238-240

Chapter 238: The Direction Forward

The Soul-Shifting Girl is a pure art film through and through. It’s nothing like A Beautiful Mind, which wears the skin of an art film but secretly panders to mainstream values with its feel-good healing vibe.

This movie is steeped in a heavy, oppressive atmosphere and packed with deep meaning. Unless you’re a hardcore cinephile, it’s tough to muster the energy to sit through it. Even with the prestigious Palme d’Or under its belt, it struggles to grab widespread attention from movie fans.

That’s why, back in May, the film had its global premiere at the Cannes Film Festival. But its official North American release was pushed to mid-August, and the worldwide rollout won’t happen until after September. The goal? To sidestep the sizzling summer box office, delay the release, and ride the awards season wave to lure in a niche crowd of film buffs.

What nobody saw coming, though, was that this summer, Dunn’s name would be everywhere—shining brighter than the sun!

The buzz—both positive and negative—catapulted Dunn into the ruler of the summer box office. Thanks to the unstoppable juggernaut that was Spider-Man, he’d practically built a personal brand. “If it’s from Dunn, it’s gotta be good!”

Under this dazzling halo effect, even an art film like The Soul-Shifting Girl, where Dunn served as producer, managed to pull off a surprising box office win. Sure, it couldn’t go toe-to-toe with the biggest mainstream blockbusters, but against a swarm of random small-fry films, it crushed them all with ease.

In its opening week, it raked in $15.8 million—good enough for second place, just behind New Line Cinema’s The Cell.

Now, heading into its second week, three new contenders were hitting theaters: Universal’s Bring It On, Warner’s The Art of War, and Disney’s Coyote Ugly. All had some competitive juice.

The box office fates of Bring It On and The Art of War didn’t matter much to Dunn. His eyes were locked on one film: Disney’s Coyote Ugly.

This was a pivotal moment in the showdown between Dunn Films and Disney. With Dunn Films still the underdog, they had to seize every chance to boost morale, starting small and building up bit by bit until they could finally flip the table on Disney.

The Soul-Shifting Girl was saddled with a tough mission: to dominate Coyote Ugly at the box office!

Let’s be real—Coyote Ugly was a total flop. No question about it. Even though The Soul-Shifting Girl was an art film, under normal box office trends, beating it should’ve been a breeze.

But Dunn’s biggest worry? What if Disney played dirty at this critical juncture?

Disney’s films had been getting steamrolled by Dunn Films all summer long. Since June, they’d been living in Dunn’s shadow. Back then, it didn’t catch Michael Eisner’s attention—fair enough. But now? Eisner was in the game, personally squaring off against Dunn. And when Eisner moved, he didn’t mess around—his tactics were sharp and ruthless.

What if Eisner pulled some strings and “bought” box office numbers through the theater chains?

At this point, it was all about pride!

Eisner had already gone so far as to issue a “ban” on Dunn Films—breaking industry norms. If he could do that, what’s to stop him from rigging ticket sales?

Dunn decided to get Michael Ovitz’s take on it.

Ovitz was in Manhattan, New York, at the time, wielding Dunn’s $100 million investment to negotiate with Merrill Lynch, trying to convince Wall Street capital to back a packaged investment project.

When he heard Dunn’s concerns, Ovitz burst out laughing. “Dunn, this is Eisner we’re talking about—Disney’s big boss. You’re underestimating him a little too much!”

Dunn raised an eyebrow, puzzled. “What’s underestimating got to do with it?”

Ovitz explained, “Dunn, Eisner’s the chairman of Disney’s board, sure, but that doesn’t mean he is Disney. If his personal image starts dragging down Disney’s interests, the shareholders’ meeting will kick him out faster than you can blink.”

Dunn’s eyes narrowed, his heart suddenly pounding.

Ovitz continued slowly, “A while back, Tom Cruise ‘bought’ $5 million in ticket sales for Mission: Impossible 2. It blew up in his face—everyone found out, and he became a laughingstock. With that kind of precedent, Eisner’s not dumb enough to try the same stunt, no matter how desperate he gets. Don’t underestimate the media’s power!”

