277-279

Chapter 277: Dunn, That Jerk! 

Dunn’s bold claims weren’t just hot air—he had a plan. 

Take Miramax’s Gangs of New York. Its original budget was $100 million, with a 10% box office profit share carved out. Actors getting a cut of the profits is a big deal—usually only happens when a film’s budget is tight, can’t cover their fees, or the studio wants to offset risk. 

Tom Cruise scored a massive paycheck and profit share for Mission: Impossible, but that’s because he owned the IP—his actor contract covered the fee, his producer deal got him the split. Even Robert Downey Jr., riding high as Iron Man, never snagged a dime of profit share across his Marvel gigs. Why? Marvel’s flush with cash. No budget crunch, no risk—they just dropped a $40 million paycheck and called it a day. 

Dunn’s $120 million offer for Gangs of New York was a power move to ditch that 10% profit share. The film’s global box office hit nearly $200 million—10% of that is $20 million, exactly the budget bump he proposed. Perfect to pad Martin Scorsese and Leonardo DiCaprio’s paychecks. 

Martin Scorsese’s fee jumps $10 million to $15 million. 

Leonardo DiCaprio’s goes up $10 million to a standard $20 million. 

Daniel Day-Lewis stays at $4.5 million, Cameron Diaz at $0.5 million—no changes needed. 

Total for the four main players: $40 million, up $20 million from the original. Spot on! 

Cameron Diaz, a top-tier Hollywood actress and traffic magnet, might seem underpaid at $0.5 million—her leads usually net over $10 million. But she’s been typecast in ditzy roles. Now, with Martin Scorsese steering her into new territory, she’s got a shot at a career pivot. Asking for more cash? Nah. Taking a symbolic $0.5 million is a steal—tons of actresses would pay to work with Scorsese. If she complained, they’d just swap her out. 

Dunn’s $120 million check definitely shook Martin Scorsese. Money talks, and even a legend like him isn’t immune! A fat budget is step one to a film’s success. 

“But… I already promised Harvey,” Martin said, his brow creasing. Dunn’s juicy offer tempted him, but ditching an old commitment stung his pride. 

Dunn grinned. “Martin, I hear you’ve been prepping this project for decades?” 

“Yeah, over 20 years ago, I wanted to make it,” Martin sighed, shaking his head. “But then Heaven’s Gate—same vibe—tanked hard. No studio would touch it after that.” 

Leonardo, ever the loose cannon, chimed in, “Yeah, back then Dunn was just a baby!” 

Dunn shot him a glare. “You’ve been at this forever, Martin. You’d want everything lined up perfect, right? I heard… you originally wanted Leo for the lead?” 

“Yeah… wait—” Martin’s eyes lit up as it clicked. “You can get him on board?” 

Dunn smirked. “Martin, team up with Dunn Films, and Leo’s in!” 

Martin zeroed in on Leonardo, staring hard. 

Leo caught the drift, slapping his thigh. “Exactly! Hey, if Harvey asks, just say the role’s gotta be me!” 

Dunn blinked—didn’t expect Leo to catch on so quick. He raised his voice, “Yup! Disney’s ban on Dunn Films is still on—no way I’d work with Miramax. So, Martin, if you want Leo, Dunn Films is your only shot!” 

Martin’s eyes narrowed, mulling it over. 

Leo, impatient, blurted, “Come on, what’s to think about? Didn’t you hear Dunn? He’s dropping $120 million!” 

“Well… I’ll think it over…” Martin’s face tightened, and he waved for three stiff drinks. 

… 

“Martin? What’s up?” 

Harvey Weinstein picked up Martin Scorsese’s call, buzzing with excitement. 

Lately, he’d been on a high. Miramax used to lean on second-tier directors or homegrown talents like Quentin Tarantino. Now, he’d finally hooked a mainstream Hollywood titan—Martin Scorsese! 

Gangs of New York had its flaws, and Miramax’s team had balked at funding it. But Harvey steamrolled the doubters, insisting on the investment. He had clout in Hollywood, no question—mostly in indie circles, though. His pull in the mainstream game was weaker, which is why he’d lost the Disney production chair gig to Joe Roth, a Touchstone vet. 

