Chapter 25 – Samuel Goldwyn II
New York, Manhattan.
Aaron Anderson met with Nicole Kidman, director David Lynch, and others to arrange a joint audition with Nicolas Cage for Wild at Heart.
25-year-old Cage had just released a low-budget dark comedy-horror film, Vampire's Kiss, last month, delivering a performance that immediately caught Lynch's attention. Nicole Kidman had also impressed Lynch with her role in the thriller Dead Calm.
Of course, Aaron's recommendation of Kidman to Polydor Pictures' head was also an important factor—after all, Polydor was the primary financier of Wild at Heart. Additional funding came from France's Canal+ and North American distributor Samuel Goldwyn Films, bringing the film's production budget to $10 million.
"Don't worry, Aaron. David has seen Nicole's performance in Dead Calm. She's perfect for the role," said Michael Kuhn, Polydor's U.S. office head, smiling.
Aaron nodded. "Polydor is starting to produce films on its own now, right?"
"Yes," Kuhn replied. "Polydor just acquired a 49% stake in a British studio. We're definitely producing original works now. You know, the UK film market is dominated by Hollywood—our films can't really compete with major American projects."
Kuhn handed Aaron a drink. Clearly, Polydor was targeting American independent cinema, which had the advantage of lower production costs.
Earlier this year, Sex, Lies, and Videotape became the first American indie film to win a major international festival award, drawing attention from European filmmakers.
Aaron walked to the window. "Independent films have existed for a long time, but Hollywood's mainstream has always looked down on them. To the major studios, indie films are just street-side stalls."
"Mark my words, Michael. Soon, independent films will become big business. Shrewd Hollywood producers will package mainstream projects as indies to market them better."
Outside, the streets of New York buzzed with energy and opportunity. Manhattan, as the heart of the world, was full of endless possibilities and challenges.
Kuhn smiled. "Polydor needs to build its reputation first. Showing up at international festivals is essential."
Los Angeles was the epicenter of the film industry, but New York was the hub of independent cinema. Historically, the early 20th-century Jewish filmmakers had fled New York to escape Edison's monopoly and founded Hollywood.
"Aaron, you'd make a better producer than an agent."
"Really? There are already managers in Hollywood," Aaron replied with a shake of his head. Managers were tied to specific artists, but Aaron had no interest in spending his time managing a few actors.
"What's your take on Wild at Heart?"
"Film festivals. This type of art-house project resonates more with European audiences."
"Exactly my thought," said Kuhn.
"Has Steven Soderbergh been working on anything new?"
Aaron shook his head. "His debut, Sex, Lies, and Videotape, hits theaters next month. Until then, he's focused on that, no new projects yet."
He smiled. "In the future, we may collaborate soon."
"Oh, Aaron, do you have any scripts in mind?"
"Yes, I'll share the proposals with you when the time comes," Aaron replied. Raising investment in Hollywood was difficult; Europe and Japan were still the key targets.
That evening, Aaron and Nicole Kidman returned to their hotel. Judging by her expression, the audition had gone well.
"That Nicolas Cage… is he really Francis Ford Coppola's nephew?" Nicole asked.
Nicole Kidman sank into the sofa, still looking puzzled.
"So it's true? At such a young age, he's already popping up in all kinds of films. How could someone from a prominent family be treated like any ordinary actor?"
"Yes," Aaron replied. "His acting is solid—he's very natural in scenes with co-stars."
"Solid acting?" Nicole asked.
Aaron smiled. This was Nicolas Cage, after all. He had been appearing in various films and TV shows since his teens, and by nineteen, he was already playing lead roles.
Changing his surname didn't change the fact that everyone knew he was Francis Ford Coppola's nephew. Cage himself admitted that part of his early opportunities came from the weight of his family name.
Still, there was no denying Cage's talent. He had been honing his craft in art-house films for years.
Aaron leaned back on the sofa. "You're only twenty-two, still very young. Training your skills in art-house films is necessary. When the time is right, I'll get you roles in commercial films. Awards matter, of course, but Hollywood ultimately judges by box office performance."
"I know," Nicole replied, leaning closer. "Let's go rest for now…"
---
By July, the summer box-office race was in full swing.
Warner Bros.' Batman was dominating, easily surpassing Paramount's sequel, Indiana Jones and the Last Crusade.
At the same time, Aaron used the production of Wild at Heart as an opportunity to discuss the North American distribution of Teenage Mutant Ninja Turtles with Samuel Goldwyn II, head of Samuel Goldwyn Films.
After the film wrapped, producer Thomas Luger gave Aaron a rough cut to help pitch the movie.
In a small conference room, Samuel Goldwyn II rubbed his eyes. "The action in Teenage Mutant Ninja Turtles… isn't it a bit violent?"
"It's an R-rated film," Aaron explained. "The sharp, streamlined action is the biggest selling point. There's a solid audience for this kind of movie."
"But the sets are cheap, and the costumes and props are minimal. Teenage Mutant Ninja Turtles is essentially a low-budget B-movie."
Aaron met Goldwyn's gaze. "Perhaps it would do well on home video."
Goldwyn shook his head. "Direct-to-video won't work. It has to hit theaters."
"I want the North American rights—cinema, home video, and TV broadcasts—for three million dollars," Goldwyn stated.
Aaron smiled. "Impossible. We have confidence in Teenage Mutant Ninja Turtles. It cost $13.5 million to produce. To buy out the North American rights, you're looking at no less than seven million dollars."