The Caledonian Canal, stretching across northern Scotland and connecting the Irish Sea to the North Sea, was begun in 1773, opened to navigation in 1822, and officially completed in 1847. In the past, it served as Scotland's economic corridor. But with the evolution of shipping and the advent of new eras, by the First World War it could no longer handle heavy transportation tasks. After the Second World War, it formally withdrew from the commercial shipping stage. And now? It exists only as a sightseeing attraction, a historical witness to Britain's development.
Because of this, the canal locks near Fort Augustus on the shores of Loch Ness were converted into tourist attractions. Sitting in a restaurant at the head of the lake, you could, through the glass, imagine the endless clamor of countless craftsmen two centuries ago, digging furiously for the sake of national progress…
Well, too poetic—Isabella couldn't hear any of it anyway.
What she could feel, however, were the lush green lawns, the glimmering lake surface, and, when the rarely warm winter sun poured down, the whole town sparkled with a rainbow of colors.
The old-style segmented glass made the effect: if you put such glass in your home, your windows would shine when the sun hit them.
Of course, it wasn't as sturdy.
She ordered a cup of Ceylon black tea from Sri Lanka, no sugar, no milk. While waiting for the server to bring the meal, Isabella cast her eyes toward the American "gentleman" sitting opposite her.
In fact, from the moment they met, Isabella had noticed that his attention had been fixed on her. The constant scrutiny gave her the feeling of being hunted.
"Mr. Iger?"
The young girl spoke first.
"Oh, Isa, just call me Bob," Robert Iger said with a smile. "I hope it's okay to call you Isa without your permission—my records show everyone calls you Isa."
"Of course."
She didn't mind, shrugging. "So… today's meeting wasn't a coincidence?"
"If I said I came to Scotland just for travel, would you believe me?"
"If that's what you insist, I can reluctantly believe it. You flew alone from the West Coast to Scotland during Christmas and New Year holidays for… a purely recreational trip?"
"Hahaha~ Okay, Isa~ You're funny. You guessed right—I did come to see you today…"
Robert Iger didn't hide his intentions.
He openly admitted that today he had come to find Isabella.
The reason was simple: Disney had recently learned that Isabella had a project in hand, one that had been pitched to her twice.
Negotiations had been handled by her partner, Endeavor. In the end, Isabella even "bought" the project herself, leveraging her connections with Columbus.
When a project connects multiple "big players," Disney naturally wants a look.
If the project looked promising…
"We can talk about investing directly."
Robert Iger smiled, taking a sip of his Americano. After placing it down, he added, "Of course, by 'direct' I don't mean 'immediately.'"
"Because, as I understand it, Chris will be the producer for the project?"
"Okay, no problem. If the project is good, I can wait in the UK until he returns. We can discuss collaboration matters. I won't… uh… frankly, many Hollywood clauses might be… complicated for you…"
Although Isabella had never revealed The Voice's concept publicly, no wall is completely soundproof.
Endeavor's agency had risen to the top five in seven years. Chris Columbus consistently produced blockbuster projects. Isabella's debut was record-breaking Harry Potter. In such a world, no real secrets could be kept; all "schemes" were essentially self-deception.
Even so, Iger's visit struck Isabella as odd.
He was Disney's COO! He oversaw all Disney operations!
And his abilities were extraordinary. His first job had even been as a local TV weather host. He felt confident in his abilities and went on to compete for a role at ABC, working his way up from the bottom to become head of ABC.
That was why, when Disney acquired ABC, he entered Disney's management.
Why did Isabella know so much about him?
Simple. In her previous life, Robert Iger ousted Michael Eisner and ascended to power.
Under his leadership, Disney acquired Pixar, Marvel, and Lucasfilm.
He was behind the image of Mickey Mouse wearing the Infinity Gauntlet.
So… he? Came? To negotiate?
To Isabella, it all seemed surreal.
"Mr. Iger…"
"Isa, I told you—call me Bob."
"Alright, Bob. You came just to look at the project Endeavor discussed with me?"
