231-233

Chapter 231: The Industry’s Line in the Sand 

On Tuesday, August 15, Girl, Interrupted—the Palme d’Or winner from the 53rd Cannes Film Festival—hit North American theaters.  

It’s a textbook arthouse flick, and its release timing? Awkward as hell. Even with “Dunn Walker” slapped on as producer, there’s no chance it’s raking in blockbuster bucks.  

Most likely, it’ll sit quiet until next February when awards season rolls around. That’s when Girl, Interrupted will start popping up everywhere and finally get American audiences buzzing.  

As for the Palme d’Or? Sorry, most folks in the U.S. don’t even know where Cannes is.  

Still, with Nicole Kidman and Natalie Portman leading the cast, it’s got some star power. The box office won’t be a total embarrassment.  

Among all the movies out right now, its draw trails just behind Space Cowboys, Hollow Man, The Replacements, and The Cell. For a film with zero commercial vibes, pulling in $1.76 million on opening day? Universal and Dunn Films are happy enough.  

Awards season is where these kinds of movies shine anyway.  

Dunn Films isn’t asking much from Girl, Interrupted. A global haul of $50 million would do just fine.  

It’s a European Palme d’Or winner, so an Oscar nod next year makes sense. That’ll boost ancillary sales, and as long as it recoups the $40 million budget, they’re golden.  

The media, though? They’re not used to this vibe.  

A Dunn Films movie… just blending into the box office crowd?  

Since My Big Fat Greek Wedding, Dunn Films has always set the pace at the ticket counter.  

Girl, Interrupted flying under the radar feels downright weird.  

A swarm of outlets reached out to Dunn Films, only to get a “no comment.” They tried Universal, the distributor, and got brushed off with vague excuses—no straight answers.  

Weird, my ass!  

Who says Dunn Films has to churn out box office smashes?  

They’ve got commercial chops, sure, but they’re chasing art too!  

Two days into its run, the press was still scrambling. They couldn’t squeeze enough juicy hype out of Dunn Films’ latest, and it was driving them nuts—equal parts frustration and letdown.  

Dunn Films’ past releases were their go-to for riding the buzz and boosting sales. But Girl, Interrupted? They didn’t know what to do with it.  

Stick to straight-up film critique? Readers would rather flip through The New Yorker, The New Republic, The Village Voice, or Film Comment—not gossip rags.  

They were tearing their hair out!  

…  

“Everything’s set. Time to move.”  

Michael Ovitz’s voice came through the phone, calm as ever, but to Dunn, it was like a choir of angels.  

Ella Fisher, his secretary in the know, watched him hang up with a grin that could light up the room. She couldn’t hide her own excitement. “Dunn, we’re finally taking on Disney?”  

Dunn slapped his thigh, teeth gritted. “After eating their crap for over a week, it’s about damn time we showed some guts!”  

Ella beamed. “I’ll fax the statement we prepped to all the big agencies right now!”  

“Hold up!”  

Dunn waved her off, pausing to think. A sly smirk crept up. “We’ve waited this long—what’s one more day? I hear a bunch of media folks have been dying to interview me lately?”  

Ella nodded. “Girl, Interrupted’s box office isn’t exactly dazzling. They want your take on it.”  

Dunn gave a quick nod. “Cool. Reach out to a big-name paper. Tell them to send someone over for an exclusive this afternoon. One catch—it’s gotta hit print tomorrow!”  

…  

That afternoon, Dunn’s office turned into a circus. An interview crew rolled in—over a dozen people. Cameras, photographers, note-takers, the works.  

You’d think it was a TV station, but nope—just the entertainment team from The Los Angeles Times.  

Leading the charge was Tony Duvall, a forty-something reporter with a thinning hairline and the kind of seasoned vibe that screamed experience.  

They’d hashed out the ground rules beforehand, so they skipped the small talk. Tony kicked off with a congrats—“Spider-Man just crossed $1.1 billion worldwide!”—then got to the point. “Director Walker, what’s your take on Girl, Interrupted?”  

