Dunn and Francis Ford Coppola had a long conversation, and he was honored to attend a dinner at the Coppola family home. There, he met many familiar faces, including Sofia's cousin, Nicolas Cage.
At this point, Nicolas Cage was full of ambition, steadily climbing to the pinnacle of stardom. However, he had a somewhat aloof personality; throughout the meal, he didn't say a word to Dunn .
Dunn tried several times to strike up a conversation, only to find that Cage never even glanced his way, which left him a bit annoyed. So, he decided to ignore him in return.
No wonder this guy ended up bankrupt despite his connection to the Coppola family. And after his bankruptcy, few people extended a helping hand. His personality was problematic—too arrogant!
In contrast, Francis Ford Coppola was someone truly worthy of respect. Dunn had a long conversation with him, gaining insight into the director's mindset and ambitions. Through their discussion, Dunn also came to understand the sentiments of Coppola's generation of Hollywood filmmakers.
These people had spent their entire lives in Hollywood; it was their home. No one wants their home to be in chaos, nor do they want rats sneaking in to steal their grain every day.
Perhaps that's why Jeffrey Katzenberg, Steven Spielberg, and David Geffen founded DreamWorks. With their status and fame in Hollywood, they didn't need to put in so much effort. Working at any of the major studios would likely earn them more in stock and bonuses than they could from creating DreamWorks.
Why does Steven Spielberg make two movies a year and produce a blockbuster on top of that? What is he after?
...
After saying their goodbyes, Sofia drove Dunn away. "My cousin is just like that; don't take it personally."
Dunn shook his head. "I'm just curious."
Sofia sighed bitterly, "Aren't all talented people like that? Proud as can be. Otherwise, he wouldn't have even discarded the Coppola name."
Dunn smirked, "I'm talented too, but am I arrogant?"
Sofia smiled and said, "You're not arrogant?"
Dunn shrugged, relaxed, "It's not arrogance; it's confidence!"
...
The post-production for *My Big Fat Greek Wedding* was very simple. If the post-production of *Titanic* was like a college thesis, then the post-production of *My Big Fat Greek Wedding* was like an elementary school essay.
With assistant producer Morgan Carey, who had a production ability of 98, helping out, Dunn 's work became even easier.
The atmosphere at Dunn Studios had become quite lively. When Dunn entered his office, his art analyst, Manohla Dargis, knocked and came in.
"Boss, I have something I'd like to discuss with you." Manohla Dargis, who specialized in avant-garde and art films, had a rather sharp personality.
Dunn was easygoing, pouring her a cup of coffee. "Sure, go ahead."
Manohla Dargis looked serious. "Boss, while you were out of town filming, I researched some of the best-selling books on the market and found quite a few that would make great movies."
"For awards?"
Dunn was a bit surprised but pleasantly so. He hadn't assigned any tasks, and yet Manola Dajis had shown such strong initiative.
Manola Dajis nodded, "That's right, I can't be sure if it will be a box office hit, but it definitely aligns with the artistic aesthetics of the Oscars."
Dunn sat on the sofa opposite her, feeling a bit excited. "Go ahead, which one?"
"Uh... quite a few." Manola Dajis paused, "I've bought all those books. Maybe... you should take a look?"
Dunn waved his hand, "No need, just tell me directly. I'll listen to what the genre is."
He wasn't in the mood to read those complex and mind-bending art books.
Manola Dajis straightened up. "There's a person named Colin Clark. He's a minor figure who once interned on the set of *The Prince and the Showgirl*."
"*The Prince and the Showgirl*?" Dunn 's eyes lit up. "Is that the movie starring Marilyn Monroe?"
Manola Dajis nodded, "Yes, that's the one. Colin Clark once wrote a book called *My Half Year with Marilyn*, and he recently published another called *My Week with Marilyn*. Both are about his experiences on the set of *The Prince and the Showgirl*, what he saw, heard, and some... well, interesting things."
Dunn immediately understood her point.
Having been reborn in America for over a year, he deeply felt the American people's love for Marilyn Monroe. Even in Hollywood, her legendary stories were still widely circulated.
