220-222

Chapter 220: Hollywood’s One Big Family   

Here’s an analogy that sums up Dunn Films’ spot in Hollywood right now.   

Think of Hollywood as one big family, run by six elders: Warner, Universal, Fox, Columbia, Disney, and Paramount.   

Normally, these elders are scrapping with each other, all trying to grab a bigger slice of the pie.   

But as the family grows, new blood starts popping up—scrappy contenders like DreamWorks, New Line Cinema, Lionsgate, Miramax, and Dunn Films.   

The six elders might bicker among themselves, but when it comes to holding onto power, they’ll band together to keep the newbies from taking over. Their playbook? Squash ‘em or buy ‘em out.   

New Line got swallowed by Warner, Miramax by Disney… DreamWorks, though? Too stubborn to sell, so they’ve been stuck in the crosshairs.   

Dunn Films? No surprise there—this summer, Fox and Disney nearly teamed up to take it down.   

So, to join the elder council and call the shots in this family, with the six holding a delicate balance of power, you’ve got two paths: knock one out and take their seat, or tame one and make them your ally.   

With the elders locked in a united front, taking one out? Forget it.   

That leaves one road: win one over and bring them into your corner!   

Sony, the global giant, pulled this off by snapping up Columbia Pictures, landing a seat at the elders’ table and a grip on Hollywood’s reins.   

Time Inc. nabbed Warner, Viacom scooped Paramount, Vivendi grabbed Universal—same deal.   

Dunn wanted to follow Sony’s lead, eyeing Universal Pictures to muscle into the elder ranks.   

But here’s the hitch: Dunn Films ain’t Sony! It’s not Time Inc. either!   

Universal’s been a ruling elder for decades—why would they bow to Dunn Films’ orders?   

Money?   

Get lost—Middle Eastern oil tycoons have deeper pockets and still wouldn’t dare!   

Boils down to this: Dunn Films lacks the juice, the clout.   

So Dunn’s top priority is to juice up Dunn Films’ influence—enough that when Vivendi’s ready to ditch Universal, he’s got the chops to bring that elder to heel.   

Then bam—Dunn Films, the rookie, slams head-on into Elder Disney.   

Disney, to crush the upstart, tosses family rules out the window and drops a jaw-dropping blacklist bomb!   

Where does Dunn Films go from here?   

Call in outside help?   

Big mistake!   

If Dunn Films dared drag in outsiders to fight Disney, even if they won, they’d be toast in the family.   

Family dirt stays in the family!   

Internal beefs get settled behind closed doors. Leak it, and you’re a traitor!   

Disney broke the rules, sure—but it’s just family rules. Handle it quietly, no problem.   

If Dunn Films aired that dirty laundry to the world, tanking the family’s rep and future profits, they’d be the family’s biggest sinner!   

Take Dunn’s takedown of Jon Landau three years back.   

Dunn’s flings with actresses? Family gossip—deal with it internally. But Landau, an insider, spilled to the press. How’s that different from a snitch? No way the family keeps someone like that around.   

Or look at Harvey Weinstein’s fall in the last life—overnight, he went from kingpin to jailbird.   

That started as an internal power grab at Weinstein Company. Bob Weinstein wanted to oust Harvey, but Harvey wouldn’t budge. So Bob brought in outsiders, exposing Harvey’s mess.   

The six elders flipped out, teamed up, and crushed Harvey. With ruthless moves, they tanked Weinstein Company from Hollywood’s top indie outfit to bankrupt in a flash.   

Why? The fallout was massive—irreparable damage to the family’s image and insane financial hits. Annual revenue dropped 27%, ticket sales crashed 62%.   

To fix it, the elders and overseers huddled up, launched a purge to clean out the family’s bad apples, and salvage their rep.   

It was an internal sweep, family rules—not legal stuff.   

So, the “E_T” movement wasn’t about criminal proof—it was about “guilty by vibe”!   

Anyone tied to that kind of scandal was basically done.   

Right now, Dunn’s head’s crystal clear. The dicier it gets, the cooler he’s gotta stay.   

If he lost it and ran to the media, pulling in outsiders, he might beat Disney—but he’d have no place left in Hollywood’s family.   

Flip it around: if Dunn plays it patient, sticks to family rules, will the other five elders just sit back and let Disney trash the code?   

Rules are rules!   

They’re the bedrock of the family’s shared interests.   

Break that line, and you’re screwing the family—and the other five elders’ bottom lines.   

