*
Dunn was in a rush.
After continuously investing in stocks, films, and acquiring rights, his available funds were rapidly dwindling.
Although the second dividend from *Titanic* had already been received, he couldn't touch it. That money was reserved for April's tax payment.
In America, you can provoke any institution, but the tax authorities are the one entity you must avoid at all costs.
Therefore, getting *My Big Fat Greek Wedding* released as soon as possible was a pressing matter.
Bryan Lourd accompanied Dunn to 20th Century Fox to discuss the film's distribution.
Bill Mechanic, as usual, was friendly and welcoming, quickly arranging for a screening team to watch the movie in their private theater.
This was also Bryan Lourd's first time watching the completed version of *My Big Fat Greek Wedding*.
He had high hopes for Nicole Kidman in this movie. He expected Dunn to deliver a well-crafted film that would not only squeeze *Blade*'s box office potential but also offer a turning point in Nicole Kidman's career.
The film, which was 108 minutes long—over 10 minutes longer than the original—had added more scenes, making the story more complex.
The story centers around Toula, a woman from a Greek-American family...
Toula is 30 years old and still single. Her parents run a Greek restaurant, where she works in a dance club attached to the restaurant. Fed up with the smell of bread that clings to her, she decides to leave and work at her aunt's travel agency instead.
At the agency, she suffers from bullying, mockery, and insults from her cousin. Feeling humiliated but silent, Toula watches as her beautiful cousin receives constant attention from handsome suitors, leaving Toula envious and bitter. Where was her own Prince Charming?
Then one day, a customer collapses in the travel agency. Using the little first aid knowledge she has, and with the help of high school teacher Ian Miller, they perform CPR for 20 minutes until the customer finally wakes up.
This is how Toula and Ian meet.
Over time, as they get to know each other, Ian learns about Toula's struggles and decides to help her. His partners in this effort? His high school students.
Ian buys a second-hand high-end dress, enlists the help of his students, and together they transform Toula—makeup, hairstyle, everything—over the course of an afternoon. A new Toula is born...
At her cousin's birthday party, the guests, led by her cousin, are eagerly waiting to see Toula embarrass herself like the ugly duckling they perceive her to be.
But to everyone's surprise, Toula steps into the party in a stunning red dress, her hair flowing, her eyes bright, and her face radiant. She no longer resembles the ugly duckling at all. In an instant, Toula becomes the center of attention.
The male guests, including the handsome ones who were initially focused on her cousin, all shift their attention to Toula, eager to approach and impress her. And at that moment, Ian Miller does something incredibly bold—he proposes!
Despite it being her cousin's birthday party, all eyes are now on Toula and Ian. The guests cheer, they tease, and they shower the couple with blessings...
Bill Mechanic, a producer himself, watched this scene unfold with satisfaction. "The classic Cinderella arc," he said with a smile, "with a touch of humility first, followed by triumph. It pleases the female audience while resonating with men as well. Dunn's knack for understanding the audience's mindset is no less than Spielberg's."
Bryan Lourd, on the other hand, was focused on something else—Nicole Kidman. He was surprised, thrilled, and ecstatic!
Nicole Kidman's performance in this movie... it completely exceeded his expectations!
The decision to have her play an unattractive character—a move many Hollywood producers would shy away from—was executed so perfectly by Dunn.
By having Nicole Kidman first appear as unattractive, then transform through Ian Miller's help, Dunn allowed her to showcase her acting range while also presenting her in her most radiant form.
This film not only highlights her extraordinary talent but also her goddess-like presence. It was as if the movie was tailor-made for Nicole Kidman!
Moreover, the film's message was bound to resonate deeply with female audiences. Regardless of the film's logic, what woman wouldn't want to find her Prince Charming and become even more beautiful and perfect?
And the line from the movie, "There's no such thing as an ugly woman, only a lazy one," was sure to become the most popular line of the year among female audiences.
Bryan Lourd was now certain he had made the right choice. Dunn Walker was indeed worth investing in. He was Nicole Kidman's savior and might even turn around AA's current troubles!
He could foresee that if Dunn's movie succeeded, AA's influence would rise accordingly. With both Dunn Walker and Steven Spielberg in their corner, what did AA have to fear from rival agencies?
Bill Mechanic and Bryan Lourd may have had different focuses, but they shared the same thought—Dunn's movie had serious potential!
In recent years, with the rise of actresses like Julia Roberts and Cameron Diaz, female-oriented comedies were becoming increasingly popular.
In this segment of the story, *My Big Fat Greek Wedding* has been successfully screened for key industry figures, including Bill Mechanic and Bryan Lourd. The film garners significant praise, particularly for Nicole Kidman's exceptional performance, which blends the comedic talent of stars like Julia Roberts and Cameron Diaz with the acting prowess of Meryl Streep. The audience erupts into applause, signaling the film's potential success.
Bill Mechanic, impressed by Dunn's talents, compliments him, while Bryan Lourd expresses his confidence in Dunn's ability to elevate Nicole Kidman's career. There's a brief humorous exchange regarding Nicole's personal life when Bryan reveals she and Tom Cruise have separated, surprising Dunn.
The narrative shifts to the business negotiations for the film's distribution with 20th Century Fox. Independent films often struggle with profitability due to the steep cuts taken by distributors. Typically, these cuts can range from 25-35% of the total box office gross, after deducting marketing, production, and other expenses. However, exceptions exist for blockbusters like *Star Wars*, where studios like Fox offer more favorable terms to secure distribution rights.
The negotiation between Bryan Lourd and Bill Mechanic is intense but wrapped in pleasantries. Bryan pushes for an unprecedented 15% cut across all distribution channels—a significant reduction from the industry norm. Bill resists at first but agrees to negotiate. The two eventually reach a compromise, with Bryan securing 15% of the box office gross while allowing 20% for DVD, VHS, and other ancillary rights.
Bryan also begins maneuvering for future deals, hinting at Dunn's plans to acquire Marvel Entertainment and produce a major superhero blockbuster. This paves the way for another negotiation where Bryan seeks to secure a 10% distribution fee for this future project. Although Bill hesitates, he eventually gives a verbal commitment under the assumption that such a large-scale movie would justify the terms.
Ultimately, the negotiations conclude with both sides satisfied. Bryan Lourd has effectively positioned Dunn for success, ensuring favorable terms not just for *My Big Fat Greek Wedding* but also setting the stage for future projects, including the Marvel acquisition. This marks a pivotal moment in Dunn's rise in Hollywood, as his independent film career is now backed by major industry players.