“It’s adapted from Susanna Kaysen’s memoir—a story packed with human reflection and philosophical depth. Director Mendes nailed the details. Winning the Palme d’Or at Cannes? Totally deserved.”  

The questions came straight from a pre-set list Dunn had already seen, so he rattled off his rehearsed answers like clockwork.  

“What about the box office?” Tony asked with a grin. “It’s been two days, but from what we hear, the turnout’s pretty meh. That’s a big shift from Dunn Films’ usual track record.”  

Dunn kept it chill. “It’s midweek—lower turnout’s normal. Girl, Interrupted is an arthouse flick, not like the commercial stuff we’ve done the past few years.”  

Tony smirked, half-teasing. “So even Director Walker has to bow to market rules, huh? Not every movie you touch turns to gold?”  

“Of course. Market trends are king—no one’s above them.”  

Dunn paused, flicking a glance at Tony.  

So far, it was all scripted Q&A. Now, though, Dunn was ready to drop the real bombs. “Take some studios—they think decades of clout guarantee a hit. That’s just ridiculous.”  

Tony’s eyebrow twitched. He gave Dunn a long look. “Care to elaborate?”  

Dunn smiled. “Sure, I’ll throw out an example. Disney, say. You know they dropped an action flick this summer—Gone in 60 Seconds. Too bad it ran smack into my Spider-Man. Box office? Total disaster.”  

Tony nodded along, playing ball. “Yeah, I hear Gone in 60 Seconds hasn’t even cracked $100 million worldwide yet. Word is, Disney’s looking at a $30 million loss, easy.”  

“Exactly,” Dunn said. “That’s the market flexing its muscle. Disney’s been at this for decades, right? Dunn Films? Three years old. But Spider-Man fit the trend, so even Disney got trampled, crushed, and left in the dust. Gone in 60 Seconds turning into cannon fodder? Makes sense.”  

Tony wasn’t dumb—he could see Dunn was loving this angle.  

And it wasn’t on the pre-approved list from Dunn Films.  

As a big-shot entertainment reporter for The Los Angeles Times, Tony knew the bad blood between Dunn Films and Disney.  

Dunn going public, taking jabs at Disney? This was prime hype material!  

Tony smelled a bestseller and leaned in, rolling with it. Entertainment reporters thrive on chaos, after all.  

“It’s not just Gone in 60 Seconds, right? Disney’s had a few releases this summer, hasn’t it?” Tony asked, eyeing Dunn’s eager grin. He knew he’d hit the mark.  

Dunn rattled them off like he’d memorized the list. “Oh yeah. Besides Gone in 60 Seconds, there’s Scary Movie, Coyote Ugly, and—oh, right—The Kid. I didn’t even know Disney put that one out till I looked it up. Turns out it’s got Bruce Willis. Huh.”  

“Oh, The Kid!” Tony said, barely holding back a laugh. “I know that one—a comedy. Too bad it dropped right when his cheating scandal blew up. Tanked the turnout hard. I hear it’s already been yanked from theaters.”  

Everyone in the industry knew who Bruce Willis had pissed off.  

Dunn sighed, all mock sympathy. “Yeah, I heard The Kid had a $65 million budget but didn’t even hit $10 million at the box office. Disney’s probably eating a $40 or $50 million loss. Man, what a shame!”  

Tony nearly lost it—Dunn’s crocodile tears were shameless as hell.  

“Director Walker, why do you think an old-school giant like Disney keeps bombing at the box office while Dunn Films just keeps winning?”  

Dunn paused, pretending to mull it over. “Tough to say. Maybe it’s a vision thing? I’ve heard Disney’s management is kinda… dictatorial? I don’t know—Disney’s public, right? Over 70% of the shares are with small investors. How’s a shareholder meeting cool with that? Maybe I heard wrong.”  

“I’ve heard Disney’s chairman, Michael Eisner, isn’t exactly Mr. Popular in Hollywood,” Tony prodded. “Rumor has it he’s always using Disney’s muscle to squash DreamWorks’ animated stuff. That true?”  

