Following Hollywood's windowed sales model, pay-per-view (PPV) on premium channels usually kicks off about two months before the release of VHS tapes or DVDs. Back in October, Spider-Man had already rolled out its PPV service. Unlike regular home TV viewing, PPV isn't typically watched that way—though, of course, home users can order it on their TVs. The catch? PPV fees are sometimes pricier than a movie ticket. So, while the film's still in theaters, most families opt for the cinema instead.
PPV is more for high-end spots like airport VIP lounges, first-class cabins on flights, luxury hotels, or upscale office buildings. The audience there? Busy folks who squeeze in a movie during downtime. For this crowd, PPV prices are steep, but the feedback from Universal so far is jaw-dropping—this revenue stream has already topped $20 million. A blockbuster like Spider-Man is bound to rake it in across every part of the windowed sales model.
On January 5th, a Friday, Traffic—a crime drama produced by Dunn Films and directed by Steven Soderbergh—hit North American theaters. Being an R-rated flick with a sensitive plot, it opened in just 1,510 cinemas. Back when 20th Century Fox dropped the project, they'd had these exact concerns. Dunn, though, seemed unfazed. In the short term, Traffic didn't look like a box office champ—and sure enough, its opening weekend haul of $15.52 million lagged behind two holdovers, Cast Away and What Women Want.
But here's the thing: the acting, the story, the depth—it's the kind of film that'll make waves when awards season rolls around. Critics and word-of-mouth are going to lose it. As the Traffic crew hits the awards circuit, that free buzz will keep the movie alive long-term. This is the masterpiece that'll snag Soderbergh an Oscar for Best Director. Just wait.
Right now, Dunn's laser-focused on Spider-Man's VHS and DVD sales, though Saw's disc release is also about to launch. Meanwhile, the Unsinkable crew hasn't disbanded. After wrapping filming, James Cameron skipped a vacation and, in just two weeks, churned out a rough cut (sans effects) before rounding up the actors for dubbing. As the boss, Dunn figured he should swing by to check in.
Stepping into the break room outside the dubbing studio, he noticed the crew looked wrecked—disheveled hair, exhausted faces, red eyes, chapped lips. They clearly hadn't rested in ages. Dunn felt a pang of guilt. If the staff were this beat, what about Cameron? No wonder he'd been daydreaming about kicking back with Charlize Theron and Liv Tyler—though both actresses were too wiped out to care. It wasn't that they didn't want to hang with Dunn; they were just too drained to muster the energy.
But there's no helping it. Disney's been hyping Pearl Harbor like crazy—carpet-bombing ads and even name-dropping Titanic, the highest-grossing film ever, as if they're trying to ride its coattails. How could Dunn let that slide? Especially since Pearl Harbor's key players, Jerry Bruckheimer and Michael Bay, are his sworn enemies. In this window, Dunn's countering with two films: Luc Besson's Mr. & Mrs. Smith and Cameron's Unsinkable. Between the two, Dunn's betting on Cameron.
He'd come to say hi, but before he could, lead actor Matthew McConaughey beat him to it, rushing over with a worried look. "Mr. Walker, have you been ripped off?"
"Huh?" Dunn blinked, instantly thinking of piracy. "Pirated discs? Is it Spider-Man or Saw?"
McConaughey laughed, shaking his head. "What? No, not piracy!"
"Didn't you just say I'd been infringed?"
"Here's the deal," McConaughey explained. "I've been so swamped with filming I didn't even spend Christmas with my niece. So, a few days ago, I made time to hit a bookstore and grab her a Harry Potter set. But then I saw this huge banner with your name on it!"
He eyed Dunn suspiciously. Dunn chuckled. "You mean a book, right?"
"Yeah, something like… Gone Girl? Wait—Mr. Walker, you didn't actually write it, did you?" McConaughey's jaw dropped.
Dunn shrugged casually. "Guess you haven't checked it out. The author's listed as two people: Isla Fisher and me. I came up with the outline; she filled in the details."
McConaughey was speechless, staring at Dunn with a mix of envy and awe. Bestselling author Dunn? That's wild.
"By the way, how's it selling?" Dunn asked.
"They've got a massive banner in the prime spot saying, 'Famous Director Dunn Walker's Masterpiece: Gone Girl.' With that kind of push, it's gotta be flying off the shelves," McConaughey said, a little exasperated. Dunn's talent was almost unfair.
"Good. As long as it doesn't tank my rep," Dunn joked, spotting Heath Ledger stepping out of the studio. He walked over and lowered his voice. "Hey, no acting hurdles lately, right?"
Ledger grinned, genuinely grateful. "Thanks for checking in. I'm… I'm good."
Dunn nodded. "In a few days, I'm visiting Coppola and Brando. Want to tag along?"
"What? For real?" Ledger's voice shot up, like he'd just struck gold.
"Yeah," Dunn said. "A while back, I hit some rough patches, and they both spoke up for me. I owe them a thank-you, no matter what. Plus, it's awards season—I could use their connections."
Ledger had vaguely heard about Dunn's troubles and looked ashamed. "Dunn, I… I'm sorry I couldn't—"
"Haha, Heath, don't sweat it!" Dunn laughed, clapping his shoulder. "Everyone's got their own stuff going on, and choices differ. Once you're a big shot like Mel, I'll be counting on you to back me up."
Ledger straightened up, serious. "Dunn, you've got my word. I'll always have your back."
Dunn trusted that promise completely. With his ties to the "Aussie crew," Ledger would stand by him even without the history. Plus, Dunn had just handed him a chance to chat with a legend like Marlon Brando—how could he not?
Just then, Dunn's assistant, Isla Fisher, slipped over, barely hiding her excitement.
"What's up? Gone Girl selling like crazy?" Dunn teased.
"Nope, not that," she said, beaming. "Universal just sent word about Spider-Man's first-week sales."
"Oh? How'd it do?"
"DVDs sold 5.13 million copies—4.3 million standard, 830,000 deluxe. Plus, 380,000 VHS tapes. First-week total? $124 million!"
She didn't whisper, so everyone in the break room—Unsinkable's crew—heard it loud and clear. $124 million in week one! That's up there with last year's Star Wars: Episode I – The Phantom Menace. Even after the 20% retailer cut and 10% distributor fee, Dunn Films would pocket $87 million. Sure, week one's the peak, and sales will drop off, but with Spider-Man hitting cable in May, topping 10 million units is totally doable.
Dunn Films is gearing up for Spider-Man 2 and Daredevil, and cash flow's tight. This DVD haul is a lifesaver. Add in awards-season gains from Girl, Interrupted, Memento, and Traffic, and Dunn Films can fund Harry Potter and the Sorcerer's Stone without loans or investors. A couple of years back, Dunn went into debt for Spider-Man, nearly tanking the company. Now, its massive profits have made him a titan again—and the studio's finances are finally solid.
The break room erupted in thunderous applause. Everyone gazed at Dunn with admiration, celebrating his win. Grinning, he was about to tell Isla to grab some Gone Girl copies for signed giveaways when the studio door flew open. Out stormed James Cameron—beard scruffy, eyes bloodshot, face twitching. Was he exhausted or pissed? He roared, "Everybody, get out!"
"James…" Dunn winced, feeling awkward and a little guilty. This wasn't the spot for a party.
Cameron, already a hothead on set, was stretched thin by the schedule. With no rest, he turned Dunn into his punching bag. "This is my turf!"
"Alright, alright, your turf…" Dunn muttered, half-laughing, half-crying. Grabbing Isla's hand, he bolted out, dignity be damned. On set, Cameron was a lion—no one, not even Dunn, could tame him!
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