298-300

Chapter 298: A Classy Girlfriend 
 
Rose Pictures—what a lovely name. But the word “rose” comes with a bit of baggage. In English, “rose” is “Rose,” which happens to be Rose Byrne’s first name. Naming the studio Rose Pictures might make it seem like it’s all about buttering her up. 
 
Facing Natalie’s clear, suspicious eyes, Dunn didn’t want to hide anything. “Hey, babe, I’ve got something to tell you.” 
 
“What’s up?” 
 
“You know Rose Byrne, right?” 
 
“Yeah, she’s my friend…” Natalie’s voice trailed off. She was sharp—real sharp—and caught on instantly. Her expression shifted slightly. “When did this happen?” 
 
Dunn came clean. “It was at the Saw wrap party last time. A bunch of Aussie actors showed up. Nicole was looking to move out and start her own thing, so she introduced me to Rose.” 
 
“And you just took her in?” Natalie’s tone turned icy. 
 
Dunn coughed lightly. “Uh… Nat, you know how it is. She’s gorgeous, totally captivating. No guy could resist her charm.” 
 
Natalie smirked, her voice dripping with sarcasm. “Wow, you’re really laying it all out there, huh?” 
 
Dunn spread his hands, playing innocent. “I’ve always been honest with you. Besides, I don’t think it’s a big deal. Rose just stepped into Nicole Kidman’s spot—one out, one in, you know?” 
 
Natalie laughed, but it was the kind of laugh that meant she was pissed. “One out, one in? Dunn, you’re shameless. What, are women just toys to you?” 
 
“Not exactly. You’re my girlfriend—I’d cherish you, love you with all I’ve got. Nicole Kidman, Kate Winslet—they’re good friends. As for some other women…” Dunn shrugged, his expression casual, letting the implication hang. 
 
Natalie bit her lip hard. “What about Rose Byrne, then? And Charlize Theron? Sophie Marceau?” 
 
Dunn grinned. “Jealous?” 
 
“Answer me!” 
 
“It’s been too short a time to tell. If we get along well enough, even if things change later, we’d still be friends.” Dunn was straight with her, then leaned in, lowering his voice with a sly smile. “Don’t worry, Nat—they’re nothing like you.” 
 
“What’s that supposed to mean?” 
 
“You’re the only one who’s given me everything, body and soul. They… they can’t hold a candle to you.” 
 
His voice was quiet, but it still made Natalie blush hard. She shoved him with her small hand. “How can you just say stuff like that? This is Hollywood—girls here have been around the block. If you’re into virgins, go hit up a high school or something.” 
 
“Fair point. I’d rather not break the law!” 
 
Dunn raised his hands in mock surrender, looking helpless. He was a big name now—he had to watch his step. Look at Michael Jackson: didn’t do much, just kissed a few kids, and rumors trashed his rep. Lesson learned. 
 
“Jerk!” Natalie rolled her eyes big-time and huffed. “The new company’s called Rose Pictures. I’ve decided.” 
 
“Huh? For real?” 
 
Natalie puffed out her chest, brimming with confidence. “What’s the big deal? It’s just Rose Byrne. I’m your girlfriend—she’s, what, a fling at best? I’m not sweating the small stuff. That’d be beneath me.” 
 
“That’s my girl—classy as hell!” 
 
Dunn burst out laughing, planted a big kiss on her cheek with a loud “mwah,” and felt his mood lift. 
 
… 
 
Dunn woke up naturally, stretching out. Alessandra Ambrosio, who’d been on his right, was gone. On his left, Adriana Lima was still curled up like a kitten, snoozing against him. 
 
Top models like them were obsessed with staying in shape. Unless something weird was up, they’d be up early hitting the gym. Dunn chuckled and pinched Adriana’s nose. “Hey, you getting up or what?” 
 
“Dunn…” Adriana whined, shaking her head. “Let me sleep. I’m wiped out, and it still hurts…” 
 
Dunn nearly cracked up. He slipped on a robe and checked the gym—no Alessandra. She wasn’t on the second floor either. Downstairs, he found her sitting primly on the couch, looking all sweet and gentle. 
 
And right next to her? Natalie Portman. 
 
Dunn blinked. What was she doing here? 
 
He caught snippets of Alessandra’s voice: “…I know, he’s got a lot of pressure at work… Yeah, letting loose once in a while’s no big deal… Right, guys need some slack—tie them down too tight, and they lose their spark… He’s good to us…” 
 
Dunn let out a relieved breath. No fighting—good news! 
 
