Only Dunn can beat Dunn!
That's the headline from the New York Times' entertainment section, praising Dunn's stellar knack for movies while breaking down the current film market landscape.
When Unsinkable hit theaters, it surprisingly lost the opening weekend box office crown to Pearl Harbor. But once the "fraud scandal" broke, it steamrolled North America, topping the weekly charts for three straight weeks, forcing all the big players to step aside.
That is, until another Dunn Films release, Mr. & Mrs. Smith, finally knocked Unsinkable off its throne. Otherwise, in its fifth week, Unsinkable would've kept leading with a solid $45 million haul.
The signs are piling up: Dunn's big-budget summer blockbusters are unstoppable—crushing gods and Buddhas alike, invincible!
His only real rival? Himself!
It's easy to predict that over the next few weeks, the North American box office will shift from Unsinkable's solo act to a two-man show starring Mr. & Mrs. Smith and Unsinkable.
Film critics have been singing praises too: "As of midnight yesterday, Unsinkable's global box office has soared past $5.5 billion! North America alone chipped in $3.2 billion. For Dunn Films' blockbusters, sky-high earnings are basically the norm. And the latest release, Mr. & Mrs. Smith, is raking it in too—pulling in a hefty $75.08 million over its opening three-day weekend!"
The Los Angeles Times zoomed in on French director Luc Besson: "Before this, Luc Besson hit a career slump. His Joan of Arc bombed at the box office, scaring off investors and even sparking a personal crisis with a messy divorce."
"It was Dunn Walker who swooped in to save him, pumping $100 million into Mr. & Mrs. Smith. Turns out, Dunn's not just a genius with movie content—he's got a sharp, bold, decisive eye for talent too, and it paid off big time."
"Mr. & Mrs. Smith follows a killer couple in a hilarious hitman romp. Mr. Smith's American, Mrs. Smith's French, and the clash of cultures and crime syndicates from different countries delivers plenty of laughs and tension. Sure, the theme doesn't quite elevate, and the plot's a bit predictable, but it's still a must-see flick—its $75.08 million opening weekend proves it."
"Mel Gibson and Sophie Marceau, this cross-border duo, already wowed us in Braveheart. They don't disappoint here either. This on-screen pair's set to dominate the summer. Honestly, Dunn Films should start drafting a script for Mr. & Mrs. Smith 2."
Entertainment Weekly weighed in on the numbers: "This week, Unsinkable's box office dipped 35%, hitting $3.2 billion in North America. Overseas markets kicked into gear too, pushing the global total past $5.5 billion. It's still hot in North America, but in places like Japan, France, Australia, and Germany—where it released earlier—the steam's running out."
"Experts predict Unsinkable will land around $4.2 billion in North America, with overseas between $4.5 and $4.8 billion. So, it's unlikely to join Dunn's trio of $1 billion-plus masterpieces. The big question now is whether it can top Steven Spielberg's Jurassic Park for the number-two spot."
"Universal pegged Mr. & Mrs. Smith's opening weekend at $90 million, but it fell short by 16.7%. Mel Gibson's star power is undeniable, but Sophie Marceau's pull isn't quite on the same level—especially compared to Angelina Jolie in Tomb Raider right now. In an action flick like this, Sophie comes off a bit too delicate, too slight."
"As famed critic Roger Ebert put it, swap Sophie Marceau for Angelina Jolie, and if Jolie brought her Tomb Raider swagger, Mr. & Mrs. Smith could've hit that next level—meeting Universal's expectations with a $600 million global haul."
"But Sophie's got a bigger name in Europe, so maybe Dunn and Luc Besson were banking on overseas numbers. Even if buzz and box office don't fully meet hopes, topping $500 million worldwide shouldn't be tough for Mr. & Mrs. Smith. Ironic, right? Even when a Dunn Films movie underperforms, it's still eyeing half a billion!"
…
This is a French-style café with a poetic name: "Jacqueline."
Dunn showed up ten minutes late on purpose. As Roy Disney had said, it's an old-school spot. The moment he walked in, he spotted Roy by the window, while a couple in their sixties bustled behind the counter, brewing coffee.
Dunn made a big show of it, posting bodyguards at the door like some VIP rolling in hot—which, naturally, rubbed Roy Disney the wrong way.