"Yes."
"Are you sure?"
"Of course."
"Oh—this reason is really…"
"Isa, I understand. You think it's unbelievable I'm here. But I think it's normal. Disney's main business is theme parks, and you… Hermione Granger is excellent and fits our brand and development direction. Frankly, if David Heyman weren't with Warner, Harry Potter might not have become Warner's property. We would have fought for it."
As mentioned, David Heyman's parents were Hollywood producers. His first choice of company could have been Elizabeth Taylor's or Marlon Brando's productions, but he chose Warner, closer to his father.
Directly into the headquarters.
Not exactly humble beginnings.
That's why Harry Potter ended up with Warner, not because the other five didn't want it—they didn't even get a chance to bid.
Hearing this, Isabella pressed down her doubts and accepted his explanation.
Even if she didn't, there was no way around it. If Iger didn't want to tell the truth, all she could gain was polite courtesy.
She couldn't show the script to Iger—not because she didn't want to, but… who brings a script out for fun?
Iger didn't mind; he said he could listen to Isabella describe the story.
He had heard she had her own take on the project.
That made Isabella realize Leavesden had probably already been penetrated for intel. She no longer hesitated and briefly described the script's type and storyline.
Iger smiled, took out his business card, and pushed it toward her.
"Isa, I'm quite interested in the story you described. If Disney wants to do it, just come to us. I can guarantee a minimum investment of ten million. If the final script exceeds your description, we can adjust the investment accordingly."
Though he said he could wait in the UK for Chris Columbus, he didn't stay long. After hearing Isabella's concept, he politely excused himself.
Isabella pouted. Honestly, she didn't take his "waiting" seriously, but…
"You're leaving too fast? So, everyone treats me like a kid?"
Before she could roll her eyes and doubt his sincerity, Vivian came over with Catherine and Jessica, concerned if she was okay. Since Jessica was Rowling's daughter, certain things couldn't be discussed openly. Isabella gave a vague excuse. Later, after putting Jessica to bed, the three gathered and talked about the day.
"You mean… Robert Iger came just for The Voice?"
After hearing from Isabella, Vivian also thought it was strange.
"Yes."
Isabella nodded.
"Oh… Isa… I think you should discuss this with Director Columbus," Catherine suggested. "Including Warner's involvement…"
"I feel their arrival is unusual."
Isabella agreed—it all seemed strange. Even if HP sold well and Hermione Granger was popular, Warner and Disney shouldn't be competing for her project simultaneously. She acknowledged she was valuable, but not that valuable.
Because it was indeed strange, after the holiday, on the first workday, Isabella approached Columbus. After explaining her doubts, Columbus found it normal.
"Isa, nothing unusual happened. Big corporations are never calm inside. How do I explain this… Have you heard this saying? 'Competitors aren't enemies; only colleagues will try to get you killed.'"
"Hollywood's six major studios seem constantly at odds, but real battles happen internally. Michael Eisner, for example, kicked Jeffrey Katzenberg out to protect his power. Rupert Murdoch needed a TV-savvy partner for Fox and invited Barry Diller, sharing success. Later, as Fox formed, Murdoch ruthlessly removed Diller. No one likes sharing power."
"What you're experiencing… it's the internal struggle between Warner and Disney."
Columbus summarized the internal conflicts. Learning that both Warner's chairman Barry Meyer and Disney's chairman Michael Eisner only maintained appearances, Isabella felt relieved.
When they desire power, they chase those who help consolidate it—inevitable.
Then Isabella realized something else—if Warner and Disney had internal conflicts, she could leverage it!
Her eyes lit up as she shared the thought, and Columbus nodded with a smile.
"Oh Isa, this is why I told you not to rush. A person's value is reflected in multiple ways. Beyond talent, environment matters…"
Although Columbus hadn't considered Warner and Disney's internal issues when telling Isabella to wait, that didn't matter. Most people's salaries don't match their abilities.
