55 The Next Big Thing
It was Sunday, and the afternoon sun cast a warm glow over our backyard. The sky was a clear blue, with only a few wispy clouds in sight—it was a beautiful day. Mom had invited Chris and his family over for brunch, and after we had eaten, we found ourselves sitting by the poolside discussing future projects.
"You know, after learning about how the Oscars work, it has kind of lost its appeal," I said.
"Well, Danny, the Oscars do come with prestige, so our studio needs a couple of those immediately," Chris replied, taking a sip of his drink.
"So, are we pushing for an Oscar with 'Toy Story 2'?" I asked.
Chris took a moment, his gaze lingering on the shining water in the pool, before turning back to me. "Absolutely, we're going all in. It's got a real shot," he replied confidently.
"I guess we have to spend a lot, huh?" I asked.
"That we do," Chris replied.
Awards in Hollywood are a complicated subject. Winning an Oscar was a huge thing; it came with a lot of prestige, but winning one isn't dependent on the quality of the film or its music; success at the Oscars often hinged on how effectively you could promote your work and how successfully you can bribe the members of the academy. The strategy involved was distasteful but necessary. Heavyweights like Harvey Weinstein had mastered this game, leveraging their influence and financial resources to sway the odds in their favor. It was a stark reminder that sometimes talent alone wasn't enough; you needed to play the system.
A decade ago, the Weinstein brothers had conducted a dirty campaign that caused Spielberg's movie 'Saving Private Ryan' to lose the Best Picture Oscar to the Weinstein-produced 'Shakespeare in Love.' They had even managed to get Gwyneth Paltrow a Best Actress Oscar. From then on, all studios had followed the Weinstein brothers' lead. There were even Oscar campaign consultants now. These professionals understood the intricacies of the Academy's preferences and knew how to navigate the season's parties, screenings, and press junkets to drum up support. It was akin to running a political campaign, where visibility and perception often outweighed the actual merits of the work.
"Look, even if we don't win one for 'Toy Story,' we are definitely winning one for '12 Angry Men,'" I said, sitting up from the lounger.
"Yes, I know. We are going to treat the 'Toy Story 2' awards campaign as a sort of trial run. We didn't do much for the first; let's see how much we can win by putting some effort into the campaigning," Chris said.
"Still, it doesn't feel special anymore," I said.
"Well, kid, welcome to Hollywood," Chris said, holding up his drink.
"So, I know I have been busy with my new books. How is the script coming along?" I asked.
"Well, Dave and Sam are polishing the final version of the script you drafted," Chris answered. "Once 'Toy Story 2' is out, we can focus on casting the rest of '12 Angry Men.'"
"We should secure the actors we've already agreed on soon," he finished.
"Good idea. It's good that Tom is in, and I heard Dave and Sam talked to Bob Odenkirk."
"Yes, he is interested as well," Chris replied happily. "Just need to meet with the others," he added.
"Good, good. Holy shit, the next few months are going to be hectic, aren't they?" I said, realization hitting me.
"I have a book coming out, then there's 'Toy Story', then the other two movies. Jesus, what have I gotten myself into?" I said, holding my head.
"Well, kid, I think it's time you got a PA," Chris said half-jokingly.
"You know, I think I do need one," I replied seriously.
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"Chris," I began, leaning forward, my hands clasped together earnestly. "Have you heard any updates about Jon Favreau's 'Iron Man'?"
Chris, looking slightly distracted by a butterfly flitting nearby, turned his attention back to me. "Yeah, it's still in production. They're aiming for a summer release next year," he answered.
"It's quite the gamble," he murmured, almost to himself.
"What did you say?" I asked.
"I said it is quite the gamble he's making a movie about a C-list superhero at a time when the comic book industry is in a slump," Chris clarified.
"Do you remember when we discussed diving into making live-action superhero movies?" I watched his expression change, readying myself for the objection I knew was coming.
Chris sighed deeply, the lines around his eyes deepening. "This again, Daniel? I thought I told you, that whole plan of yours is—"
Cutting him off before he could dismiss the idea entirely, "It's a great plan, Chris. I'm telling you, that 'Iron Man' movie is going to be a game-changer."