Disney blacklisting Dunn Films? That’s straight-up wrecking Hollywood’s fair competition. No way the other five big dogs let that slide!   

…   

Dunn saw through Michael Eisner’s game—he wasn’t about to step into the trap. “Blow this up, and Disney’s the one laughing,” he said with a grin.   

Bill Mechanic exhaled, relieved. He’d been worried Dunn might go off half-cocked like old times, charging at Disney with no plan.   

West Cotton chimed in slow and steady. “Right now, Disney’s blacklist looks like it’s got us cornered. But… if we play it right, this could be our shot!”   

“Oh? How’s that?”   

“Dunn Films is the new kid—old powers eyeing us warily and smacking us down makes sense. Turning that around fast? Tough. But Disney’s blacklist might be our opening. They swung first, broke the rules—doesn’t that shove the other five studios right into our lap?”   

Bill cracked a smile. “Exactly! We’re the underdog—underdogs get sympathy. Plus, Disney’s move was over the top, bad optics. If they botch this, it screws Hollywood’s whole game.”   

Dunn stayed calm, nodding slightly. After a beat, he asked, “So, what’s our move? Got any ideas?”   

West raised two fingers. “We’re on defense—options are slim. Two paths: passive—send out an SOS and wait for the cavalry; the other five won’t just watch. Or proactive—pick a fight with Disney ourselves. Small-scale, contained skirmish—to drag the big five in quick to mediate.”   

This Disney-Dunn Films clash wasn’t just about box office anymore—it’s market-wrecking nastiness. Won’t last long, that’s for sure.   

Dunn glanced at Bill. “What’s your take?”   

Bill weighed it carefully. “Safer to play it steady. Disney broke the rules, but they’ve got the muscle to swing it. If we pull the same stunt, the blowback could be ugly.”   

Dunn frowned. “So, you’re for sitting tight?”   

“It’s the safest bet.”   

“Nah, that’s not us!” Dunn shook his head, bristling. “When’s Dunn Films ever backed down? We can’t blast this wide open, sure—but even in a tight circle, I’m not bending for Disney! Others might quake at Michael Eisner—I don’t!”   

“Dunn, you’re—?”   

“Simple. Eisner wants to play? I’ll play! When the wall’s falling, everyone pushes. If he’s dumb enough to tank Hollywood’s market just to crush us, Disney’s fat fortune’s gonna bleed dry.”   

Dunn’s that never-say-die type. Bringing in outsiders would be digging his own grave—gotta keep it in-house.   

But stirring up a storm inside? That’s how he proves his chops—shows the big shots what Dunn Films is made of.   

It’s a golden ticket to boost their industry clout.   

If Dunn’s the gas pedal for Dunn Films, Bill’s the brakes—can’t run without both. He jumped in, wary. “Dunn, if you’re going on the attack, you need a full plan. No rash moves. Eisner didn’t swing without a backup—he’s not wrapping this up easy.”   

“I get it!” Dunn waved him off, standing with a smirk. “Disney’s too big, and Eisner’s loaded for bear. Jumping in blind might play right into his hands. So… how about we walk both paths at once?”   

“Both?” West’s face lit up, gears turning.   

Bill mused, “Not a bad call. Wait for the big five to step in—then we hit back. Inside-outside combo, squeeze Disney from both ends!”   

Dunn laughed loud. “Exactly—inside-outside!”   

West hesitated. “Might take a while, though. The five teaming up means meetings, talks—time. If Dunn Films sits quiet too long, people might think we’re chickening out…”   

Dunn nodded. “So, Bill, you’re up. Work the big five hard—get them to step in fast!”   

Bill’s eyebrow twitched. “Dunn, me alone? Gonna take some legwork. How about I toss you a name? Someone to anchor this, smooth things with the studios—cut the effort in half.”   

“Oh? Who?”   

“Former CAA head, ex-Disney president—Michael Ovitz!” 

Chapter 221: Flat-Out Denial 

Once upon a time, when Michael Ovitz stomped his foot, Hollywood trembled!  

He’d rallied his crew to found CAA, smashing William Morris’s monopoly and boosting stars like Tom Hanks, Tom Cruise, Nicole Kidman, and Julia Roberts into the stratosphere.  

Not stopping there, he took on the giants, shaking up the Big Six’s cozy profit club and fighting for bigger paychecks for actors. Thanks to him, Hollywood birthed the “$20 million club.”  

At his peak, he orchestrated Sony’s buyout of Columbia Pictures and Panasonic’s grab of Universal Pictures, landing him the title of Hollywood’s Most Influential Person three years running.  

