Chapter 193: Tom's Problem
"Disney plans to acquire Miramax?"
In the car, Aaron leaned back against the seat, speaking on the phone with his assistant Evelyn Beckett, one hand resting casually in Christiana Yeri's hair.
"It looks like Disney wants a foothold in arthouse cinema. They're making a move into independent films."
Sony had established Sony Pictures Classics the previous year precisely because it had recognized the value of foreign and art-house films. Dawnlight's New Moon Pictures, Orion's Orion Classics, and New Line's Fine Line Features all belonged to the same category.
"I understand," Aaron said calmly. "Keep watching the situation. Miramax is drowning in debt—but those two brothers don't want anyone upstairs telling them what to do."
After hanging up, Aaron closed his eyes, enjoying Christiana's attention.
Moments later, he exhaled deeply and loosened his grip.
Christiana lifted her head, her eyes hazy, long hair tousled. She took a few deep breaths and looked at him.
"Aaron… let's go home."
"Mhm."
Aaron restarted the car and drove straight toward Beverly Hills.
---
That night, inside a luxurious villa in Mandeville Canyon, Beverly Hills, Aaron and Christiana lay together in a warm bath.
"Aaron," Christiana asked softly, "I've met Sophie Marceau before. Does she not live in Los Angeles?"
Christiana wasn't particularly close to Sophie, but one of her ex-boyfriends had worked with her. Besides, as fellow French natives, running into each other in Hollywood felt strangely familiar.
Aaron shook his head.
"Sophie prefers independent projects. She spends most of her time in New York."
Christiana smiled faintly.
"French women… they're different, aren't they?"
Aaron's hand moved gently across her body.
"They are. Take you, for example—you've got a wild kind of beauty."
She rested against his chest, smiling.
"Well, I am Brazilian. There's South American blood in me."
"I know," Aaron replied with a grin.
"Brazil produces plenty of incredible models."
Aaron hoped to join forces with Franklin Templeton to acquire the Victoria's Secret brand—and that would inevitably mean bringing in Brazilian models to support the brand's future image.
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As for Disney's interest in acquiring Miramax, Aaron wasn't particularly concerned. If an independent film company failed to grow strong enough, being absorbed by a major studio was almost inevitable.
What truly mattered was that independent cinema had gained enough momentum to attract the attention of the major distributors—the pie had grown large enough to be worth fighting over.
That said, independent studios naturally wanted to maintain their autonomy, while the major studios valued their artistic credibility and awards potential.
---
Just a few days later, through Steven Spielberg's introduction, Dawnlight Television and Michael Crichton quickly reached an agreement.
Dawnlight Television would develop the urban medical drama ER, written by Crichton himself.
---
At Dawnlight Pictures, Aaron, David Geffen, director Neil Jordan, and actor Tom Cruise gathered in an office meeting to discuss Interview with the Vampire.
"A $60 million budget is more than enough to achieve the film's lavish sets, costumes, and gothic aesthetic," Aaron said.
"However, unlike Coppola's Bram Stoker's Dracula, the vampires in this story—though lonely—retain a strong sense of humanity."
"Anne Rice's novel also contains bold homoerotic themes, which are a major highlight."
With David Geffen's deep pockets backing the project, Aaron wasn't overly concerned about costs. Dawnlight, as distributor and partial investor, could secure its interests without overexposure.
"I want this film to be an epic," David Geffen said, his eyes burning with ambition.
Aaron smiled and turned to Neil Jordan.
"How's the script revision coming along?"
"Nearly done," Jordan replied. "If all goes well, we'll begin shooting this summer. We're currently scouting locations in London and Paris."
Aaron nodded, then looked at Tom Cruise.
"Tom, Anne Rice herself may not be convinced about your casting—but all of us are."
Tom Cruise shrugged lightly.
"Her novel is excellent. I was heavily involved during the script adaptation with Neil. Maybe when the film's done, I'll send her a tape of my performance."
That signature, radiant smile—Tom Cruise was still every bit the heartthrob.
"We've prepared long enough," Aaron concluded.
"Let's move forward and get Interview with the Vampire into production. Release it next year."
---
After the meeting, Tom Cruise followed Aaron into his office, bringing up the Cruise/Wagner Productions venture.
"So—you've really decided to step into film production?" Aaron asked.
Many actors credited as producers were producers in name only, rarely involved in real decision-making. Aaron wanted to know which kind Tom intended to be.
"Absolutely," Tom replied.
"I've been learning the craft seriously. After acting for so many years, I understand the full filmmaking process."
"I want creative control—to develop projects according to my own vision."
Tom Cruise had his flaws, but his professionalism was unquestionable.
"Fair enough," Aaron said, tapping the desk.
"Still, Cruise/Wagner has an exclusive deal with Paramount. That limits future collaboration."
Tom's box-office reliability was undeniable.
A Few Good Men—a political legal drama—had already surpassed $120 million domestically, with overseas box office crossing $50 million shortly after release.
The pairing of Tom Cruise and Jodie Foster had delivered both critical acclaim and commercial success.
Tom smiled calmly.
"There will be opportunities. Paramount has exclusive distribution rights—but I'm still free to participate in projects with other studios."
Then he paused, voicing an old concern.
"Aaron… can Neil Jordan really handle Interview with the Vampire?"
It was Tom's familiar weakness—skepticism toward newer directors.
Aaron sighed inwardly.
"Tom, trust Neil. You've seen how good The Crying Game was."
"He'll do this film justice. Many so-called 'new' directors are outstanding."
"Jonathan Demme gave us The Silence of the Lambs, didn't he?"
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