Chris folded his arms, his gaze skeptical. "Look, Daniel, the heydays of comic book movies were in the '80s, and like I said before, the comic book industry itself is in a slump," he countered, his voice firm.
"Think of what we could do with today's technology, Chris. There's huge potential," I argued.
"And what if Favreau's movie flops? What then?" Chris challenged, raising an eyebrow.
"It won't. I'm telling you, Chris, the superhero genre is going to dominate this decade. We can adapt these characters in a way that we can get not just comic book fans but also regular audiences on board," I said.
"I can't see it, Daniel. Maybe we get the comic book fans, but the casual viewer? Do you really believe they will watch something like that?"
"Yes," I answered confidently.
Chris paused, considering my words, his look contemplative. "You're that confident?" he finally asked.
I nodded. "I have a plan. It's something that has been done before, but not on this scale."
Chris's curiosity was piqued. "What is it?" he inquired, leaning forward.
"Here's the plan," I began. "It's going to be done in phases. For example, in phase one, we make movies for each individual superhero—the important ones, that is, like Superman, Batman, and Wonder Woman. Each movie introduces the character and their world. These stories will stand alone, but they'll have connecting elements that hint at a larger universe."
Chris listened intently, his skepticism gradually giving way to interest. "And after these individual movies?" he prodded.
"Once we've established the characters and their settings, we bring them together for a massive crossover event. Think of it like a team-up, where all these heroes join forces to tackle a common enemy," I explained.
"So, you're planning multiple movies leading up to one big climax? Like a series?" Chris asked, trying to fit the pieces together.
"Exactly," I confirmed. "But it's more than just a series. It's an interconnected universe where the events of one movie have repercussions in others. It's about creating a continuous and cohesive narrative across several films, where characters can cross over and team up or even clash."
Chris rubbed his chin thoughtfully. "That's... ambitious, Daniel. And incredibly complex in terms of narrative and production logistics."
"But it's feasible with the right planning and the right team," I added quickly. "Each movie sets the stage for the next, building anticipation and depth. This way, audiences get invested not just in individual movies, but in the unfolding story of the entire universe."
"And you think audiences will stick around for something this expansive?" Chris asked, his tone now one of curiosity rather than doubt.
"With compelling characters and engaging stories, yes. Plus, each movie offers something different. The variety keeps the entire franchise fresh and appealing," I replied.
Chris was silent for a moment, absorbing the idea. "It's a colossal risk. The investment required... it's huge."
"The greater the risk, the greater the reward," I responded.
"So, when can we start talks with Nebula Studios? They own the DC Comics characters. Maybe we could buy the movie rights or even the whole company," I suggested.
Chris leaned back, a skeptical look crossing his face. "Daniel, our financial situation isn't exactly primed for such a massive investment right now. Maybe after 'Toy Story 2', 'Finding Nemo', and '12 Angry Men' hit the screens, we'll have the funds to consider such a move."
"We need to make moves before 'Iron Man' comes out. If it's as big a hit as I believe it will be, we should be positioned to capitalize on that wave, not chasing it."
Chris chuckled lightly. "You seem to have a lot of faith in that 'Iron Man' movie, Daniel."
"Trust me, it's going to be a game changer," I insisted.
Chris stayed silent for a while, considering my words. "Alright, I'll look into it, but I can't promise anything this year."
"Well, we do have a year until 'Iron Man' comes out. I guess we can do it by then," I said.
"Let's see how they respond to our offer, if they're even open to negotiations," Chris added, standing up from the poolside chair.
"Maybe wait till I release my comic before reaching out to them," I suggested.
"If that's what you want, then I'll wait," Chris agreed.
As Chris left to join his family, I stayed by the pool. Creating a competitor to the MCU would make me billions and it would also be a fun project to work on. I also planned to write 'A Song of Ice and Fire'; maybe I was taking on too many projects.
"I really need a PA," I murmured.
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Next chapter in a few hours.