Dunn’s brow tightened.  

Whoa, slow down—this was getting dicey!  

Up till now, Dunn had kept it all about Disney, slinging sarcasm and shade without holding back. Dunn Films and Disney were already at war—might as well go all in!  

But Tony dragging the whole industry into it, calling out Hollywood’s dirty laundry? That crossed a line.  

Hollywood’s a big, messy circle. Sure, it stinks on the inside, but they’ve got to keep up a shiny, glamorous front. That’s how you keep people hooked and loving the game.  

It’s not just about profits—it’s about the industry’s long-term survival.  

Dirty secrets? Those stay buried. 

Chapter 232: The Counterattack Begins It’s like playing politics—you can hammer a rival with dirt all you want, dig up whatever muck you can find. But if that dirt splashes onto others, you don’t just keep quiet—you bury it deep. Let a scandal taint the whole industry, and the fallout’s so massive no one can shoulder it. 

Dunn wanted to take Disney down, cementing Dunn Pictures as a Hollywood titan. But tanking the industry’s rep? No way. 

Disney’s the granddaddy of animation, known in the biz for squashing other studios’ toon flicks. It’s an open secret—but you can’t say it out loud. Even DreamWorks wouldn’t dare call out Disney’s chokehold on their animated films. Was Dunn really gonna wade into that mess? 

His expression steadied as he spoke calmly. “Hollywood’s a fair place. If it were all about bullying, we wouldn’t have so many great studios thriving, right?” 

Tony Duval frowned. “But I’ve heard competition here’s cutthroat.” 

Dunn straightened up. “Hollywood’s got a healthy market, and where there’s a market, there’s competition—totally normal. Like when Dunn Pictures and Disney drop films at the same time, and Disney’s left bleeding cash. That’s good competition—it pushes both companies to grow. I’m sure Disney loves it too. As for dirty tactics… I can’t speak for other industries, but Hollywood? It’s a model of playing by the rules.” 

Tony smirked inwardly. Dunn’s prim-and-proper vibe screamed caution—he wasn’t about to spill any tea on this topic. 

“Ha, let’s pivot back to movies then. Spider-Man’s been out nearly two months, and the buzz is fading. Girl, Interrupted hasn’t exactly owned the box office. Word is Dunn Pictures has Memento hitting in September—can it pick up where Spider-Man left off?” 

Dunn chuckled. “Even Disney can’t promise every film’s a hit, can they?” 

Tony glanced at his notes, jumping in. “August 25th, Disney’s got a comedy, The Crew, coming out. September 15th, it’s Duets, same day as Memento. Think Dunn Pictures can outgross Disney this time?” 

Dunn’s lips twitched into a faint smile. “Box office? Nobody can predict that. But… this summer, Spider-Man already stomped three Disney flicks. Girl, Interrupted and Memento aren’t your typical blockbusters, but they’re Dunn Pictures films. Stepping on Disney twice more? Not out of the question.” 

Tony’s eyes gleamed. “So, you’re saying Girl, Interrupted beats The Crew, and Memento tops Duets?” 

“That’s your take—I didn’t say it.” Dunn laughed it off, then shifted gears. “Disney used to be just an animation outfit. They only got a foothold in Hollywood after United Artists and RKO went bust. Their films… honestly, they’re the weakest of the Big Six. If I’m picking a market fight, Disney’s my first choice.” 

“Because they’re an easy target?” 

“Nah, because the other studios are just too damn strong!” 

Michael Eisner slammed the newspaper onto his desk, fuming. This Dunn kid—arrogant as hell! Teetering on the edge, and he’s still grandstanding for the press? Saying the other studios are too tough, so he’s stuck scrapping with Disney—wasn’t that a blatant dig at Disney being the Big Six’s bottom feeder? 

Worse, the punk kept his words tight, toeing the line to prop up Hollywood’s dignity while slyly kissing up to the other majors, aiming all his jabs at Disney alone. Was this his counterattack? 

Big deal! 