“He dared to break industry rules with that ban on Dunn Films because he kept it low-key, dodging the press in a slick, ‘legal’ way. It’s like he’s doing something shady but leaving no evidence to pin on him. But if he actually bought ticket sales to crush a competitor? His reputation would be toast.”

“Look at Tom Cruise—he’s a mess right now. The fallout from that ‘ticket-buying’ scandal has tainted the whole Mission: Impossible franchise. Sure, Mission: Impossible 2 was the second-biggest hit of the year behind Spider-Man, but if they want to reboot that series, they’ll be waiting at least five years!”

Dunn wasn’t fully tuned into Ovitz’s spiel—his mind was racing from that earlier spark.

Michael Eisner… yeah, he’s Disney’s chairman and CEO, no doubt. But behind him? There’s the Disney shareholders’ meeting!

If Eisner’s image took a hit and dragged Disney down with it, his near-emperor-like grip on the company could be ripped away by the shareholders!

Suddenly, a bold, thrilling idea popped into Dunn’s head—

After Vivendi’s massive losses, Dunn would definitely make a move to acquire Universal Pictures. Money wasn’t the issue. With his fame and influence, he could easily secure funding from Wall Street to seal the deal. Heck, he might not even need to borrow a dime—his own cash could cover it.

The real hurdle? Dunn Films didn’t have the clout to pull off an acquisition like Universal Pictures!

Right now, Hollywood—and all of North America—could see it: the rivalry between Dunn Films and Disney was out in the open, heating up fast.

If Dunn Films came out on top in this fight, and Dunn single-handedly took down Michael Eisner—forcing Disney’s shareholders to oust him—who’d dare question Dunn’s chops then?

Even the DreamWorks trio couldn’t pull that off, but if Dunn did?

Once Dunn Films toppled Disney, it’d be like a nuclear bomb going off in Hollywood, the shockwaves hitting every corner. When that happened, would Universal Pictures have any reason to turn down Dunn Films’ acquisition offer?

Heck, Universal’s execs and shareholders would probably be begging Dunn to step in and save them from their mess!

Dunn took a deep breath, his gaze steady and resolute.

Before this, folks like Bill Mechanic and Wes Cotton had tossed around ideas to help Dunn Films boost its influence fast. But Dunn always felt those plans were too slow—and even if they worked, they wouldn’t guarantee the kind of recognition he needed from Hollywood’s inner circle.

Going head-to-head with Disney, though? That was a different beast—a full-on test of strength!

Michael Eisner had been a Hollywood titan for two decades, calling the shots and shaping the industry—a living legend.

If Dunn could take him down in one fell swoop, he wouldn’t just be some hotshot director anymore—he’d be a bona fide heavyweight!

Directors, actors—they’re all just pieces on Hollywood’s chessboard.

But beating Michael Eisner? That’d be Dunn going from pawn to player!

That’s what real power looked like!

A bright light flared in Dunn’s mind—he could finally see the path ahead.

…

August 25, Friday—Disney’s crime comedy Coyote Ugly hit theaters, opening in 1,510 locations with a screen share of just 7%. That was weaker than its same-week rivals, Bring It On and The Art of War.

You could tell the theater chains weren’t betting big on this 88-minute flick.

On its opening day, Bring It On pulled in $60,000, and The Art of War cleared over $4 million. Coyote Ugly? A measly $1.03 million—lagging behind holdovers like Space Cowboys, The Cell, The King of Comedy, Scary Movie, The Soul-Shifting Girl, and The Perfect Storm. It landed at a pitiful ninth place on the daily chart.

Just one day in, and this film—with a $35 million budget and $8 million in marketing—was already doomed to lose money!

Seeing the numbers, Joe Roth, head of Disney’s production department, wiped the cold sweat off his brow and let out a relieved sigh.

Good thing he hadn’t made any promises to Michael Eisner—he’d have been sunk otherwise.

Still, it was weird. Did Dunn… did he really have some kind of magic touch?

How could an art film like The Soul-Shifting Girl rake in decent box office cash?

Three days later, the weekend totals came in.

Universal’s new release Bring It On took the crown with $17.36 million, no surprise there.

Warner’s The Art of War snagged second place with $10.4 million.