But Dunn couldn't care less. You give him an inch, he'll give you a mile. Act shameless? Well, that's on you.
"Mr. Disney, I just heard—stock market opened today, and Disney's shares are tanking. Down over 5% already?"
Roy Disney gave a lukewarm handshake. "This summer's been a rollercoaster for Disney stock."
Dunn grinned, a little smug. "Gotta say, I'm partly to blame. Unsinkable crushed Pearl Harbor when it hit theaters, tanking Disney's stock. Then this week, Mr. & Mrs. Smith outshone Atlantis: The Lost Empire, and bam—another dip for Disney."
Roy Disney's brow furrowed, but he brushed it off. "Disney's market cap is over $40 billion. Among global media and entertainment groups, we're only behind Time Warner, Viacom, and Vivendi Universal. We've got a huge business structure—movies are just a tiny slice. They don't sway the stock that much."
"Oh? That so?"
Dunn chuckled, inwardly rolling his eyes.
Pride comes before the fall!
Every industry's got them—old-timers who think their years in the game, their connections, their clout, let them lord it over the newbies.
What they don't get is the times have changed. In this internet age, the young guns are the ones calling the shots!
Roy Disney was still playing the seasoned vet, coolly saying, "Obviously. Disney's biggest revenue comes from the AB broadcast group. Our June financials showed a dip in overall income last year."
Dunn smirked. "Oh… so Disney's stock slide is thanks to AB dragging it down? But didn't Michael Eisner already step up? He bought the Fox Family Channel—should've sparked some market buzz and confidence. So why'd the stock tank at today's open?"
Roy Disney's frown deepened, his voice firm. "Dunn, we're not here to talk Disney stock, are we?"
Dunn laughed it off with a casual "Haha."
"Let's talk business!"
"Sure, go ahead."
"I think… there's no real conflict of interest between you and Disney. All these misunderstandings? They're all Michael Eisner's doing."
Dunn burst out laughing. "Oh, absolutely! I'm just a newbie—how could I pick a fight with a giant like Disney? It's Eisner who's been boxing me in. I had to push back! So far, it's worked out alright—Disney's not as invincible as it seems."
Roy Disney's face flashed with anger, though he quickly hid it, taking a deep breath. "It all comes back to Michael Eisner! Like you said, Disney's stock's had a rough summer—and that's on Eisner. So…"
"So what?"
"We've got a common enemy."
Dunn shrugged, his expression calm. "Maybe!"
Roy Disney didn't like Dunn's half-hearted vibe and gritted his teeth, pressing on. "So we should team up. You hit from the outside, I work from the inside—together, we take down Michael Eisner!"
Dunn smiled. "Sounds tempting."
Roy Disney nodded. "It's the best move for both of us! Inside… well, that's Disney confidential stuff, I can't spill. Outside, I've got three things I'd like you to do to back me up."
Dunn's lips curled, his demeanor cool.
Roy Disney figured he'd laid it out clear enough—shown plenty of goodwill, too. He held up three fingers, pacing it out. "First, Disney's film division's in a tight spot. I'd like Dunn Films to partner with Disney on five movies over the next three years to help us weather the storm."
"Oh? And second?"
"I know you're a big shareholder in Legendary Pictures with serious sway. I'd like you to convince Michael Ovitz to team up with Disney on some pooled investment projects."
"Oh? Third?"
Roy Disney smiled, relieved Dunn wasn't pushing back too hard, and eased into it. "Third's animation. Right now, traditional hand-drawn 2D stuff's losing steam. Computer-animated 3D—like Pixar and DreamWorks—is the hot trend."
Dunn nodded. "True. My Sillywood Animation Studio under Dunn Films is working on computer animation too."
Roy Disney grinned. "Honestly, I caught a bit of Sillywood's Fantastic Four animated project—it's solid! Hard to believe you're using that tech for a series instead of a feature film. Feels like a waste of resources."
"Oh? What's your take?"
"Make animated blockbusters, obviously! And in animation, Disney's got the widest, deepest channels worldwide. If Sillywood Animation teamed up with Disney Animation on computer projects—or better yet, if Disney acquired Sillywood—that'd be perfect."
Dunn watched Roy Disney ramble on like he was spinning fairy tales.
What a classic case of an old-timer throwing his weight around!