Sure, he could run his mouth, trash Disney’s movies in the media—what else? Solve Dunn Pictures’ current crisis? Fat chance! 

Dunn’s open taunts only deepened the rift between their companies—no hope of patching things up now. Eisner didn’t buy that a rookie like Dunn could handle this storm, but smearing Disney’s image in the press? That was too far. 

Check out what the papers were screaming— 

“Dunn’s Got Big Dreams: Aiming for a Five-Film Box Office Beatdown of Disney!” 

“Disney Movies Suck? Dunn Pictures Throws Down the Gauntlet.” 

“Billionaire Director Speaks: Disney’s Films Are Trash!” 

“Dunn Pictures Keeps Rolling, Crushing Disney Again!” 

“Dunn Pictures Sweeps Disney—Big Six Shakeup Coming?”  

If those headlines were tolerable, the tabloid trash nearly made Eisner spit blood— 

“Shocker! Disney’s Michael Eisner Begs Dunn on His Knees!” 

“Disney Films Get Slaughtered—Eisner Faces the Axe!” 

“Dunn Crushes Disney, Eisner Pleads for Mercy!” 

“Dunn Pictures Strikes Again—Eisner Hospitalized!” 

“Dunn Stomps Eisner Underfoot…”  

Eisner had ruled Hollywood for over 20 years—when had he ever been humiliated like this, name and all? Kneeling and begging? Screw that! If anyone’s kneeling, it’s that smug brat Dunn Walker. Eisner had laid a master trap, and the kid had already backed down. 

A few box office wins, and Dunn Pictures thinks it’s king of Hollywood? Idiots! 

Rage boiling, Eisner dialed the production department. “Girl, Interrupted is out—you know that, right?” 

Joe Roth’s gut twisted. “Uh, yeah.” 

“The Crew’s a comedy, out ten days after Girl, Interrupted. Beating it at the box office—no problem, right?” 

Eisner’s tone was sharp, and Joe stammered, “Well, The Crew’s a comedy, sure, but no big stars. Girl, Interrupted has Nicole Kidman and Natalie Portman leading…” 

“A commercial comedy can’t take down a niche drama?” Eisner’s voice turned icy. 

Joe was miserable. Normally, he’d thump his chest and promise victory. But with Dunn behind Girl, Interrupted—a guy who’d burned him too many times—he couldn’t risk it. 

“Uh… hard to say…” 

“Useless!” Eisner roared, pausing before barking, “What about Duets? Gwyneth Paltrow’s an Oscar winner—it’s up against Memento same day. That’s a lock, right?” 

Joe mumbled, “Duets is a drama—box office pull’s… probably not great.” 

“What?” Eisner’s fury spiked. “Girl, Interrupted is a drama too, isn’t it? Joe, you playing favorites with me?” 

“No, no!” Joe was drowning in frustration. “Boss, it’s not that. Dunn Pictures’ films—we can’t judge them by normal rules.” 

Eisner’s teeth ground together, anger blazing. 

Joe took a breath and blurted, “Boss, I’ll say it again—November’s Unbreakable will turn things around, I swear!” 

“November?” Eisner snarled. “That’s three months away! You mean Disney’s just gonna sit here and take that punk’s insults ‘til then?” 

“Uh… well…” 

Joe fumbled, incoherent. 

“Worthless!” 

Eisner slammed the phone down, stewing for a moment before smacking his desk with a loud thud. He couldn’t believe a newbie with three, four years in the game could rattle him this bad. 

Especially now—Eisner had made his move, rallying Hollywood against Dunn Pictures. And the kid still had the guts to shoot his mouth off, defying everyone? Did he want out that bad? 

Eisner skimmed Dunn’s LA Times interview again, shaking his head with a sigh. Too bad the kid played it safe, targeting only Disney and Eisner himself, not the industry. Triggering the MPAA’s wrath wasn’t an option. 