Gangs of New York was his ticket—a door to the mainstream market. Plus, just yesterday, he’d flexed his connections to boost Miramax’s old Hong Kong flick Drunken Master while stomping on Dunn’s Saw. Word was, Disney’s top brass had taken notice. 

Martin sounded plastered, reeking of booze through the phone. “Harvey, that project… let’s just drop it…” 

Harvey chuckled. “Martin, hitting the bottle, huh? Haha, sounds like you’re in a good mood.” 

“I… I’m busy… just letting you know, we’re done,” Martin slurred, tongue heavy. 

Harvey’s gut twitched, his brow furrowing. “Martin, done? What’re you talking about?” 

Martin snapped, “I’m saying Gangs of New York doesn’t need your money!” 

Harvey laughed it off. “Martin, you’re wasted. Funny joke!” 

“I’m not joking!” 

“Huh? Martin, sober up, and we’ll talk.” 

“No point!” Martin’s tone sharpened. “I said it’s over—it’s over. No future talks!” 

Harvey’s voice dropped. “Martin, you know what you’re saying? Without my cash, you’ll never get Gangs of New York off the ground!” 

“Maybe… maybe not,” Martin smirked. 

“No way!” Harvey shot back. “That movie’s too niche for the mainstream. Your budget’s insane—no studio’s signing off on it.” 

Martin kept chuckling. “Harvey, you… you’re so naive. I’m Martin—Martin Scorsese! My films? Someone’s always gonna fund ‘em.” 

Harvey’s temper flared. How much had this guy drunk? He took a breath. “Fine, Martin. Even if someone bites, no one’s coughing up $80 million!” 

“$80 million? That’s a lot?” Martin snorted dismissively. 

“Martin!” 

Harvey bristled—he could hear the mockery in his voice. 

Martin giggled. “$120 million, Harvey! What can I do? Someone’s throwing $120 million at me and guaranteeing Leonardo DiCaprio for the lead. Tell me, how do I say no?” 

“$120 million? That’s insane!” Harvey barked. 

He’d been in the game 20+ years and trusted his instincts. Gangs of New York at $120 million? It’d flop hard! 

“Harvey, you’re behind the times. Hollywood’s for the young now…” Martin’s voice faded, like he was muttering to himself. 

“Young?” 

Harvey jolted. In Hollywood, “young” was practically a codename for one guy. 

Dunn? 

No way! 

How could he dare drop $120 million on Gangs of New York? Was he nuts? 

Harvey’s mind reeled, panic hitting like the sky was caving in. 

Sure enough, Martin piped up again. “Harvey, it’s settled. Gangs of New York is with Dunn Films now. Let’s… maybe work together some other time.” 

The line went dead with a “beep-beep.” Harvey slumped back, drained, like a husk with no fight left. 

Dunn! 

It was him! 

That bastard was everywhere! 

Harvey gritted his teeth, fury exploding like a bomb in his chest, shredding him from the inside out… 

Dunn, that jerk! 

Chapter 278: A Lifeline Slipping Away 

On November 6th, a new week kicked off, and the low-budget horror flick Saw was set to screen on 17 screens across 867 theaters nationwide. 

The expansion wasn’t as big as some had hoped, but for a movie the Motion Picture Association nearly axed, it was a miracle it even made it to mainstream commercial theaters! 

Alongside some second- and third-tier ads and write-ups, this B-movie started popping up in legit publications like Film Review, The Hollywood Reporter, and Total Film. It was stepping into the spotlight, catching the eyes of real movie buffs. 

Of course, the stills they ran with the articles oozed that oppressive, suffocating horror vibe. 

“New director, new team, new company—Saw dares you to test your limits!” 

“If you’ve got the guts, check out Saw! It might not be the scariest horror movie ever, but it’s easily top three. Its philosophical depth and themes blow most slapdash B-movies out of the water.” 

“This isn’t just a twisted killing game—it’s a philosophical debate about life. Newcomer Zack Snyder delivers a chilling value clash with Saw.” 

“If you’re a horror fan, don’t sleep on this—Saw is a must-see!” 

“No doubt about it, Saw is a hit, and Dunn’s involvement makes you think. Everyone knows Miramax is Hollywood’s indie king, and Dimension Films rules low-budget gems. But Dunn’s Focus Features and Madhouse Films? They’re gunning for Harvey Weinstein’s turf.” 