Setting aside all the gossip, her image as a sex symbol alone was enough to make her a proud figure across America.
She had never won an Oscar, yet she was ranked among the top ten of Hollywood's greatest stars, demonstrating her far-reaching influence and the affection and remembrance she garnered from the Academy and her fans.
At that moment, there was a knock on the office door. Market analyst Andrew O'Hare walked in with an urgent expression. "Dunn , you mustn't listen to Manola's suggestion!"
"Huh?" Dunn was stunned.
Andrew O'Hare said angrily, "I've read all the books she recommended. I don't know if they can win awards, but making them into movies would be like making a donation."
Manola Dajis gritted her teeth, "Andrew, what do you mean by that? Are you saying we shouldn't make art films?"
Andrew O'Hare retorted, "But we can't stubbornly engage in money-losing ventures! I know art is important, but do you want to see Dunn Films go bankrupt?"
Manola Dajis hesitated for a moment, her face turning pale.
Andrew O'Hare snorted and turned to Dunn , "Boss, the projects she's recommending... to recoup costs, it would take at least three to five years, maybe even ten. This would have a huge impact on the company's financial situation."
Seeing the situation, Dunn understood that the two of them must have had many arguments before this.
Dunn raised his hand and sighed, "Andrew, thank you for your concern."
Andrew O'Hare breathed a sigh of relief. He used to be unemployed, and it wasn't easy for him to find a job, especially at the up-and-coming film company, Dunn Films, which was his pride. He didn't want anything to happen to it.
"But..." Dunn glanced at Manola Dajis, "But I also don't think Manola's proposal is wrong."
"Boss..."
Andrew O'Hare was taken aback.
Dunn waved his hand, interrupting him, "Andrew, I understand your concerns, but please trust me, even if I lose everything, Dunn Films will not go under! Yes, we're financially tight right now, but believe me, the future is bright!"
Andrew O'Hare remained silent, not particularly moved by such grand statements.
Dunn sighed and said earnestly, "Andrew, you and Manola are my most trusted assistants. I know you mean well, but I hope you can have broader and higher aspirations."
Andrew O'Hare raised an eyebrow, looking a bit puzzled.
"Manola, don't rush to smile either. I hope you'll reflect on what I'm about to say too." Dunn took a deep breath and slowly recounted his visit to Francis Coppola.
The office fell silent, with only Dunn 's voice resonating like thunder.
Andrew O'Hare's expression was complex as he gazed at the ceiling light, deep in thought.
Manola Dajis, holding a coffee cup, looked resolute as she listened. After Dunn finished speaking, she added, "I used to work at *The Village Voice*, where I studied avant-garde cinema with Mr. Andrew Sarris, and I deeply felt the emotions of that generation of film critics towards cinema and Hollywood."
Dunn sighed, "Indeed, for a film company to survive, commercial blockbusters are essential. But how can we, as filmmakers, simply follow in the footsteps of Wall Street's wolves? Hollywood has upheld its spirit for a century, spreading universal values across the world. In our generation, it can't just be about empty special effects and tasteless popcorn flicks!"
Manola Dajis's eyes reddened, "Boss, you put it so well!"
Dunn shook his head, his tone heavy, "It's just a reflection. Who is Francis Coppola? His deep concerns represent an entire generation. Isn't the lesson from MGM enough? Ultimately, Hollywood belongs to the filmmakers!"
Andrew O'Hare, feeling low, asked, "Boss, does that mean the company will focus on art films in the future?"
"Of course not. Art films will always be niche, just Hollywood's last spiritual sanctuary. Commercial blockbusters will remain Dunn Films' main focus."
Dunn smiled to lift Andrew O'Hare's spirits, then said something that both Andrew O'Hare and Manola Dajis would remember for the rest of their lives:
"Capital is the ***, and film is the ambition! We must make money, but we cannot forget our passion! Commercial blockbusters must thrive, and art films cannot be neglected. Only with both blooming together can we stay true to our passion."