Spotting him, Alessandra popped up with a bright smile. “You’re awake!” 
 
Dunn grinned back, not dodging Natalie’s gaze. He walked over, gave Alessandra a light hug, and did the cheek-kiss thing. “Sleep okay last night?” 
 
Her face went pink. “Pretty good.” 
 
Dunn smirked mischievously. “Adriana says she’s still sore. Maybe check on her? If it’s bad, take her to a doctor.” 
 
Alessandra’s blush deepened, half-annoyed, half-amused. “You and your nonsense. How do you even go to a hospital for that?” 
 
Dunn chuckled, pinching her soft cheek. “Go on, check on her!” 
 
Natalie watched Alessandra’s tall, curvy, graceful figure with a twinge of envy, then turned to Dunn, puzzled. “What are you guys talking about? What’s sore? You didn’t hit someone, did you?” 
 
Dunn leaned in, whispering, “Last night, I grabbed some lube, tried something new…” 
 
“Get lost!” 
 
Before he could finish, Natalie’s face went beet red. She shoved him and threw a punch. “Don’t tell me gross stuff like that!” 
 
Dunn laughed, stretched lazily, and asked, “What brings you here? I thought you were coming to chew me out—gave me a scare!” 
 
Natalie rolled her eyes again. “I’m not that petty! Besides, who bought this place?” 
 
“Me.” 
 
“Exactly. If it’s your villa, then I’m the lady of the house. Why can’t I drop by?” 
 
Dunn gave her a thumbs-up. “Fair point, Nat. You’ve got a way with words!” 
 
She smirked, glancing around. “I just wanted to see how nice your little love nest is.” 
 
“Compared to our mountainside estate, it’s a step down. Just the location’s better, so it cost more,” Dunn said quickly. 
 
Natalie sighed. “Still beats my place, though. If we had a guest room at home, you wouldn’t have had to leave last night, right?” 
 
Dunn winced. “Uh… how about I buy your dad a fancy villa? He’s not like my mom!” 
 
She shot him a look. “You think he’d take it?” 
 
“Alright, fine.” Dunn shrugged, hesitating. “Actually, I’ve been scoping out properties on Long Island. Thinking of snagging the world’s top beachfront estate for our future New York spot.” 
 
“Oh.” Natalie nodded lightly, then smiled. “Dunn, are you trying to butter me up?” 
 
“What do you think?” 
 
“I’m not that small-minded! But… hmph, you’re coming with me to Ellis Island later. No saying no!” 
 
“Deal.” 
 
“Bring the Swifts too—more people, more fun.” 
 
Dunn felt a warm pang. She’d thought of everything. He pulled her into a hug, voice thick with feeling. “Nat, landing you is the luckiest thing that’s ever happened to me.” 
 
---  

Chapter 299: Rose Pictures 

The blockbuster phenomenon Spider-Man has officially wrapped its theatrical run, raking in $510 million in North America and $750 million overseas, for a staggering global total of $1.26 billion. 

While its North American haul fell short of Star Wars: Episode I – The Phantom Menace, its worldwide box office trails only Titanic, securing the number two spot in film history! 

Just from ticket splits alone, Dunn Pictures pocketed $420 million—a massive windfall! 

Even the Spider-Man soundtrack, released early and selling 280,000 copies for $5.5 million, feels like pocket change in comparison. 

Of course, the more you earn, the higher the taxes. 

Hollywood has a standard playbook for this: when a movie’s a smash hit, you funnel company operating costs, shareholder dividends, and union payouts into the film’s budget. It jacks up the reported production costs on paper. 

Higher costs mean lower profits, and lower profits mean less tax. 

That’s why, outside of eco-friendly, defense, or recycling industries with special government breaks, investing in movies in Hollywood offers the lowest tax rates around. 

No matter how ugly the books look, by year-end, Dunn Pictures had a clean $400 million extra in the bank thanks to Spider-Man. 

Add in ticket splits from Girl, Interrupted, Memento, and Saw, plus VHS and DVD sales and rentals from My Big Fat Greek Wedding and Wedding Crashers, and Dunn Pictures’ net income for the year hit $490 million! 

The rental income from My Big Fat Greek Wedding and Wedding Crashers alone brought in over $28 million—a real surprise bonus. 

Since rental revenue is tax-free, this kind of long-tail income is where movie studios truly shine! 

Take MGM, for example. It’s on its last legs, with lackluster new releases, but its library of over 2,200 films still pulls in $300 million a year from rentals. 

IP—intellectual property—stands out in the grand sweep of time for a reason. 