In 1995, Michael Ovitz took Michael Eisner’s offer, ditched CAA for a new challenge, and stepped in as Disney’s president. There, he pulled off another coup, helping Disney snag the ABC Group.  

But Ovitz, used to calling the shots, couldn’t stomach Eisner’s high-handed style. Sparks flew fast, and within a year, Eisner shelled out a $120 million severance to boot him out of Disney.  

Post-Disney, Ovitz didn’t sulk. After failing to reclaim CAA, he started fresh, launching AMG—Artists Management Group—a new agency.  

AMG was still a fledgling outfit, nowhere near a powerhouse.  

But compared to the industry’s Big Five—CAA, WME, UTA, Endeavor—AMG was the only one gutsy enough to take on Disney headfirst!  

Why? Ovitz held a grudge against Eisner—deep, burning resentment!  

If not for Eisner, Ovitz would still be running CAA, perched atop Hollywood, not grinding it out as a small-time startup founder.  

The enemy of my enemy is my friend.  

Dunn was stoked about teaming up with Michael Ovitz.  

It wasn’t just Ovitz’s wide network or his beef with Disney—his track record was unreal: Sony-Columbia, Panasonic-Universal, Disney-ABC. The guy was a dealmaking wizard.  

Dunn had his sights set on Universal Pictures forever, but pulling off a buyout that massive needed someone with next-level skills.  

No question—Michael Ovitz was the guy!  

Bryan Lourd…  

Back when Dunn nabbed Marvel Entertainment, Bryan Lourd handled it. It worked, but Dunn wasn’t thrilled. The process dragged, costs piled up, and Dunn had to rope in Endeavor and Warner for backup—triple insurance.  

Lourd had been Ovitz’s assistant back in the day, and honestly, his skills didn’t quite measure up.  

So Dunn made a special trip to CAA.  

Over the years, Dunn Films and CAA had a solid thing going. Bryan Lourd welcomed Dunn warmly, not a hint of chill from Disney’s ban.  

Some stuff Dunn couldn’t say outright. He sighed, “Bryan, about this ban—I owe you an apology.”  

Bryan waved it off like it was nothing. “No need! Disney… hmph, the way I see it, if Michael Eisner keeps this up, the shareholders’ll kick him out in a few years!”  

Dunn’s eyebrow twitched. History seemed to agree.  

“Bryan, we’re old pals. No way I’d let this mess drag CAA down,” Dunn said, all righteous and noble. “I know Disney gave you guys an ultimatum. I’m not about to watch you get stuck picking between me and them.”  

Bryan got serious. “Dunn, don’t even sweat it! Truth is, our work with Disney’s been pretty thin these past few years. Their ‘ultimatum’ barely moves the needle for us.”  

“Even a small hit’s still a hit, right?” Dunn shook his head. “My directing contract’s with CAA, sure, but you know as well as I do—next few years, I’m only shooting my own company’s films. I’ll take a token fee. That’s not exactly a goldmine for CAA.”  

Bryan laughed. “Dunn, you’re selling yourself short! You think CAA’s banking on your directing commissions? You’re Dunn Walker—world’s top-grossing director. We’re in it for your clout!”  

“Clout? That was then. With Disney’s ban out there, I’m less a draw and more a hot potato now, huh?”  

“Partners stick together through the rough patches! Dunn, don’t worry about CAA—just focus on handling Disney.”  

Dunn shook his head. “No way. This mess started because of me—I can’t just sit back. After that shakeup years ago, CAA’s only now catching its breath. I’m not letting my drama drag you back down. Bryan, you’ve got shareholders to answer to.”  

“Well…”  

Bryan’s face twisted with unease.  

Dunn let out a quiet breath, keeping it light. “Here’s the deal, Bryan. If my being here’s just gonna cause headaches for CAA, I shouldn’t stick around. Let’s call it quits on the contract.”  

“What?” Bryan’s jaw dropped.  

Dunn waved a hand. “I’ve thought it through. It’s good for you, good for me. You dodge Disney’s heat, and I get to rally more backup.”  

“You mean…” Bryan’s sharp—he caught on quick. “Michael Ovitz?”  

Across Hollywood’s Big Five agencies, they’d all gotten Disney’s ban memo. To keep things smooth with Disney, they’d likely give Dunn the polite brush-off.  

Sure, Dunn Films churned out hits, but so what? They made, what, a handful of movies a year? Disney pumped out at least 20—plus talk shows, TV series, cartoons, you name it.  