… 

Fueled by a mix of ads and legit reviews, Saw’s buzz kept spreading. Its approval rating dipped a bit but still held strong at 80%—unheard of for a B-movie! 

That translated into box office gold… 

Monday: $1.08 million. Tuesday: $890,000. Wednesday: $770,000. Thursday: $640,000… 

With a new weekend looming, Saw’s North American haul had already smashed past $4 million! 

On the weekly box office chart, this $1.5 million B-movie trailed only Cameron Diaz and Drew Barrymore’s action blockbuster Charlie’s Angels, Adam Sandler’s Little Nicky, and Robert De Niro and Charlize Theron’s Men of Honor. 

Sure, Saw’s numbers didn’t quite match the top dogs, but it beat out Warner’s action-thriller Red Planet, which opened in 2,703 theaters. That alone proved its box office chops! 

Low budget? Who cares? 

If Dunn’s name was on it, it owned the charts! 

As for Miramax’s attempt to cash in on Jackie Chan’s hype with an old Hong Kong flick, Drunken Master? Couldn’t even crack the top 50! 

Another weekend was coming, and Saw’s heat was only going to climb. 

As Disney’s top dog, Michael Eisner usually kept his eye on big-picture strategy—except when it came to Dunn. 

Even a $1.5 million B-movie like Saw had him telling his assistant to track it and report back constantly. 

When he got the latest Saw box office numbers, Eisner went quiet. 

He saw the writing on the wall. Disney had pulled some strings to cap Saw’s theater count, but the movie was thriving in the cracks, growing unstoppable. 

Next week, the screening scale would shift again. By then, a full-blown Saw rollout would be inevitable—beyond even Harvey Weinstein’s reach. 

“Why? Why does every movie he touches turn to gold?” 

Eisner had wrestled with that question a dozen times and still couldn’t pin it down. 

Even a legend like Steven Spielberg flopped sometimes. DreamWorks’ struggles weren’t just external pressure—internal instability played a big part too. 

But Dunn Films? 

Total freak show! 

Dunn’s strategy looked impulsive, simplistic—pros shook their heads at his film investments. 

A startup daring to churn out multiple blockbusters in a year? 

Back in the day, Twentieth Century Fox poured everything into Titanic. Now, Disney’s production arm was all-in on Pearl Harbor. 

Dunn Films, though? They dropped $200 million for James Cameron to burn through on Unsinkable, then threw cash at Ang Lee, Luc Besson, and Tim Burton like it was nothing. 

Just days ago, Dunn Films and Focus Features dropped a bombshell: they were sinking $120 million into Martin Scorsese’s historical epic! 

It was a middle finger to Hollywood’s investment playbook! 

And the result? 

Saw was barreling down that bizarre, explosive path that seemed nuts to everyone but par for the course for Dunn. 

The guy was a total weirdo! 

“No clue if Unbreakable can hold up under Saw’s pressure,” Eisner muttered to himself. Oddly, he almost hoped Saw would blow up huge. 

Unbreakable wasn’t out for another two weeks. If Saw burned through its hype and hit box office saturation by then, it wouldn’t threaten Disney’s flick. 

Just then, his assistant knocked and stepped in, looking grim. “Boss, it’s about a movie.” 

“Saw tickets selling like crazy?” Eisner chuckled, waving it off. “No big deal. If it’s good, people buy tickets—simple. Tell Harvey next week we’re not just lifting restrictions on Saw’s screenings—we’re helping it expand!” 

The assistant frowned, hesitating. 

“What’s up?” 

“It’s our movie.” 

“Unbreakable?” 

“Yeah. A bunch of papers and magazines are running stories.” 

Eisner grinned. “That’s great! We can ride Saw’s horror wave—might spark a scare trend and boost Unbreakable.” 

“No, this isn’t our PR plan!” the assistant said, wincing. 

“Huh?” Eisner’s brow shot up, sensing trouble. “What’s going on?” 

The assistant grimaced. “It’s all over the tabloids—Bruce Willis, Unbreakable’s star, split with his girlfriend Brooke Burns. Rumor is… she wasn’t happy with his bedroom skills…” 

Eisner exploded. “What did you say?” 

… 

In another room, Joe Roth was on his phone, tearing into Bruce Willis. “Bruce, are you out of your mind? Divorced a month ago and you hook up with a girl 26 years younger? Fine, go for youth—but did you forget how old you are? You think your body’s as tough as it looks?” 