If your role isn't irreplaceable, your highest salary is merely the minimum cost of replacement. Only when your existence is rare can you earn pay matching or exceeding your ability.
For instance, normally, a screenwriter gets a fixed payment. If you think your script is worth $500k but the studio offers $400k and you accept, the deal ends.
But if Warner and Disney compete, the writer can bargain—revenue sharing rather than fixed price. Even 1% or 0.5% is better than selling outright.
Also, screenwriters usually can't retain copyrights. Once you accept studio money, the rights belong to them. They can modify or resell, and it's no longer your concern.
Classic examples: James Cameron—his girlfriend (later wife) invested in The Terminator, yet the copyright still went to the studio.
Or Home Alone. John Hughes wrote the script, but Fox obtained the rights. Even if Hughes only wanted to produce a sequel, Fox controlled the project.
The industry norm is clear, though surprises exist—Spielberg and Lucas retained copyrights for all their projects (Star Wars, Indiana Jones, Back to the Future, Jurassic Park). Studios need their permission to develop them.
Universal thought Back to the Future was great and wanted to continue making sequels?
But I thought three films were just right.
What? You're not pursuing sequels anymore, now you want a remake?But I think the original is already a classic—I don't want a remake.
If I don't agree, you just have to accept it!
Honestly, the fact that the two old-timers could be so willful had to do with them being industry insiders with privileges.
But before they became famous?Lucas's control over Star Wars' copyright wasn't negotiated by himself?Their joint control over Indiana Jones was also their negotiation.Even though The Voice didn't have sequel potential, holding the copyright yourself and letting others hold it were two different things. Plus, Isabella had the songs. According to traditional processes, signing a standard contract would automatically transfer the song rights to the Big Six, even if Columbus were the producer—there'd be no way around it.
But when multiple studios need the same project, isn't it possible to play both sides?At that thought, Isabella's smile almost reached her ears.
Any normal person would love privileges. All resentment comes from privileges not being theirs.
At the same time, she also thought…
"Director?"
Isabella bit into the small dessert Columbus had brought from Los Angeles.
It was a salted egg yolk meat floss bun.
Columbus had brought back a variety of treats for everyone—bursting croissants, macarons, ice cream with cheese… some homemade by his wife, some ordered from local LA shops. He even arranged a cold storage for transport to maintain freshness.
When choosing, Isabella immediately picked the salted egg yolk one.
One bite—oh, delicious~
"What?"
At that moment, Columbus, like Isabella, was lounging in the director's chair, sipping coffee.
On the surface, he was waiting for news from the location. In reality… on the first day back after the holiday, nobody really wanted to work.
"Do you think Warner knows Robert Iger already contacted me?"
The little girl, like a tiny hamster, nibbled the bun while asking.
"What do you think?"
Columbus rolled his eyes.
He thought it was a silly question. "Your security is all Warner people."
Ignoring his disdain, Isabella said with a grin: "Oh, Director, so what do you think Warner's reaction will be when they learn Robert Iger contacted me?"
"…"
Columbus paused.
He squinted, then laughed.
He understood Isabella's meaning.
Warner had already approached Isabella.
And before Warner even got her, Disney suddenly reached out?
Oh~~This news was like a comet hitting the Earth—
"M-Fxxk!!!"
"Bob!!! What the hell are you doing!!!"
First workday after the holiday.
Barry Meyer was shocked by a report from his subordinate.
Learning that Disney's COO had flown from Los Angeles to Scotland during Christmas and New Year holidays to talk with Isabella, he felt as if his little cabbage patch had been eyed by a wild, evil boar.
Ah, bah!
It wasn't just eyeing—The boar had charged through the fence, stood before the cabbage with hands on hips, flexing and showing its muscles.
"Damn you!!!"
Barry Meyer slammed the table in anger and immediately called Robert Iger, demanding an explanation.
They had known each other for many years.
Barry Meyer's roots were in Warner Television. Even after becoming COO in the mid-1990s, the TV network remained his power base.Robert Iger, entering Disney, still couldn't abandon ABC.
