad, I wasn't so sure anymore. I still believed the film would become a cult classic after its release—the '90s cult classic, as far as I was concerned. However, many things I thought I knew had started to change. For instance, several movies had already been delayed this year. "Saving Private Ryan," which was supposed to be directed by Steven Spielberg, had been pushed back until next year, and "The Mask of Zorro" hadn't even been written yet. The reason for this was that TriStar Pictures, Inc., which had acquired the rights to the character, approached me—backed by Steven Spielberg—to rewrite the script.
Fortunately, when I reviewed the script for what was being called "The Return of Zorro," I understood why they wanted me involved. The script bore little resemblance to the version I was familiar with; while some parts were similar, it was far from what it should be. This realization led me to agree to work on it, but only if they considered Catherine Zeta-Jones for the lead female role. Salma, whom I originally wanted for the role, had declined the offer. Crediting her desire to take a year off to care for our daughter, Julia. Which was totally different from Tiff, who was returned to work nearly right away. I suppose you could say they represented two different women and approaches to motherhood.
After Salma had turned down the role, she recommended Catherine, whom we had met at a party about a year ago, celebrating Salma's success in "Anaconda." A friend of Salma's introduced us, and we hit it off almost immediately. Catherine was witty and charming, with a lively personality and, most importantly, swore like a sailor with the best of them. I took a liking to her right away, but unfortunately, I didn't have any opportunities for her at the time, and we hadn't spoken since.
So, she was surprised when I called her out of the blue to tell her I had arranged an audition for a lead role in an upcoming movie I was rewriting. She managed to hide her surprise over the phone, but I could hear the crack in her voice when she said thank you, and it was clear how excited she was.
However, these changes led me to a truth I didn't want to accept: I had no idea what would happen next. Or perhaps it's more accurate to say that I never really did, and I'm just now realizing it. I felt like the butterfly whose wings caused a hurricane. Everything was in chaos. While some movies were being released as planned, others hadn't even been written yet, which was concerning because I could no longer assure myself of success.
"Hi everyone, sorry I'm late. Julia was being difficult when I dropped her off at my parents' house," the last member of our little group said.
"Don't worry about it," Brad replied, standing up to greet Salma with a friendly hug, followed by everyone else.
I wouldn't exactly call any of us real friends, but after working closely together for over a year, we generally get along well.
Tiff approaches Salma with a smile and comments, "So, Julia was being difficult today, huh? I wonder where she gets that from?"
Like a bad joke, everyone turned to look at me all at once. In that moment, I, being the mature adult I was, gave them all the middle finger before standing up. I then greeted my ex and the mother of my child with a friendly kiss on the cheek. After that, I headed to the table where we would discuss business and enjoy a meal together. It had sort of become our routine; we would meet at someone's house every few months to talk about our shared investments and have a cookout.
Once we all sat down, I began by saying, "First, before we start, I want to welcome Jennifer to our little group. Despite our differences in the media, she has chosen to join our investment team."
That brought a few laughs, as everyone knew it was all an act for the media and we weren't genuinely at odds with each other.
Smiling, Jennifer responded, "Thank you, everyone. I assure you that despite Caesar being a controlling jerk, I will do my utmost to fulfill my obligations to the group."
I stick my tongue out at her childishly and blow a raspberry. At the same time, she gave me a mean look while everyone laughed around us.
As Jennifer sat there, she couldn't shake her feelings of uncertainty. Caesar had earned her trust with everything he had done for her, but when he approached her about joining his group, she felt hesitant. It was made up of several A-list celebrities, a renowned Hollywood director, and arguably the best writer in the industry. However, joining this group also came with a significant cost.
"On The 6" had been a hit album and had brought her a substantial amount of money, and "Selena" had greatly enhanced her acting career. Despite this, it still didn't feel like a wise financial decision to spend money on what mostly seemed like connections to some of Hollywood's rising stars. So why did she decide to join in the end? The answer was simple: Caesar had yet to fail at anything.
"Okay, children, behave yourselves," Gwyneth, our acting head and representative on Apple's Board, said as she tried to suppress a smile. "First, let's go over our investments."
We all fell silent at this moment. Although I was the one who initiated the group, it was Gwyneth who served as our representative on the Apple Board. I didn't want to take on that role, and Brad felt the same way. Danny preferred to remain a silent partner, and Tiff and Salma had no interest in participating. Although David was capable of handling it, he voted for Gwyneth, as she naturally had an interest in such matters.
Overall, our investments in Apple were proving to be profitable. While others believed the company was just a few steps away from bankruptcy, Apple had managed to persevere and was beginning to rebound, validating my decision to invest and persuade everyone to join me. Although we wouldn't see millions of dollars anytime soon, if things continued as they were, we could each see at least $100,000 this year—maybe? It was too early to say for sure, but that didn't matter; this success gave me the confidence to pitch a new idea to everyone.
"Before we start eating, everyone, I would like to propose a new investment opportunity," I say.
"Yeah, and what is that, Caesar? With how well things are going at Apple, I'm on board no matter what it is!" Brad replies cheerfully. However, he doesn't really mean it. Sure, Apple was proving to be a smart bet, but they haven't actually seen any returns yet.