“I busted my ass pulling strings to clean up your divorce mess, and now you pull this? Think people aren’t laughing at you enough? Hah—dumped for sucking in bed? Bruce, where’s your dignity gonna hide now?” 

“You idiot, you’re screwing me over! If this tanks Unbreakable’s box office, you’re done—out of Hollywood! Damn it, casting you was the biggest mistake of my life!” 

After unloading, Joe hung up, fury boiling over. 

“Who’s trying to ruin me?” 

He bellowed it out in his office, venting. 

Dunn, maybe? 

Could be—their beef ran deep, no chance of patching it up. 

But Dunn was stretched thin lately, bouncing coast to coast, too busy to even date starlets. Would he bother with a petty stunt like this? 

Joe’s brows knitted, his face sour. 

It felt like… 

Unbreakable, his lifeline, was slipping further out of reach. 

Chapter 279: Taking the Blame 

Over the weekend, Dunn left the Boston film crew as usual. This time, he was headed to New York. 

“The latest reports are pretty entertaining,” Nicole Kidman said as she buttoned up Dunn’s shirt. 

She was wearing a nearly see-through silk nightgown, her charming face glowing with a lazy satisfaction after their excitement. Her deep eyes sparkled with an unspoken contentment. 

Dunn adjusted his belt and casually asked, “Another embarrassing story?” 

Nicole smirked. “You bet. Word is, Bruce Willis can’t keep his young girlfriend happy, and they’re splitting up.” 

“Oh?” Dunn paused for a moment, then shook his head with a chuckle. “Looks like I’m about to take the fall again.” 

“You?” Nicole asked. 

“Yeah,” Dunn sighed. “Everyone in Hollywood knows I’ve got beef with him. Now that Big Guy’s got a scandal on his hands, Disney’s probably going to think I’m the one behind it.” 

“It wasn’t you, right?” Nicole hesitated, blinking her captivating eyes as she asked cautiously. 

“Someone’s stirring the pot and fanning the flames,” Dunn said with a dismissive smirk, his expression calm. 

“Huh?” 

Nicole studied his eyes, catching on. “You mean… someone’s trying to stir up trouble on purpose?” 

Dunn smiled and waved it off casually. “Not exactly ‘stirring trouble.’ Just a petty little trick, nothing out of the ordinary.” 

He didn’t spell it out for her—some things didn’t need to be said to a woman. 

Dunn could see right through the Bruce Willis situation. The shadow behind it had to be Tom Rothman from Twentieth Century Fox! 

Tom Rothman was the type who loved playing these small games. He didn’t have big-picture vision, a trait tied to his roots at Fox Searchlight, an indie outfit where he chased every tiny profit. That kind of personality didn’t win him high praise in social circles, but it sure pleased the board. 

With X-Men and Unbreakable releasing on the same day, putting Bruce Willis in a bad spot was a boost for X-Men. Plus, doing it now shifted the blame onto Dunn—why wouldn’t Rothman jump at the chance? 

Dunn’s reaction to being the scapegoat was pretty chill. 

Or rather, he was above caring about these little games. 

If Tom Rothman wanted to play, let him play. 

Whether this added fuel to Dunn’s feud with Disney didn’t really matter. 

If Rothman could actually tank Unbreakable’s box office, Dunn wouldn’t mind seeing it happen. 

Of course, he wasn’t about to let anyone take advantage of him for free. 

On the flight to New York, Dunn called Tom Rothman. “Tom, this Bruce Willis thing… your handiwork, right?” 

“No way!” Tom replied indignantly. “Dunn, we’re filmmakers, not gossip rag paparazzi.” 

Dunn didn’t buy that nonsense for a second. He laughed. “I’m under a lot of pressure here. Bruce Willis is the star of Unbreakable, and Disney’s throwing a fit over this.” 

Tom chuckled. “No proof, no problem. Even Disney can’t make a fuss without evidence, right?” 

“I’m just worried Disney’s going to come at me hard again,” Dunn said with a dramatic sigh. 

Tom secretly rolled his eyes. You, scared of Disney? Please. Still, he put on a warm tone. “Hey, we’re filmmakers—making great movies is what matters most. I heard that horror flick you helped write… what’s it called, Saw? It’s doing awesome at the box office! It’s crushing Blair Witch 2 in the same slot and holding its own against mainstream blockbusters.” 