With similar backgrounds, during the years Disney and Warner still cooperated, their communications often exceeded internal company correspondence.
So when Barry Meyer's roar erupted, Iger was not surprised.
He even smiled and said: "Oh Barry, I don't understand what you mean."
"Damn it, Bob! Don't play dumb! Why are you trying to steal our Warner project? Huh???"
"Barry, forgive me. I need to correct a mistake in your statement."
Leaning back in his chair, Iger tapped the table with his finger:"First, I did not steal your Warner project. I happened to be in Scotland over Christmas and New Year, met Isabella Heywood, Hermione Granger from Harry Potter, the cute little beaver, and we talked briefly.
"Second, the project Isabella holds seems to have been provided by Endeavor, right? And she even bought it. How can it be Warner's before she formally accepts investment?"
"Third, we live in a democratic society. Everyone is free. If Isabella can cooperate with Warner today, can't she cooperate with Disney tomorrow? And as far as I know, you haven't signed her to a seven-film contract yet, right? According to the current shooting schedule of Chamber of Secrets, her obligations expire by summer."
"Lastly, I want to remind you—Chris Columbus won't be directing Prisoner of Azkaban."
"David Heyman thinks twelve months per film is too tight and wants to extend it to eighteen months."
"Also, J.K. Rowling hasn't signed development contracts for future projects with you yet."
"M-Fxxk!!!"
Before Iger finished, Barry Meyer's roar erupted—
"Bob!!! I advise you to be careful!!!"
"Hahaha~~~"
Iger ignored him and hung up.
Yes~~Robert Iger had deliberately contacted Isabella during Christmas.
The reason was simple: Disney needed projects and wanted this one.
And he was fully confident.
Because Warner was a mess.
For instance, their HP project faced three major problems—
Principal contracts expired; all collaborations had to be renegotiated. The director wouldn't renew, so they needed a new director.
Rowling sold only two film rights initially. With Chamber of Secrets finished, expanding cooperation was natural.
David Heyman was overwhelmed; twelve months per film was too tight, and he wanted eighteen months per film.
But Warner (or Barry Meyer) had performance pressure…
Hehe~"Barry~ Let Disney handle Isabella's new project~ You focus on HP~ We'll take Hermione's profits first~ It's all brotherly~ No need to be polite~"
Iger's scheming expression made Barry Meyer furious. He immediately called Nathaniel Bailey to check progress. Learning the script was good but Isabella's mother didn't want her constantly busy…
"I don't care what she wants! I want it! I want Hermione Granger! So! Sign it! Okay?"
Barry Meyer slammed the table.
At this point, it was no longer about the project, but face.
If Iger really poached Isabella, Barry Meyer's reputation would be ruined—even if Isabella continued HP filming.
His red-eyed, panting outburst made Nathaniel Bailey feel unlucky.
But orders are orders. He'd stay in the UK… wait, why say "back"? They were in Los Angeles!
Expecting Isabella wouldn't sign, Nathaniel prepared for a long stay.
"I can't sign you, but I'll keep an eye on you. That counts, right?"
And in fact… it did.
When Nathaniel Bailey visited Leavesden the second time, Isabella still didn't intend to sign, so he stayed at Leavesden.
Some might wonder why Warner didn't negotiate simultaneously with Dan and Rob.
Simple: Dan is the producer's person; when Heyman shoots HP, Dan is present. Rob's parents had legitimate business, so they could continue with some influence.
Isabella was the "bug"!
No proper family business, tied to Rowling, highly valuable. Unbound and irreplaceable, she was the hardest to manage.
While Nathaniel Bailey watched Isabella, Barry Meyer started formal negotiations.
He wanted HP's future rights! He wanted Heyman to keep producing! He wanted to secure his position!
When all this reached Robert Iger…
He nearly died laughing.
He only made a small move, yet former partners-turned-competitors were scrambling?Oh—
Barry Meyer, still inexperienced, huh?
And just as Iger thought his move was successful…
The 2002 awards season arrived.