Third? The Soul-Shifting Girl, pulling in $9.4 million. Add that to its $15.8 million opening week, and its North American total was already past $24 million.

Hitting $50 million in North America suddenly didn’t seem so far-fetched.

Meanwhile, Disney’s Coyote Ugly was a total sob story—its opening weekend scraped together just $4 million!

After getting crushed all summer by Dunn Films’ hits like Gone in 60 Seconds, Scary Movie, and The Girls’ Club, Disney’s latest, Coyote Ugly, couldn’t escape the same fate.

And it was worse this time. If those earlier films could at least say they got flattened by the commercial titan Spider-Man and save some face, Coyote Ugly getting outperformed by an art film was a straight-up slap in the face.

Disney’s movies were looking downright pitiful—pathetic, miserable, and oh-so-sad!

Chapter 239: Birds of a Feather

At Logan International Airport in Boston, Dunn was already waiting at the pickup area, flanked by his bodyguards. He was there to meet his official girlfriend, Natalie Portman.

They’d originally planned for Dunn to take some time this summer to travel with her, but one thing after another kept delaying it. With Harvard’s new semester fast approaching, Natalie had taken a trip to Israel with her mom to soak in the sights of her ancestral homeland.

Natalie had been so understanding about everything, and Dunn couldn’t help but feel a pang of guilt.

Before long, there she was—Natalie strolled out in a simple white shirt and jeans, her mom by her side, no assistant in sight. She didn’t carry herself like a celebrity at all. Sunglasses perched on her face, she looked a little worn out from the long international flight. When she spotted Dunn waiting in the distance, a flicker of joy crossed her face, though she quickly pouted her lips.

Dunn flashed an awkward grin and hurried over, opening his arms to pull her into a hug. “Babe, I’ve missed you so much.”

Natalie squirmed a bit in his embrace and huffed softly, “Weren’t you too busy filming to even think about me?”

Dunn lowered his voice, “Movies are my career, but you’re my family.”

Natalie pressed her lips together, trying not to smile as she shot him a sideways glance. “Smooth talker!”

Her reaction made him chuckle, and he turned to her mom, Shelley Hershlag. “Shelley, I’ve booked a room for you already. You can head straight there to rest.”

Shelley Hershlag worked for Dunn Pictures now, overseeing finances. She’d come to Boston partly to drop Natalie off for school and partly for business. After a one-day stop here, she’d head to New York to meet up with Michael Ovitz. Together, they’d represent Dunn Pictures in negotiations with Merrill Lynch Securities.

According to Ovitz, their slate financing project had caught the eye of Merrill Lynch, one of the world’s biggest financial firms. With the dot-com bubble bursting, Wall Street was pulling out of tech stocks and hunting for fresh investment opportunities. When Ovitz pitched the movie slate idea on behalf of AG Agency and Dunn Pictures, Merrill’s top brass were all in.

Why start with Merrill Lynch? For one, Dunn had ties with them—Scott Swift, the GM of Dunn Capital, and Blanca Reyes, his personal financial advisor, both came from Merrill. Plus, in Dunn’s past life, when Paramount pioneered slate financing, Merrill Bank had been the first to take the plunge.

The slate financing plan was Dunn’s brainchild, fleshed out and expanded by Ovitz, who’d come up with three funding models:

1. *Debt Priority Model*

This chunk relied on loans from banks or lending institutions, which movie companies would repay first. It was the safest bet for investors, though the returns were modest—usually 5% to 9%.

2. *Mezzanine Financing*

A mix of debt and equity, this meant lenders could convert their loans into shares if repayments lagged. It got paid back after priority debt, so the risk was higher, but the rewards were too—typically 10% to 15%.

3. *Equity Financing*

Investors took shares based on their stake in the slate. Once all debts were cleared, they’d rake in profits tied to those shares. It was the riskiest option, but also the most lucrative—the real movie-investment payday.

Merrill Bank, a global financial titan, wasn’t interested in basic lending. They wanted high-return investments. With Dunn himself putting $100 million into the newly formed Legendary Pictures, how risky could it really be?