Dunn sighed. “Yeah, based on the current numbers, Saw’s theater count is definitely going up next week. But… we’re short on promotion.” 

Tom’s face twitched slightly. After a pause, he said slowly, “If you need a hand, I could help out a little.” 

“Really? That’d be amazing!” Dunn’s voice carried a hint of excitement. 

Tom, sharp as ever, asked casually, “So, about that Bruce Willis thing?” 

Dunn burst out laughing. “A little pressure from Disney? I can handle it! No big deal—let the storm hit harder. I’ve got this!” 

“Man, Dunn,” Tom laughed heartily, “only you would dare to poke Disney like that in all of Hollywood!” 

It was just a trade-off for mutual gain. Tom was looking forward to seeing X-Men steamroll Unbreakable. 

The Victoria’s Secret Fashion Show was set for November 15, and Dunn arrived in New York to grease some wheels. 

With his current status and connections—plus intros from two Brazilian supermodels—getting a ticket to the show was a breeze. He even scored a backstage pass. 

His main goal, though, was to help out with an action sequence for Mr. & Mrs. Smith. 

It was a car chase and shootout set in a New York City neighborhood, packed with tons of explosions. 

Before filming started, the local police blocked off a two-kilometer stretch of road at the crew’s request. 

The team had over a hundred people, including more than 100 stunt performers. It was a seriously ambitious shot. 

Standing next to Luc Besson, Dunn felt a mix of awe and nostalgia. 

Scenes like this—huge, real action shoots—were becoming rare in Hollywood. They’d slowly get replaced by safe, easy-to-control green screen setups. 

Filmmaking was turning into computer work. 

Good or bad, it was hard to say, but the loss of texture in action scenes was undeniable. 

“Why not just use green screen?” Dunn asked. 

Luc shook his head. “I had it calculated. Green screen plus post-production effects costs about the same as shooting it live. If it’s a wash, why not go for the real thing? We might not match Kenji Mizoguchi, but at least we’re aiming for something.” 

Kenji Mizoguchi, a filmmaking legend alongside Akira Kurosawa, was obsessive about texture—using real antiques as props in period films for authenticity. 

Dunn was surprised special effects were still so pricey. “All these explosions won’t damage the streets, will they?” 

Luc chuckled. “That’s where your clout comes in. The city heard it’s a Dunn Films project and greenlit everything.” 

Dunn gave a wry smile. “You’re a clever one.” 

Still, he felt a bit of pride. Years of hard work, and his name finally carried real weight. 

Ten minutes later, the explosions kicked off. 

Boom! Boom! 

Stunt drivers tore through New York streets in speeding cars. 

Sure, the cash flowed like water, but man, the spectacle was incredible! 

Over the three-day weekend, 867 theaters pulled in $6.38 million for Saw! 

That pushed Saw’s total box office past $10 million! 

At this point, even if Harvey Weinstein turned into Satan himself, he couldn’t stop Saw from going wide the next week. 

On November 13, a Monday, North American theaters finally made the smart call, bumping Saw’s screen count to 2,674! 

If it weren’t an R-rated film with age restrictions, it might’ve gone even bigger. 

Dunn tossed in another $2 million for promotion, and Twentieth Century Fox’s hype machine kicked into overdrive, blasting out round after round of buzz for this groundbreaking horror flick. 

After nearly two weeks of test screenings and limited releases, plus Fox’s backing, Saw was unstoppable—like a dam bursting after building up pressure. 

The name Saw spread across North America! 

Director Zack Snyder became a hot name, landing spots on multiple talk shows. With no big stars in Saw, his rags-to-riches story became the film’s best promo hook. 

Hard work, grit, chasing the American Dream! 

Overnight, Zack Snyder turned into an inspirational icon. 

In interviews, he always slipped in the same line: “I’ve got to thank Dunn—he’s my friend and my biggest supporter!” 

When Christopher Nolan heard that, he’d nod with the same sentiment. Wasn’t it true for him too? 

Back when he was struggling to get Following out, he’d hit wall after wall. 

Then he met Dunn, and it was like… the doors of his life finally swung open. 

These days in Hollywood, Dunn seemed to be everywhere.