Having everyone's attention, I continue, "I want to purchase the movie rights to several comic book characters, and I would like everyone here to help make this happen."
This gets me quite a few looks from everyone; not all of them are nice. Most of the reactions I receive are along the lines of "Are you crazy?" I can't say I blame them. While superhero movies can be profitable, they are also expensive to produce. The last one that was released, "Batman & Robin," cost $160 million to make and was nearly a flop. It damaged George Clooney's reputation and didn't do any favors for the younger actors Chris O'Donnell and Alicia Silverstone.
"Listen, I know what you all are thinking…" I begin to say.
"That it's a stupid idea," Brad interrupts me.
Looking at him, I respond, "Yes, but computer graphics have come a long way. As some of you know, I have started my own studio."
"I thought that was for tax purposes?" Tiff asks. After all, nearly everyone did it. The tax breaks alone were a good reason to start one, but most people never actually made a movie.
Looking at my girlfriend, I respond, "I never said it was."
"So you started your own studio to make superhero movies?" Danny inquires.
"That's one reason, among others. Listen, I'm not planning to compete with the major studios like Steven. Nor am I asking any of you to act in these movies. All I'm asking is for your help in buying the rights to them because I believe I can do something worthwhile with them." I say to everyone, noticing their expressions relax a bit.
They all had some trust in me. Having worked together in the past and witnessed my success, it would be foolish for them not to consider my proposal. At least, that's what I believed. It wasn't until Gwyneth spoke up that I started to feel a bit more at ease. "Okay, let's say we help you acquire the rights to these characters. How much are we discussing?"
"Well, Marvel has just filed for bankruptcy. They need cash, and they need it fast. Knowing this, I called them up, and they are willing to license all their characters for $35 million," I replied.
Brad, ever the wise guy, let out a low whistle. I couldn't blame him. We were all rising in our own ways, but none of us had that kind of cash. Investments aside, Brad still had the largest net worth among us, followed by Jennifer and Gwyneth. My net worth was also increasing; with the sale of *Scream* and other investments, I estimate it to be around $10 million now. With that amount, I could easily get a loan to buy the rights on my own, but that didn't seem like a good idea. So, while it would be possible for me to purchase the rights to Marvel's characters on my own, the reality was that it was better to get other people to join in with me. Though honestly, even now, many of them had their doubts.
I had been in Hollywood for four years, and at 22 years old, I had several hit movies under my belt. Despite my successes, many people remained hesitant to fully embrace me. They still viewed me as that punk kid who got lucky, while others tried to attach themselves to my success. The real power players—the investors—were watching my every move, looking for any signs of failure. Some even hoped I would stumble, if only to put me in my place. After all, my projects were becoming increasingly expensive with each success.
As for those around me, they wanted me to continue succeeding because my success translated to their success. This was yet another opportunity to be part of something potentially profitable. However, the disastrous reception of Batman & Robin made them uneasy. After all, a $35 million budget was significant, and that was just the initial investment before any movie was even approved.
After thinking about it for a moment, Jennifer asks, "Do you really believe you can make this a success, Caesar?"
"I do. I believe this because I have been on the set of the upcoming movie *Blade*. What they are accomplishing right now is nothing short of amazing. I think we are on the brink of a CGI explosion," I reply.
Looking over at David, Gwyneth asks, "David, what do you think?"
David, who had been silent until now, took a sip of water and replied, "He is not wrong. What we've seen so far in *Jurassic Park*, *Titanic*, and *Independence Day* is just the tip of the iceberg. This could be something big—possibly even huge. I'm in." David seemed to understand what I was seeing. He may have aimed to be a more serious movie director, but he was far from blind.
"So am I," Danny responded.
He had faith, unlike everyone else. Plus, people like him and Caesar had to stick together. As ex-cons, they were constantly being watched for any slip-ups. It may also have had something to do with him being offered a part in Fight Club—a small role, but a job is a job.
One by one, everyone began to agree. Shockingly, the last person to agree was also the first to support the investment in Apple; besides David and Danny, Brad was the first. Yet this time, he was being more cautious and made it very clear that while he was willing to invest, he didn't want to be in the movies. At least not till it proved successful.
As for me, I felt the tension I had been building up over the past couple of weeks dissipate. I realized how much I could have missed out on if I hadn't been asked to work on Blade's script. I owed Steven a lot for this opportunity. I almost missed out on a multi-billion-dollar franchise because I hadn't been looking far enough ahead at what was coming. Granted, I knew there was no way I could make these movies on my own.
I knew I would have to approach the larger studios to turn my ideas into reality. There was no getting around that, and I needed to demonstrate that my concepts could succeed while making it clear that I had no intention of creating my own distribution network. If they suspected I was trying to do that, they would undoubtedly push me aside early on. I would need to start small and carefully build my way up, all while staying true to the original vision in my mind.
I was considering beginning with Spider-Man and the X-Men, and perhaps even attempting to kick off the Marvel Cinematic Universe (MCU) early, if I could find some talented writers to help me blend these narratives.
I understood that this journey would not be easy, but in the end, it would be worth the effort.
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Question: Who does the MC hook up with next?
1: He stays with Tiff for a while longer.
2: Back with Salma
3: Beyoncé
4: Catherine Zeta-Jones