Chapter 120: In Front of Nicole
With Schindler's List fully under Steven Spielberg's control and Indecent Proposal handled through CAA's package deal, Aaron Anderson finally had breathing room.
Now, his attention was split between two projects: the ongoing shoot of Sleepless in Seattle, and an American remake of the Italian classic Scent of a Woman.
For Scent of a Woman, the most crucial piece had already fallen into place — Al Pacino as the lead.
Pacino had personally recommended Martin Brest to direct, while Aaron, ever the strategist, invited Giuseppe Tornatore — the Italian director of Cinema Paradiso — to serve as producer, bridging Hollywood craftsmanship with European soul.
---
By late September, another Dawnlight release was quietly entering theaters — My Own Private Idaho, the art-house darling that had made waves earlier that year in Cannes.
Aaron had chosen a minimalist release strategy for the film: low cost, limited marketing, and a small number of carefully selected theaters.
Its success would depend entirely on word of mouth and critical acclaim.
---
Hollywood – Wiltern Theatre
The premiere night for My Own Private Idaho was alive with flashes of camera light and murmurs from the crowd.
Director Gus Van Sant stood proudly beside his stars River Phoenix and Keanu Reeves.
Among the attendees were Nicole Kidman, Johnny Depp, Winona Ryder, and Patrick Swayze — a constellation of early '90s Hollywood icons.
Both My Own Private Idaho and Raise the Red Lantern — the Chinese film Aaron had just acquired from Venice — would follow this same limited-release model: quiet debuts, art-house circuits, and a wait-and-see expansion.
Whether they grew depended on one thing: the strength of their reviews.
---
Aaron had attended the premiere with Nicole Kidman, but before the screening began, he received a quiet invitation from Winona Ryder.
"Francis is here," she said. "He wants to talk to you — about Dracula."
Aaron understood immediately.
He had heard rumors about Francis Ford Coppola's adaptation of Bram Stoker's Dracula — a lush, gothic retelling with Winona in a leading role.
He had also owed Coppola a favor from the Phone Booth negotiations a few years back.
Now, it seemed time to return it.
---
Hotel Bel-Air – Private Lounge
Coppola's voice was warm but eager as he poured a glass of Chianti.
"Columbia's already on board," he said. "They're putting up thirty million. But the full budget's forty. I need a final backer — and I want it to be you."
Aaron leaned back, swirling his wine thoughtfully.
Coppola continued, eyes bright with creative fire. "I want Dawnlight Films not just as an investor, but as a producing partner. I want you personally involved, Aaron — help me bring this to life."
Aaron smiled. "Ten million more, then. Done."
Coppola's eyebrows rose in relief.
"You'll take producing credit?"
"Of course," Aaron replied smoothly. "I'd be honored to help you finish it."
Winona exhaled softly beside them, her tension melting away.
To Aaron, it wasn't only about the money — it was about the relationship.
Coppola was Hollywood royalty, a name that opened doors that no check could buy.
And if Bram Stoker's Dracula turned out the way he suspected — a lavish, sensual reinvention of horror — then Dawnlight's name would be attached to a masterpiece.
---
As they shook hands, Coppola grinned broadly.
"Then it's settled. Columbia distributes, Zoetrope produces, and Dawnlight co-finances. Welcome aboard, Aaron."
Aaron returned the smile, his tone light but deliberate.
"I'm looking forward to seeing it come alive — fangs and all."
Winona laughed softly, her eyes darting between the two men.
At that moment, Nicole Kidman walked into the lounge, drawn by curiosity and whispers.
Catching Aaron mid-toast with Winona and Coppola, she raised an eyebrow.
Aaron only smiled, unbothered.
He reached for Nicole's hand and introduced her calmly — right there, in front of her.
"Nicole, this is Francis Ford Coppola — and our new project."
Nicole tilted her head, lips curving into a polite but knowing smile.
"Of course," she said softly. "Another film, another late-night meeting."
Coppola laughed heartily, oblivious to the undercurrent.
Aaron, however, caught the flicker in Nicole's eyes — that mix of affection, pride, and faint possessiveness.