Agencies live off commissions.  

It’s not about quality—it’s about volume.  

The lone wildcard? AMG, the new kid on the block. With Ovitz—Disney’s sworn enemy—at the helm, they’d roll out the red carpet for Dunn.  

Dunn didn’t dodge it. “Yep, Michael Ovitz. Disney’s too big—I’ve gotta pull in every ally I can, stack up some firepower.”  

Bryan sighed, a twinge of guilt creeping in as they parted ways. “Alright. I can set you up with Ovitz. Contract’s off, but Dunn, listen—CAA’s always your friend. If you’re in a pinch, just say the word. Disney? I couldn’t care less!”  

Dunn laughed hearty. “Don’t worry, Bryan—I’ll hit you up when I need you. And don’t forget, Nat’s acting contract’s still with CAA.”  

That hit Bryan with an extra pang of regret.  

Natalie Portman had jumped from WME to CAA because of Dunn.  

She might be a B-lister now, stuck in supporting roles, but with Dunn in her corner, her future was a no-brainer.  

Stepping out of CAA, Dunn spotted a few reporters camped at the door.  

His bodyguards swooped in, ready to muscle through.  

But then a shout cut through: “Dunn! Dunn! Director Walker, I heard Disney slapped you with a ban—is that true?”  

Dunn’s heart skipped, alarm bells ringing.  

Then he relaxed, exhaling.  

Disney had fired off over a hundred ban notices—all to bigwigs. Even with that, a slip or two was bound to leak.  

A little chatter didn’t matter. As long as everyone stuck together, zipped their lips, and denied it flat-out for the sake of the industry, it’d hold.  

Anyone who fessed up publicly? They’d be Hollywood’s public enemy number one!  

Dunn stopped, motioning the reporter over with a smile. “You’re from The New Yorker, huh? I like that mag. Alright, you get one question.”  

The young reporter practically vibrated with excitement, blurting, “Mr. Walker, rumor’s going around that Disney banned you, barring you from all their shows—is it true?”  

The leak had morphed—way off from the real deal.  

“Ban? What ban? Never heard of it,” Dunn said, putting on a puzzled look before grinning. “We’re in a free market here—stuff like that’s nonsense. Yeah, Disney and I had a little friction lately, but that’s just business as usual. A ban? No clue what you’re talking about.”  

“But I heard Disney’s CEO, Michael Eisner, is seriously pissed at you—is that legit?”  

Dunn chuckled. “Where’d you pick that up?”  

“I… uh, just hearsay. Checking it out!”  

“Second question, huh? Can’t answer that—I don’t know. Never met Eisner, never talked to him. No idea where this ‘pissed’ thing’s coming from. But I’d bet a guy running a giant like Disney’s got a big heart—too classy to sweat a small fry like me. That’d be beneath him.”  

With that, Dunn flicked his hand and strode off.  

But inside, doubts swirled.  

The reporter zeroed in on Michael Eisner. Was he the one letting this slip on purpose?  

Things just got a whole lot messier.  

Chapter 222: The Reward of Respect 

The Motion Picture Association of America, or PAA, consists of seven major entertainment giants: Disney, Warner Bros., Universal, Columbia, MGM, Paramount, and 20th Century Fox. The heads and presidents of these companies serve as its members. 

Back in mid-July, Saw was submitted to the PAA for its rating review for the first time. This was right when Spider-Man was dominating the summer box office, sweeping everything in its path. Naturally, this made the other big players a little jealous and wary. 

On top of that, Saw was undeniably intense—super scary and gory. So, the PAA slapped it with an NC-17 rating.  

An NC-17 rating basically means it’s an adult-only film. No country in the world would let it hit theaters on a wide scale with that label. Dunn had big hopes for Saw, planning to pit it against Disney’s Unbreakable in November. For that to work, it had to be widely released. 

So, Zack Snyder went back to the editing room, toned down some of the more unsettling stuff, and resubmitted it to the PAA. This time, Dunn was feeling pretty confident.

Here’s why: In August, Dunn had cheered on Warner Bros. and Columbia’s films, so they owed him a favor. Universal was already a partner of Dunn Pictures, so they’d back him up. Paramount’s Mission: Impossible 2 had crushed it at the box office, thanks to director John Woo—someone Dunn had recommended. Plus, Spider-Man and Mission: Impossible 2 didn’t clash, letting Tom Cruise’s flick snag the second-highest spot of the summer. That’s a solid bond right there. 