Dunn Pictures had a banner year, but the expenses… they’re just as hefty and tangled! 

Since May, after a $1 billion cash injection, Dunn Pictures snapped up Tarz TV, Focus Features, DP Television Production, and invested in Sillywood Animation—totaling $2.59 billion. 

Movie investments were the big spenders: The Net, The Chronicles of Narnia, Mr. & Mrs. Smith, Unsinkable, A Beautiful Mind, Pirate League, and New York Storm, with over $700 million sunk in! 

Then there’s the TV side—Band of Brothers and Six Feet Under chewed up another $70 million. 

All told, Dunn Pictures’ investments this year hit $1.03 billion! 

So, despite Spider-Man and Saw blowing up the box office and making rivals green with envy, the company’s actual financials show a sharp drop in cash reserves. 

Right now, Dunn Pictures is sitting on just $450 million in cash flow… 

The state of Dunn Pictures’ books explains why movie investments can rake in cash, yet studios keep sliding downhill. 

MGM, Lionsgate, and Paramount face bankruptcy scares; Warner and Fox get swallowed up in acquisitions. 

Making movies pays, sure—but studios’ balance sheets never have spare change. 

Say you shoot a film for $30 million total. After two or three years, it pulls in $40 million. On paper, that’s a $10 million profit. 

In reality, that money doesn’t stick around. To keep the studio running, it’s plowed right back into new films. 

As time rolls on, production and marketing costs climb. A movie that cost $30 million two years ago might need $40 million today… 

End result? That film didn’t make a dime! 

And if a new movie flops, you’re in debt. 

Cash trickles back slowly, expenses balloon yearly, and unions stir up trouble now and then. Studios struggle to stay afloat. Even Hollywood giants limp along, scraping up funds from Wall Street, the Middle East, and Asia to keep new projects rolling. 

If Dunn hadn’t played the stock market hard, scored big, and funneled cash into tech companies, his Hollywood savvy—foresight and access to prime IPs included—still wouldn’t be enough to build a media empire like Disney. 

These days, Dunn’s not hurting for money. 

At Steve Jobs’ insistence, Apple’s stock can’t dip below $10, and Dunn’s been quietly buying up shares—now holding 61% of the company. A decade from now, that’ll be a jaw-dropping fortune. 

But money doesn’t drive Dunn anymore. He’s after personal ambition. 

Apple’s loaded, sure, but Jobs runs the show, not Dunn Walker. And even if Dunn took over, he doesn’t have the chops to manage it. 

He needs his own turf. 

A space he can control. 

The choice? Hollywood, naturally! 

But the cash from movies alone won’t catapult Dunn Pictures into a Disney-level media titan overnight. 

He needs funds from other ventures to keep things spinning—acquisitions to grow the film business while branching out. 

Movies, though… 

They’re Dunn’s passion. Directing’s his craft. 

… 

Rose Pictures is registered now, but it’s still an empty shell. 

Dunn knows, though, that as feminism rises, feminist films will catch a wave, and Rose Pictures will ride it high. 

It’s a shell today, but the future’s bright! 

The head of this company has to be a woman. Ideally… down the line, the whole staff will be women, making it a standout in Hollywood. 

After recommendations from Bill Mechanic and Michael Ovitz, Dunn settled on Rose Pictures’ president: Kathleen Kennedy. 

No relation to the Kennedys, Kathleen came from humble roots. She started as a lowly secretary at Lucasfilm, caught Steven Spielberg’s eye during a collaboration, and climbed her way up to producer. 

Now, she runs Kennedy/Marshall Company with her husband, serving as president and overseeing operations. 

But it’s a tiny outfit—barely a blip. No investment power, no copyright stakes in the big commercial films it helps make. 

Its main gig? Helping the couple dodge income tax. 

The feds go easy on movie businesses—layered policies bring corporate tax down to 25%, way below the 39% personal rate. 

So when Dunn came calling with a warm invite, Kathleen Kennedy had zero reason to say no. 

Through a hookup from CAA bigwig Kevin Huvane, Dunn met this Hollywood powerhouse for the first time and had an open, honest chat. 

They hit it off. 

“Rose Pictures is just a shell right now, with almost no projects,” Dunn said. “So you can keep working with other studios—preferably ours, of course. And you can stay president at Kennedy/Marshall too.” 

Dunn always brought sincerity and warmth to talent. 

Kathleen smiled. “Dunn, thanks for being generous. But as Hollywood’s first studio focused on feminist films, I’d rather see Rose Pictures hit the ground running.” 