Back when Dunn invested in companies or scooped up Apple stock, Merrill’s analysts couldn’t figure him out. But movies? They trusted Dunn 100%. Ovitz said Merrill Securities and its banking arm were hooked on the slate project. If talks went smoothly, Legendary Pictures—the first-ever slate-financed film company—could be up and running in two or three weeks.

For decades, Ovitz had played middleman between talent and studios. Now, a new kind of intermediary was emerging: Legendary Pictures, bridging Hollywood and Wall Street.

Shelley Hershlag, once an agent, now Dunn Pictures’ finance chief, was the perfect rep for these talks. Her negotiation skills outshone Dunn’s by a mile.

The trio strolled out of the airport terminal at a leisurely pace. Soon enough, a handful of excited young guys—mics and recorders in hand—came charging toward them like a pack of wild fans.

Dunn glanced at Natalie and muttered with a wry smile, “These reporters are everywhere. How do they even find us?”

Natalie rolled her eyes dramatically. “I did an interview in Israel and mentioned I’d be back in the U.S. today.”

Dunn was momentarily speechless, exasperated.

Natalie slipped her arm through his, putting on a sweet, lovey-dovey act, and flashed a bright smile at the paparazzi snapping pics from afar.

Dunn smirked to himself. They say all women are natural actresses. And a pro like her? She’s acting 24/7.

Five or six reporters rushed up, thrusting mics and recorders forward. “Director Walker, can we ask a few questions?”

Dunn kept his tone cool. “Same old rules: no questions about my personal life.”

The reporters knew the drill and jumped in. “Dunn, Girl, Interrupted is doing great at the box office lately. It doesn’t even feel like an indie film—more like a commercial blockbuster’s trajectory. What’s the secret?”

Dunn grinned. “Simple: my girlfriend’s acting is just that good.”

Natalie giggled beside him and waved a hand. “Don’t listen to him. The movie’s a team effort—everyone in the crew poured their heart into it. I’m just one part of that.”

With her fresh, girl-next-door vibe, Natalie could’ve passed for any college student. The reporters warmed to her instantly. “Miss Portman, congrats! Your film totally crushed Coyote Ugly at the box office.”

“Coyote Ugly? What’s that?” Natalie blinked, looking genuinely confused.

One reporter fanned the flames. “It’s a Disney movie!”

“An animated one?” Natalie asked innocently, tilting her head. “That’s a weird name. Not cute at all.”

“No, no, Miss Portman, you’ve got it wrong! It’s not animated—it’s a live-action crime comedy.”

“Oh? Live-action?” Natalie gasped, wide-eyed. “I thought Disney only did cartoons. They make real movies too?”

The reporters exchanged glances, quietly floored. Is she for real? An actress who doesn’t know Disney makes live-action films? She’s gotta be playing us, right?

Dunn stepped in with a laugh. “Here’s the thing: she’s still a student, you know? Most of her energy goes into school. She’s not super plugged into Hollywood stuff—sometimes she knows less than your average movie buff. She’s familiar with the big players like Warner, Universal, or Columbia, though.”

The reporters’ pulses raced. What’s he getting at? Is he taking shots again?

It sure sounded like a dig—implying Disney’s films didn’t stack up to the likes of Warner or Universal.

But honestly, Dunn wasn’t wrong. This summer, Disney’s releases had been steamrolled by Dunn Pictures. Facts don’t lie.

Noticing their odd looks, Dunn chuckled. “You guys mentioned Girl, Interrupted doing well, and yeah, I’ll take that. But compared to top-tier commercial films, it’s still not in the same league. Week one, it trailed New Line’s The Cell. This week, Universal and Warner dropped heavy hitters too. So, it’s not that our little indie’s some runaway success—it’s all about what you’re comparing it to.”

“Dunn, are you saying Disney’s movies are so low-tier they don’t even deserve to be mentioned alongside yours?”

The blatant provocation made the other reporters wince, expecting Dunn to storm off.

But Dunn stayed calm, unfazed. “I wouldn’t put it like that. Disney’s animated stuff is solid. Live-action? Sorry, but having a big company name doesn’t guarantee great films.”

“So, you’re saying Disney lacks the talent to pull it off?”

“Exactly.”

“What about Jerry Bruckheimer and Michael Bay? They’ve made some solid hits together lately.”