Out of the seven companies, at least four would likely side with Dunn. Even if Disney played hardball, a majority vote would push Saw into R-rated territory. 

But during the rating process, some unexpected twists popped up.

Universal: “I think the trimmed-down Saw fits the R-rating standard just fine.” 

Disney: “No way! Saw glorifies violence and is way too bloody. Unless you’re an adult with a fully formed worldview, those disturbing scenes are unbearable.” 

Paramount: “Saw isn’t that different from the B-grade horror flicks of the ‘70s. There’s precedent—it can be R.” 

Disney: “Back then, the rating system wasn’t refined. The PAA has to keep up with the times!” 

Columbia: “They cut a lot from Saw, and to me, that shows real effort. We shouldn’t hold back a great movie over a rating. It’s R-level!” 

Disney: “Times have changed! Today’s audiences live in a peaceful, stable world. They’re more fragile than past generations. For their mental health, this has to stay NC-17!” 

Warner Bros.: “Oh, come on. As times evolve, people’s horizons should broaden, not shrink. R is fine!”  

Four companies in a row backed an R rating. With that, the debate was pretty much over—majority rules! Saw was set to be an R-rated horror flick.

Then, surprisingly, MGM and 20th Century Fox chimed in too, agreeing it should be R-rated, no question. Final tally: 6 to 1! Disney’s objections didn’t stand a chance. Saw would hit theaters as an R-rated movie without a hitch. 

In this showdown with Disney, Dunn Pictures came out on top!

When Dunn got the good news from his secretary, Isla Fisher, he was on a call with Jack Nicholson. Rumors had been swirling—gossip about a supposed “ban” on Dunn—but everyone, from Dunn Pictures to Disney to the stars involved, denied ever hearing about it. Pure hype, nothing more. 

Jack Nicholson, though, knew the real story. He’d been celebrating the Lakers’ championship when he saw in the papers that Dunn had parted ways with his agency and was brushing off Disney’s pressure. That lit a fire under him.

He really admired Dunn—this young guy with talent, guts, and a humble, respectful attitude. He hated the idea of Disney grinding Dunn down and forcing him to back off. 

“Dunn, if you need help, just say it! I’ve got some buddies in Hollywood. We can rally a crew. This industry belongs to all of us filmmakers—I refuse to believe Disney can run wild forever!”  

Dunn was touched by Nicholson’s offer to step in. These old-timers might not keep up with every trend, but they’re the backbone of Hollywood. Even if they’ve stepped back, they’ve got the actors’ guild, writers’ guild, directors’ guild, and more in their corner, balancing power with the big six studios. 

Dunn chuckled. “I’ve already got a plan for this ‘ban’ thing, so no need to trouble you.” 

“Oh, you’ve got it figured out? Good! Don’t be afraid—if it comes to it, we’ll just spark a few strikes and watch it all burn down together!” Jack Nicholson, true to his passionate fanboy nature, wasn’t kidding around.  

A strike would cost Hollywood hundreds of millions, maybe billions. As part of the industry, Dunn wouldn’t push that button unless he had no choice. 

“No strikes needed—I’ve got this,” Dunn said, relieved. Then an idea hit him. “Oh, by the way, because of this ban rumor, one of the actors in my movie’s dropping out. Could you step in and help me out?” 

“What, that pirate flick?” 

“No, it’s one I’m directing myself—A Beautiful Mind. If all goes well, we’ll start shooting this month.”  

Jack Nicholson perked up. “You’re doing an artsy film now? Nice! What’s the role?” 

“It’s a supporting part, not too big. The main character imagines an FBI agent in his head. I’d lined up Ed Harris, but… seems he’d rather stick with Disney.” 

“Ed Harris?” Nicholson snorted dismissively. “That guy’s tight with Jerry Bruckheimer. Probably still dreaming of Disney gold. Fool! Oh well—if he didn’t bail, how would I get to join a movie you’re directing?”  

Dunn lit up. “Wait, Mr. Nicholson, you’re in? Don’t you want to see the script first?” 

Nicholson laughed heartily. “Of course I’ll check the script, but I’m already set on joining A Beautiful Mind. Just tell my agent!” 

“Awesome! Thank you so much, Mr. Jack Nicholson. With you on board, A Beautiful Mind is going to shine even brighter!” Dunn couldn’t stop grinning.  

Sometimes, the respect you show others comes back to you in the best ways. Treating people right? Turns out it’s a pretty solid move.