Dunn frowned. “That’s… tricky. Kathleen, you know feminism’s just a trend—it’s not mainstream yet. Rose Pictures needs time to find its footing.” 

“There’s another way.” 

“Oh?” 

“Any Dunn Pictures film with even a hint of feminist themes, Rose Pictures should co-produce—whether it’s a small indie or a big commercial flick. That’ll crack the market open fast.” 

Dunn nodded. “That works.” 

Kathleen grinned. “And if you could toss me some cash so Rose Pictures can invest in feminist projects at other studios, that’d be even better.” 

Dunn laughed heartily. “There’ll be funds, but not a ton. My new script, Juno, has an $8 million budget—Rose Pictures can handle it. Other cash? You’ll have to wrestle Bill for it—I’m tapped out.” 

Dunn Pictures has $450 million on hand. Looks like a lot, but it’s tight. 

Next spring, Spider-Man 2 and Daredevil kick off—big projects. Summer brings Harry Potter and the Sorcerer’s Stone. 

Bill Mechanic told Dunn: no more cash injections, no more wild moves. 

Both sides wanted this to work, and Kathleen wasn’t about to push too hard. She got the hint. “One last thing—I’d like a role in Dunn Pictures’ production department.” 

Dunn eyed her. “Our production department’s different. Not much power, lots of red tape—market analysis, art analysis, even the writers’ room call shots.” 

Kathleen waved it off, chuckling. “Dunn, you’ve got me wrong. I don’t want power. If Rose Pictures is tying into all your feminist projects, having a spot in production just makes things smoother.” 

“Oh, like that? Easy fix. I’ll tell Bill—you can hang a VP title in production.” 

Truth be told, Dunn figured Kathleen’s skills could land her a full VP gig at Dunn Pictures, no sweat. 

No rush. Trust and chemistry come first. 

Kathleen stood, smiling at Dunn and extending her hand. “So… you’re my boss now?” 

Dunn laughed warmly, grabbing her hand with both of his. “Here’s to a great partnership!” 

Chapter 300: Person of the Year! 

The year 2000—the dawn of a new century—was a legendary one for Dunn Walker. Since 1927, Time magazine has picked a “Person of the Year” every December. In ’98, it was President Clinton for steering the U.S. economy back to life. In ’99, Jeff Bezos snagged it for kickstarting the e-commerce era with Amazon. And 2000? Normally, it’s an election year, so the new president—George W. Bush—would’ve been a shoo-in. 

But this year was different. Dunn earned the title “Stock God,” spinning a wild tale of triumph on Wall Street. He dropped Spider-Man, sparking a global frenzy for American-style heroism. And with his loud-and-proud feminism, he basically became every woman’s best friend. His jaw-dropping wins in finance, film, and cultural influence made him the media’s golden boy—no contest. 

So, Dunn swooped in and stole the spotlight from President Bush, landing the title of Time’s 2000 “Person of the Year” on a global stage. That’s a massive honor! Just look at who’s made the list over the past decade: 

• George H.W. Bush, who led the U.S. to victory in the Gulf War; 

• Ted Turner, the media mogul who championed free speech and took swings at the establishment; 

• Bill Clinton, who beat out a peak-popularity Bush Sr. to win the presidency; 

• Nelson Mandela, Africa’s peace warrior; 

• Pope John Paul II, who mended ties with the Jewish community; 

• Newt Gingrich, the Republican who ended the Democrats’ 42-year grip on the House; 

• Dr. David Ho, who invented the “cocktail” therapy that revolutionized AIDS treatment; 

• Andy Grove, Intel’s CEO, who brought the Pentium era and dragged computers into the future; 

• Clinton again, for the economic boom (and that affair), alongside Ken Starr, the prosecutor digging into Watergate and Monica Lewinsky; 

• Jeff Bezos, who rewrote the rules of retail with Amazon. 

And then, in 2000, Dunn Walker—a Hollywood director who shook up the dot-com crash, fueled American heroism, and sparked a feminist wave—beat out Bush Jr. and Bill Gates to take the crown. As for Hollywood’s “Most Influential” list? No suspense there. Who else in 2000 could even touch Dunn Walker’s name? 

Michael Eisner? Give me a break. For Disney, 2000 was the start of a downhill slide. The old-school animation formula was stale—people were bored of predictable stories. The rise of 3D animation was shoving Disney’s 2D legacy into decline. Sure, BusinessWeek and Interbrand still ranked Disney in the top ten for brand value, thanks to its history and consumer goods muscle, but that value was slipping. Strategic shake-ups and internal fixes were looming, and financial mags had been saying it for a while. Disney’s brass knew it too. 

