"Ovitz's proposal is that if we want Steve to continue directing the sequel, he must have a share of the profits. They're asking for 20%, but I believe we can negotiate it down to around 15%."
After the routine financial meeting, Simon sat down with Tom Pollock, head of Daenerys Entertainment, to discuss the sequel to "Jurassic Park."
Initially, "Jurassic Park" was planned as a trilogy. Given the film's overwhelming success, preparations for the sequel were naturally fast-tracked.
In the original timeline, "Jurassic Park" was one of the most successful projects in Steven Spielberg's career. With his profit-sharing deal with Universal, Spielberg earned an unprecedented $250 million from the first film alone.
For this installment, Spielberg's compensation structure was an $8 million base salary plus a 10% cut of the North American box office. Compared to profit-sharing, this deal was very secure, and so far, only two individuals had been offered similar terms by Daenerys Entertainment.
Based on "Jurassic Park's" box office performance, Spielberg stood to earn over $40 million from this project alone, placing him among the highest-paid in Hollywood.
However, when comparing his earnings to Daenerys Entertainment's profits, Spielberg might feel shortchanged. In the original timeline, Spielberg's compensation was likely 20% of the net profits across all channels. With "Jurassic Park" generating over $1 billion in profits from global box office, merchandise, home video sales, and television rights, Spielberg's earnings reached $250 million.
In his previous collaboration with Columbia Pictures on "Hook," Spielberg, along with stars Robin Williams and Dustin Hoffman, had a deal for a combined 40% share of net profits across all channels, with Spielberg himself taking 20%.
Unfortunately, "Hook" only broke even, leaving Spielberg with just his base director's fee.
This experience likely led Spielberg to agree to Daenerys Entertainment's seemingly secure box office profit-sharing terms for "Jurassic Park."
When the film became a blockbuster, with merchandise sales rivaling the DC Cinematic Universe, Spielberg realized he hadn't struck the best deal.
Under Universal's long-term agreement, Spielberg owed them one more film after "Jurassic Park" and "Schindler's List."
In the original timeline, Spielberg, who often claimed he disliked repeating himself, directed the sequel "The Lost World: Jurassic Park."
Observers could see that "The Lost World" was a lackluster attempt. Despite more advanced special effects and grander scenes, the core storyline was a simple rehash of the first film, leading to a significant drop in both box office and critical reception for the sequel.
This time, Spielberg likely assumed that given the first film's success and his outstanding obligations, Daenerys Entertainment would prefer him to direct the sequel.
Traditional Hollywood executives would undoubtedly make that choice. Since they were career managers who avoided taking significant risks, having Spielberg at the helm of the sequel was the safest bet.
Proposing profit-sharing was merely in line with Spielberg's usual industry standing.
However, Simon was not one to follow conventions blindly.
Tapping lightly on his desk, Simon contemplated for a moment before telling Tom Pollock, "In that case, we should start looking for a new director."
Pollock was momentarily stunned, as if he hadn't heard correctly.
After a few seconds of processing, he hesitantly asked, "Simon, you mean, replace him?"
"That's right, replace him."
Pollock was at a loss for words.
Given "Jurassic Park's" current box office success and merchandise sales, this was a franchise projected to bring Daenerys Entertainment profits exceeding $1 billion over the next few years.
For a traditional Hollywood producer like Pollock, the logical step would be to plead with Spielberg to ensure he directed the sequel, maintaining the franchise's overall quality.
Ensuring the sequel's success could justify a 15% net profit share. A director who could guarantee the studio $1 billion in profits deserved to earn $150 million.
In many Hollywood projects, top-tier directors and stars often earn more than the studios themselves.
After a moment's hesitation, Pollock earnestly said, "Simon, I think this decision is hasty. Considering 'Jurassic Park's' returns, Spielberg's proposal for the sequel isn't unreasonable."
"I understand that, and this decision isn't made lightly," Simon replied, his tone serious. "Do you think the first 'Jurassic Park' was perfect?"
Pollock was puzzled. "With around $350 million in North American box office alone, isn't that enough?"
"It's not perfect," Simon shook his head without delving into specifics. "So, my decision to replace him isn't because of the profit-sharing terms. If we could guarantee a high-quality sequel, Spielberg taking 20% of the profits would be justified."
Pollock seemed more confused. "But in all of Hollywood, Simon, apart from you, is there anyone more suited to direct the sequel than Spielberg?"
"Tell me, Tom," Simon said, "what aspect of 'Jurassic Park' do you think attracted the audience the most?"
After a moment's thought, Pollock replied, "The special effects."
"Exactly, the special effects," Simon continued. "And we have full control over the special effects team, ensuring the sequel's quality in that regard. However, to entice audiences to buy tickets for the sequel, special effects alone won't suffice. We need breakthroughs in story and substance. Given the first film's success, do you think Spielberg will devote the same level of effort to the sequel? Even if Spielberg doesn't want to invest much effort, we could step in with creative input. But do you think Spielberg, with his controlling nature, would accept us interfering in the creative process?"