The MPAA—Motion Picture Association of America—sounds official, but it’s just the Big Six’s club, guarding Hollywood’s shared interests. With their clout, they’ve got unmatched sway. If some country overseas rips off Hollywood copyrights, they can even pull strings at the White House or State Department for diplomatic muscle. If they can flex that hard globally, a small fry studio at home? Child’s play. 

An official MPAA smackdown, and Dunn’s fame wouldn’t save him—he’d be out of the biz. But the kid was too careful… 

Just then, Disney President, COO, and ABC Group Chairman Robert Iger stormed in, face grim. 

“Michael, it’s bad!” 

“What now?” 

Eisner froze. 

Robert’s voice was heavy. “The five major agencies just notified us—Dunn Pictures issued a blacklist against Disney!” 

“What?!” 

Eisner jolted, then burst into wild laughter. 

Chapter 233: Another Ban Hammer Drops  

“Hahaha…”  

Michael Eisner’s laughter bounced around his office.  

Disney’s ban had undeniably dented Dunn Films’ reputation—no arguing that. But Dunn Films’ movies stomping Disney’s at the box office? That was just as obvious to everyone.  

Disney and Dunn Films had each scored wins in their own arenas.  

A tie, basically.  

But for Disney and Michael Eisner, a tie was as good as a loss!  

An old-school titan like Disney going toe-to-toe with a scrappy three-year-old upstart like Dunn Films? That was a humiliation they’d never live down!  

Eisner had been stewing over Dunn, but when Robert Iger dropped his latest update, it was like the clouds parted. Suddenly, he was all smiles.  

“This kid—I thought he was some big shot. Turns out he’s just flailing!”  

Eisner’s mood flipped from stormy to sunny, a mix of anticipation and mockery in his grin.  

Dunn had finally screwed up!  

Dunn Films issuing a ban against Disney? What a joke!  

Disney’s own ban had already stirred up grumbles across the industry.  

If it weren’t for Disney’s century of clout and global reach, the other majors would’ve ganged up and slapped them down ages ago.  

Even Disney caught heat for flexing like that. Dunn Films? What right did they have?  

They must’ve lost their damn minds.  

Disney could break the rules—Dunn Films couldn’t!  

What, because you made a few box office hits? Give me a break!  

If your movies were flops, maybe the big players would toss you a pity lifeline. But now? Dunn Films owned the summer, especially with Spider-Man, and it’d left everyone else choking on dust.  

They might play nice on the surface, but deep down, you’re a thorn in their side—a splinter they can’t ignore.  

And now you’ve handed them a golden excuse. You think they won’t pounce?  

Anyone threatening the top dogs gets taken out!  

Bottom line: Disney’s the kingpin. Dunn Films isn’t. Dirty moves? Disney can pull them. Dunn Films can’t!  

Robert Iger, Disney’s number two—fresh off a stint as chairman and CEO of ABC Group, handpicked by Eisner—watched his boss cackle with a slight frown. “Michael, I think… Dunn Films’ ban feels off. Something’s up.”  

“Even if there’s a catch, what’s a three-year-old movie outfit gonna do?” Eisner scoffed, his tone dripping with disdain.  

Disney wasn’t just some film studio—it was a global media juggernaut!  

If Time Warner or Viacom made a move, Eisner would sweat bullets and plan every step. But Dunn Films?  

A little fish might rule a creek, but in the ocean, it’s not even a ripple!  

Iger hesitated. “Dunn Walker… his track record’s too wild. Can you picture a twenty-year-old kid diving into stocks and futures and walking away with billions?”  

Eisner shrugged it off. “Wall Street’s not Hollywood! One’s out in the open, the other’s all backroom deals!”  

Stock trades had rules and daylight scrutiny. Hollywood’s insider games? Shadowy and untouchable.  

Iger lowered his voice. “Word is, Dunn’s got backup.”  

“Not Universal, right?”  

Eisner shot him a look, his gut tightening.  

He knew Dunn and Universal were tight—Universal handled distribution for Dunn Films’ slate. But he hadn’t lost sleep over it before.  

DreamWorks had leaned on Universal for years too. Katzenberg, Spielberg, and Universal’s execs were all buddy-buddy.  