Eisner’s clout at Disney was huge—twenty years of dominance wasn’t something Dunn could just erase with a few clever moves. But then an old email Dunn sent came into play. He got a reply from Roy Disney, the company’s number two and vice chairman, saying he’d love to sit down and chat sometime. Game on. 

… 

Blink, and it’s a new year. A book hit the shelves with low-key buzz: Gone Girl. Part crime, part thriller, part mystery—it landed on bookstore bestseller racks right out of the gate. Why? The author’s name: Dunn Walker. He didn’t care much, though—no promo tours, no fuss. His focus was Hollywood. 

Also on January 1st, Spider-Man hit the market on VHS and DVD. Tapes were fading out, but DVDs? This was their golden age. Thanks to a co-investment deal with 20th Century Fox, Dunn got a peek at Fox’s internal numbers—including DVD sales for Titanic and Star Wars: Episode I – The Phantom Menace. Mind-blowing stuff. 

The Phantom Menace started selling discs in February last year—standard, deluxe, and collector’s editions—and moved 12.87 million units for $280 million. Titanic, with a longer run and versions like standard, deluxe, collector’s, extended, and behind-the-scenes, sold 15.63 million units, raking in a staggering $330 million. Even after Fox handed 20% of that to distributors, it was pure profit. A DVD cost less than 20 cents to make—40 cents with fancy packaging. Insane margins. 

Now, Spider-Man—a titan in the same league—was hitting shelves. Dunn Pictures (the producer) and Universal (the distributor) were pumped. It’d come in two flavors: a $19.99 standard edition and a $39.99 deluxe one. Universal’s wholesale prices to distributors? $15 and $35. That’s America for you—intellectual property reigns supreme. Back in the day, Hollywood was even greedier. Twenty years ago, theaters had to fork over 90% of ticket sales to distributors, surviving on popcorn and soda profits. Wild. 

“Boss, can we talk?” Dunn was lost in Spider-Man daydreams when Isla Fisher ushered Kathleen Kennedy into his office. 

“Oh, sure, sit. What’s up?” 

“It’s about the director for Juno.” 

Dunn grinned. “Kathleen, I told you—you’re the producer. As long as Natalie Portman’s the lead and Rose Byrne’s the supporting actress, the rest is your call.” 

Kathleen shook her head. “I know, but… there just aren’t many women directors in Hollywood.” 

“True,” Dunn nodded. Hollywood could be brutal to women. “But there are some, right?” 

Kathleen said, “Juno is Rose Pictures’ first film, and… you’ve been hyping it up with feminist groups. It’s got big influence potential. We need a safe bet.” 

Translation: she wanted a badass female director. 

“Got someone in mind?” 

“I’m leaning toward Penny Marshall.” 

Dunn thought it over and nodded. “Yeah, she’s solid. Besides Cameron’s ex-wife, she’s the big name. Didn’t she launch Tom Hanks too?” 

Kathleen grimaced. “Problem is, Manohla Dargis shot her down.” 

Manohla Dargis—early Dunn Pictures member, chief art analyst, part of Dunn’s inner circle—had clout. Even Kathleen had to respect her take. 

“Oh? Why’s that?” 

“She thinks Penny’s style leans too masculine and commercial. It doesn’t fit Juno’s vibe.” 

Dunn let out an “oh” and nodded. “Makes sense. Juno isn’t just feminist—it’s got to have depth. Honestly, it’s an awards play for my Nat.” 

“An awards play? Oscars?” Kathleen’s jaw dropped. 

Dunn laughed. “Even if she doesn’t win Best Actress, a nomination’s the least we can aim for, right? Manohla’s got a point. If Marshall’s not the fit, we’ll find someone else.” 

Kathleen looked pained. “Famous female directors in Hollywood are a short list. Kathryn Bigelow’s tied up with K-19: The Widowmaker. Jane Campion won’t touch someone else’s script. Even Sofia Coppola’s working on her own thing.” She sighed. “We can’t just throw a rookie at this—it’s too risky!” 

“A rookie, huh?” 

Dunn’s eyebrow ticked up. His mind flashed to a name that once rocked Hollywood: Patty Jenkins. In 2003, she directed Monster, pushing Charlize Theron to an Oscar win. In 2017, her Wonder Woman turned Gal Gadot into every guy’s dream girl. Right now, Jenkins was 30, fresh off graduating from the American Film Institute (after Cooper Union). Her student short film had solid buzz, and she was starting to hustle in Hollywood. This was the perfect moment to give her a shot.