Dunn smirked dismissively. “Michael Bay? The explosion guy? Way overrated. As for Bruckheimer… wait till next year when their Pearl Harbor drops. You’ll get what I mean. Birds of a feather, you know.”

“Director! One last question!” A shifty-looking reporter darted forward as Dunn started to turn away. “Bruce Willis just got divorced a couple days ago. Rumor has it his ex-wife walked away with $190 million in the settlement. Thoughts?”

Everyone knew Willis and Dunn were enemies.

Dunn paused, then burst out laughing—loud and unrestrained—before letting out a cold huff. “Nothing to say. Birds of a feather.”

The Dunn of today was a far cry from two or three years ago. Now, he had unshakable confidence.

Chapter 240: Winds of Change Sweep Hollywood

Tracy Jacobs is a big-name agent in Hollywood. She used to work for CAA before UTA poached her in 1998 with a hefty offer, making her the vice president of UTA overnight.

It’s not just her wide network and sharp skills that got her there—it’s the ace up her sleeve: Johnny Depp!

Right now, Johnny Depp isn’t quite a megastar, but his unique acting style has him perched at the top of the A-list, never short on offers. This summer, he starred in 20th Century Fox’s thriller From Hell as the undisputed leading man.

With From Hell wrapped up, Tracy Jacobs got a new offer right away—from director Tim Burton, Johnny’s old collaborator. It’s for a massive commercial blockbuster: Pirates League: Curse of the Black Pearl!

Back in the day, Tracy wouldn’t have hesitated to jump on this. Johnny Depp was practically hand-picked by Tim Burton, they’ve been buddies for years, and it’s the starring role in a film with a budget of at least $150 million!

But things are different now. This movie’s being produced by Dunn Films—and Disney and Dunn Films are at each other’s throats, throwing around bans left and right. Anyone with half a brain knows better than to wade into this mess.

This whole “ban” situation isn’t just going to fizzle out quietly. The longer it drags on, the worse it’ll be for Hollywood. Tracy doesn’t have the full picture yet, but she’s certain some big players are working behind the scenes to smooth things over between Dunn Films and Disney.

Once this circus dies down, both sides can sit down and negotiate deals again. That’d be the smart move for her and Johnny’s interests.

Problem is, Johnny Depp’s a stubborn oddball!

“I don’t give a damn about Disney’s nonsense,” he snapped. “When I was at my lowest, Tim was the one who helped me out! Plus, Pirates League is a huge commercial flick—I need this shot!” He didn’t even give her a chance to argue, his tone as firm as steel.

Tracy sighed, frustration creeping in. “Johnny, I’m not against you working with Tim Burton again. It’s just the timing—it’s lousy. Anyway, Pirates League hasn’t even been greenlit yet. We could stall for six months.”

In her mind, six months was plenty of time for the big shots to clean up the “ban” mess.

“Stall? No way, not happening!” Johnny shot back. “I need to sign with the Pirates League crew right now. Tracy, I get your worries, but for me, it’s all about the movie. Tim says this role was made for me—I’ve got to be in on the early prep to really get into character.”

“But the ban, Johnny… It’s Disney we’re talking about!” Tracy warned, her voice low and serious.

Johnny smirked, unimpressed. “So what? Disney’s good at cartoons, sure—but movies? Nah. Dunn Films is the new face of the century. I hear Dunn Walker’s personally producing the Pirates League series. I’m looking forward to working with him.”

Tracy felt a mix of bitterness and helplessness.

Johnny Depp’s quirky, one-of-a-kind personality sets him apart in Hollywood. People say Tom Cruise can be replaced, but Johnny Depp? Never. It’s that distinct flair he brings to the screen.

But that same trait makes her job a nightmare.

UTA isn’t some giant like CAA or WME. One wrong move with Disney could tank the agency’s other clients.

Yet Johnny’s her top star. She has to go along with him—or risk him ditching her for another agency, which would be a disaster.

So, what now?

Tracy sat there, lost, unable to decide.

Since the ban drama kicked off, all the A-listers in Hollywood had wisely steered clear. So far, only veteran icon Jack Nicholson had boldly picked a side—Dunn’s side.