But business was business.
And in Hollywood, love and ambition were always on the same stage — just under different spotlights.
Despite Dawnlight Films now owning its own distribution network, Francis Ford Coppola had worried that Aaron Anderson might not be interested in joining merely as a financial backer. But that concern quickly vanished.
Aaron's cooperation meant prestige — and results.
---
The casting for Bram Stoker's Dracula was nearly complete:
Gary Oldman and Winona Ryder would lead the film, with Anthony Hopkins and Keanu Reeves joining in supporting roles.
Coppola leaned forward, sipping his espresso.
"Hopkins will play Van Helsing," he said, "and Keanu will play the heroine's fiancé."
Aaron smiled. "That's a solid lineup. And Keanu was Winona's recommendation, wasn't he? He fits the audience profile — young, attractive, and familiar."
Coppola frowned slightly. "I'm not convinced. The fiancé is an important role, but… I'm not sure Keanu is youthful or sensual enough. He doesn't exactly spark with the girls on screen."
Aaron blinked, momentarily caught off guard. His gaze flicked toward Winona Ryder, who stood nearby, looking mildly defensive.
"Not young or sexy enough?" Aaron raised an eyebrow. "He's twenty-seven, Francis — younger than most leading men right now. And I can assure you," he added with a smirk, "half of Hollywood's actresses would disagree with you on that point."
He continued, calmly but confidently:
"Keanu was fantastic in Point Break. Even as a co-lead, he carried the screen. That movie grossed forty-three million domestically, eighty-three worldwide — not bad for an action flick. He brings commercial appeal, which this film could use."
Coppola leaned back, expression unreadable. Aaron could tell what he was thinking.
He wanted Johnny Depp.
But Depp had turned the role down, and Winona — who had starred opposite him in Edward Scissorhands — had immediately suggested Keanu.
Columbia had approved; after all, Oldman and Hopkins weren't exactly box-office magnets. A handsome young romantic lead would balance the film perfectly.
Coppola finally nodded. "Fine. We'll begin rehearsals at the Sony Studios in Culver City. You should drop by, Aaron — see how things are shaping up."
Aaron smiled. "I'll make the time."
---
Later that evening, he and Winona left together, returning to the My Own Private Idaho premiere reception.
"You agreed to invest so fast," Winona said, still surprised.
Aaron shrugged. "I owed Francis a favor. And honestly, even if I didn't invest, someone else would. Might as well be me."
Winona laughed softly. "That's fair."
---
As they mingled among guests, Winona leaned closer. "We'll be filming in London and Paris. Francis is even planning to reconstruct entire sets for the castle scenes — he's obsessed with detail. I heard the props and costumes alone are eating a fortune."
Aaron nodded, unsurprised.
A gothic horror film with a forty-million-dollar budget and no megastar lead — it was a risky bet. But Coppola's name made it worth it.
He turned to her, studying her elegant neckline and the way her dark eyes caught the light.
"I saw your costume test, by the way," he said softly. "You look stunning — that period styling suits you perfectly. No wonder Coppola chose you."
Winona's lips curved into a sly smile.
"Careful, Aaron. Maybe you should tell me that again… in front of Nicole."
Aaron chuckled, shaking his head. "You're impossible."
---
Two days later, the deal was official.
Dawnlight Films, Columbia–Sony, and American Zoetrope signed a co-financing and co-production agreement for Bram Stoker's Dracula.
Columbia–Sony would serve as lead investor and distributor.
Zoetrope and Dawnlight would co-produce.
Francis Ford Coppola, as both director and producer, would receive a $5 million advance plus 18.5% of the film's net profits.
Dawnlight would invest $10 million, earning a proportional revenue share.
Aaron Anderson, credited as co-producer, would receive a $1 million producing fee, plus box-office bonuses post-release.
The ink dried, hands were shaken, and Aaron leaned back in his chair, already picturing the marketing campaign.
A gothic romance.
A visionary director.
A perfect storm of art and commerce.
It wasn't just another project.
It was Dawnlight's ticket to prestige.