And yet?  

When the industry turned on DreamWorks, Universal didn’t lift a finger. They even twisted the knife a little.  

The more DreamWorks struggled, the more they needed Universal’s muscle—and Universal got sweeter deals out of it.  

Same deal should apply to Dunn Films!  

But Iger’s tone made Eisner’s stomach sink. Had Dunn actually roped Universal into fighting Disney?  

If so, things just got messy.  

“Not Universal. Michael Ovitz!” Iger said, voice steady.  

“Ovitz?” Eisner blinked, then roared with laughter—half-arrogant, half-dismissive. “That washed-up agent? What’s he gonna do? After I fired him, didn’t he start some new agency? How’s that working out for him—crashing and burning?”  

Iger pressed, “AG’s not exactly thriving, sure. But Ovitz’s network and sway in Hollywood? That’s still alive. Rumor has it he’s been making rounds with the big players lately.”  

“So what?” Eisner’s stubborn streak flared. He waved a hand. “A has-been and a punk kid—what’s the worst they can cook up? Just watch—Dunn Films’ ban is gonna choke the life out of Dunn Films!”  

…  

Hollywood’s Big Six monopoly wasn’t exactly a crowd-pleaser. They ran the Motion Picture Association, squeezing the life out of artists and upstart studios alike.  

Unions had popped up over time, boosting actors’ pay and status. But new film companies? They were still screwed.  

Even DreamWorks—founded by Spielberg, Katzenberg, and Geffen—had taken a beating trying to grow.  

Compared to DreamWorks, plenty of old-school film folks actually bet on Dunn Films, started by some young hotshot.  

But Disney’s ban on Dunn Films had left a chill. And Dunn seeming to back down? People could only sigh and shake their heads.  

Yeah, if a trio like Spielberg’s couldn’t carve out space in this cutthroat scene, how was Dunn Films—propped up by one guy—supposed to survive?  

Dunn playing it safe made sense, right?  

Then, nine days after Disney’s ban, a bombshell ripped through Hollywood’s inner circle.  

Dunn Films struck back!  

The second ban against a film company in Hollywood history was born—and it was aimed square at Disney, the global titan!  

As the summer blockbuster season wound down, things had been cooling off. But Dunn Films’ ban on Disney? It was a nuke, blasting a mushroom cloud sky-high!  

Sure, the ban talk stayed hushed in Hollywood’s elite circles. But even mid-tier players and the public caught wind that Dunn Films was throwing down with Disney!  

The media laid it all out. In his Los Angeles Times interview, Dunn kept it polite but firm.  

Dunn Films didn’t have the juice to tangle with a lot of the big dogs.  

But Disney, with its shaky movie-making game? Dunn Films had the guts to take them on!  

Even niche stuff like Girl, Interrupted and Memento was ready to slug it out with Disney’s slate!  

The average Joe didn’t know about the behind-the-scenes fireworks between Dunn Films and Disney. All they saw was a century-old giant getting schooled by Dunn Films!  

This summer, every Disney flick had eaten dirt under Dunn Films’ boots.  

Dunn went public, mocking Disney’s weak movies and pitiful box office—smooth as silk but sharp as a blade.  

And Disney?  

Not a peep!  

To the gossip rags, it looked like Disney had belly-flopped in front of Dunn Films, and even Michael Eisner was waving the white flag.  

Hollywood’s top brass knew more, though. Dunn’s wild move had them floored—and sweating for him.  

Hitting Disney this hard, both out loud and under the table—wasn’t he scared of the blowback?  

The Big Six were all MPA buddies. They might bicker among themselves, but against an outsider? They’d close ranks fast.  

Dunn Films looked like it was in deep trouble.  

Even Francis Coppola called Dunn up personally, warning, “You’re being reckless!”  

Dunn just laughed it off, cool and confident. “Mr. Coppola, I’ve heard that saying—‘impulse is the devil.’ But I’ve also heard another one: ‘the line between devil and angel is razor-thin!’”