Spielberg was notoriously controlling, a fact well known in Hollywood. After rising to fame with "Jaws," Spielberg's company, Amblin Entertainment, not only produced his own films but also a slew of other projects with Spielberg as the producer. These projects were tightly controlled by Spielberg, and the creative team had to adhere to his vision, or risk being fired.
Such an autocratic production method isn't necessarily wrong.
If a project constantly faces conflicting opinions and interference, the result can be disastrous. The DC Cinematic Universe under Warner Bros., which Simon remembered well, was a prime example of how multiple voices could derail a promising series.
Similarly, Daenerys Entertainment was largely driven by Simon's singular vision.
Given "Jurassic Park's" exceptional start, if Spielberg could ensure an even higher quality for the sequel or at least match the first film's level, Simon would favor keeping him in charge of the series.
While it might seem unfair to judge Spielberg by his past actions, Simon believed that continuing with Spielberg would likely lead to a sequel similar in quality to "The Lost World."
If Spielberg were open to other input, this wouldn't be as significant an issue. However, Spielberg's controlling nature made it unlikely that he would accept any interference, especially given the first film's success.
Therefore, Simon's decision to replace the director was not about Spielberg's compensation demands but rather about reclaiming creative control over the "Jurassic Park" series.
Tom Pollock quickly understood Simon's reasoning.
However, the plan seemed risky.
Realizing Simon's determination, Pollock pondered before mentioning another concern, "If we proceed with this, dealing with Spielberg and the media could be problematic."
"Jurassic Park" was still running strong in theaters, with explosive overseas ticket sales as well.
Replacing Spielberg, who had just delivered such a hit, without even discussing the sequel's direction, would be a significant blow to his pride as a Hollywood legend.
The media would undoubtedly have a field day with such a story.
"Burning bridges," "Stabbing in the back," "Ungrateful behavior."
Even though Western cultures don't have such rich idiomatic expressions, the media narratives would certainly be colorful.
More seriously, Daenerys Entertainment's actions could upset other filmmakers in Hollywood.
This wasn't something Simon had fully considered, but Pollock's point made sense, and Simon quickly devised a strategy.
Daenerys Entertainment had to handle this delicately.
Tapping his fingers on the desk as he thought, Simon said, "We shouldn't be too overt in preparing for the sequel. Keep negotiating, but don't concede. Once Spielberg completes 'Schindler's List,' we can part ways, citing differences over compensation and creative control."
That seemed like the only viable approach.
Dragging it out for several months would cool the fervor around "Jurassic Park." With appropriate justifications, both parties could exit gracefully.
This would be far less damaging than announcing Spielberg's dismissal now.
With this plan settled, Pollock was about to leave when Simon suddenly stopped him. Fixing his gaze on the seasoned Hollywood executive, Simon said, "Tom, you need to understand something. You're a top executive at Daenerys Entertainment now. You work for me. So, I don't want any of this conversation to reach ears it shouldn't. Do you understand?"
Pollock froze, beads of sweat forming despite the cool office environment.
He had indeed harbored certain thoughts.
As a seasoned Hollywood professional, Pollock naturally felt a kinship with Spielberg and the other industry veterans, often seeing them as part of his inner circle.
Compared to Simon, whose meteoric rise still made him feel like an outsider to the Hollywood establishment, Spielberg was "one of them."
Without Simon's stern reminder, Pollock might have found it hard to resist the urge to hint something to Spielberg, perhaps not the full content of their discussion but enough to give Spielberg an idea of the situation.
The consequences could be severe.
Having just directed a blockbuster still in theaters, any director would feel betrayed if abruptly replaced. Spielberg, in particular, wasn't known for his forgiving nature.
Given his tendency to hold
grudges, as evidenced by inserting the name of someone who once slighted him into every film contract, Spielberg wouldn't take kindly to such news.
Facing Simon's unwavering stare, Pollock suppressed any inclination to argue or express discontent and simply said, "I understand, Simon. I won't say anything."
Simon nodded in approval. "Also, discuss this with Amy privately and draft a detailed plan."
Pollock nodded again, and once he was sure there were no further instructions, he finally left.
As he walked through the office corridors, the cool breeze brought a chill, and Pollock felt himself calming down. Reflecting on the young man in that office, Pollock couldn't shake the feeling that Simon's understanding of Hollywood seemed too perceptive.
If he remembered correctly, his young boss would turn 25 next month. Even for a Hollywood insider born into the industry, it was rare to possess such intricate knowledge at that age.
But recalling Simon's numerous achievements and breakthroughs, Pollock relaxed, accepting that his boss was an enigmatic figure. Perhaps, he thought, Simon could indeed see the future.
With Pollock gone and the workday nearing its end, Simon did not plan to leave on time. Following his schedule, he headed to the post-production center to review the latest dailies from the ongoing filming of "Seven."
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