Bruce Willis had publicly said he’d love a long-term deal with Disney, but everyone knew he was already on Dunn’s “banned” list. Even if he wanted to play both sides, it’d depend on whether Dunn let him.

And now, with the ban war raging, Johnny Depp jumping headfirst into a deal with Dunn Films? That’s a straight-up slap to Disney’s face!

Jack Nicholson can get away with it—he’s got the clout and the years. But Johnny? He’s 37, in his prime.

What’s she supposed to do?

Sitting in her office, Tracy fiddled with her computer absentmindedly, her mind a foggy mess.

Then, out of nowhere, her eyes lit up like fireworks as she scrolled through Yahoo’s entertainment section. Her whole body jolted, glued to a single news headline.

Her heart pounded like a drum, faster and faster!

Even her earlier spat with Johnny hadn’t rattled her this much—or excited her this much.

The Yahoo story seemed trivial, tucked away in a corner like an afterthought.

But to Tracy Jacobs, a Hollywood insider with her ear to the ground, it was pure gold!

This was explosive!

The headline was low-key: “Mel Gibson Joins A Beautiful Mind.” But the implications? They gave her chills.

After Jack Nicholson, another heavy hitter with clout and influence had taken a stand.

This time, it was Mel Gibson—Hollywood’s top action star!

The article was short: “Yahoo reports: Mel Gibson recently joined the A Beautiful Mind cast, making a cameo as a college professor. Word is, he’s doing it for free. According to his agent, it’s the result of a lost bet with director Dunn Walker.”

Tracy snorted at the “bet” excuse—ridiculous. It was obviously Mel’s agent spinning a tale to dodge Disney’s wrath and keep things civil.

But no amount of spin could hide the truth.

At the peak of this “ban” chaos, Mel Gibson had picked Dunn Films, decisively and without hesitation. This wasn’t just a jab at Disney—it was a full-on punch!

That Aussie tough guy sure lived up to his rep!

To the average person, this news might’ve been a snooze—barely 2,000 clicks showed it wasn’t trending.

But to Tracy, it was a thunderclap—shocking and thrilling all at once!

Johnny Depp’s situation just got a lifeline!

With Mel Gibson taking the heat up front, Tracy’s confidence surged. If she couldn’t sway Johnny, why not ride Mel’s momentum and seal the Pirates League deal?

If Disney came swinging, Mel could take the brunt of it, easing the pressure on Johnny.

…

By September, Disney’s Coyote Ugly had bombed hard—both at the box office and with critics. At this rate, a $35 million film scraping past $10 million in North America would be a miracle.

Overseas? Getting a release at all would be a win.

Meanwhile, Dunn Films’ The Soul-Shifting Girl held strong. Its box office stayed mid-tier, but glowing reviews kept it steady and enduring.

The A Beautiful Mind crew, filming in Boston, kept dropping little updates to stay in the media’s eye.

Then Mel Gibson’s cameo news hit—and Hollywood shook!

Especially among the big studios and top stars, faces dropped at the announcement.

Dunn Films was getting too strong, wasn’t it?

First Jack Nicholson, the old-school legend, and now Mel Gibson, a red-hot superstar. Their support flipped the tense “ban” standoff between Dunn Films and Disney into a one-sided rout.

And the winner? Not media giant Disney, but the upstart Dunn Films!

It was a jaw-dropping twist!

Disney, with its legacy studio cred, couldn’t pull in star power. Meanwhile, Dunn Films, barely three years old, was already making waves across Hollywood.

Had Dunn Films really gotten this powerful?

With Michael Eisner’s iron-fist style, there’s no way he’d let this slide. Jack Nicholson and Mel Gibson backing Dunn Films? Small potatoes—nothing Disney couldn’t handle.

But Disney’s pride? That couldn’t take a hit!

You could bet Michael Eisner was fuming right now, plotting his next move!

As Hollywood’s inner circle buzzed with theories about Eisner’s counterattack, Dunn Films dropped another bombshell at a press conference—leaving everyone stunned and goosebumps prickling.

Johnny Depp had signed with Dunn Films to star in their next big project!

In an instant, Hollywood was a whirlwind!

Dunn Films was unstoppable now!