Exploiting Hollywood 1980

"Want to know what's going on between me and Calvin? Nothing."

A commercial for Brooke Shields' CK jeans appeared on TV. Ronald made a series of this advertisement, but only this one was repeatedly broadcast by the television station.

"I heard that she is the most popular young girl in America right now?" Minahan Golan raised his thick finger and pointed at Brooke Shields on the TV and asked.

"Yeah, her Blue Lagoon is super hot. I heard she's starring in a new movie, 'Endless Love.'" Yoram replied.

"We also want to invite her to film. She has a very classical look, and we can definitely make her an Oscar-winning actress."

Ronald used the excuse that he wasn't hungry and didn't touch the pagoda-designed fast food, but all was eaten by Minahan and Yoram.

When the two Israelis first saw the slogan, they laughed very loudly. It seemed that even foreigners had no problem understanding the implications of the slogan.

Thinking about it, Minahan also arranged for the beautiful heroine to sing a song called "i'm ing" in the blockbuster "Apple". It can be seen that no matter what foreign language you learn, the first things you learn are swear words and those words.

Ronald didn't want others to know that he shot this vulgar advertisement, so he didn't say anything. The TV station singled out this one and played it repeatedly. It seems that Brooke Shields and her daughter will be under a lot of pressure.

…

"Want to know what's going on between me and Calvin? Nothing."

Paramount Studios president Michael Eisner is also talking about the ad.

"People in the distribution department are unwilling to go to theaters to promote these CK jeans ads. They use the excuse that there is no precedent for advertising before movies. In fact, they are just unwilling to accept changes and have no motivation."

Michael Eisner, the president of Paramount Studios, sat across the desk from a bald man with a bigger head and a thicker neck, reporting to him.

"Michael, we know each other. Honestly, do you think it's a good idea to play commercials in theaters before movies start?"

The speaker was Barry Diller, chairman and CEO of Paramount. Diller was Eisner's old superior. After he left ABC and took over Paramount in 1974, he hired Eisner as well and placed him in the position of president of the studio.

He is the right-hand man who reports directly to him.

In the past few years, Diller's main focus has been on producing dramas for TV stations. He gradually let go of film matters to this subordinate who had outstanding performance at ABC but had a rough style. .

This style tends to get worse when it comes to Paramount. Recently, many people from the film production department and external investors of the film have complained to him, stating many of Eisner's arrogant actions.

Barry Diller knew that Eisner had offended many old diehards and partners when he was promoting his own strategy. In fact, he was very satisfied with Eisner's propulsion ability, but things were a little out of control and he needed to be reminded in person.

"I think there is essentially no difference between movies and TV. TV stars can naturally make movies. And there is no problem with advertisements on TV programs being played in cinemas." Eisner talked about this, which is the film and television promoted by boss Diller. Integrated strategy, we must keep up with it.

"I heard that you recently wanted to fire Marion Dorotti, the studio's vice president in charge of casting?" Barry Diller suddenly mentioned a personnel arrangement.

"Marion, she always gives me trouble." Others may rarely see Eisner's complaining side. Only in front of this boss and mentor, he still retains some of his former straightforwardness.

"I actually like Marion Dorotti's casting. She was the first woman to have an independent title of casting director in the subtitles. 'Grease' the year before last, and 'Urban Cowherd' last year." She personally discovered John Travolta. "Eisner first praised her.

“But she is a stubborn person who is unwilling to implement the strategy of integrating film and television. She is always opposed to TV actors participating in movies, and she spreads this idea in front of her subordinates.

I have no problem with her personally, but when we hired her from the New York Casting Studio, she was not made the casting director, but the vice president in charge of casting. This was a blatant violation of the established strategy, and I had no choice but to let her go. "

Eisner explained his motivation for firing Marion Doloty as being contrary to the company's strategy. He knows that this is Barry Diller's bottom line. The boss has always valued the television business over the film business.

"And Robert Sternwood, he came to me and complained that you didn't like his choice of Andy Gibb for the lead role in the Grease sequel."

Barry Diller clicked again.

"Come on, Andy Gibb can't act..."

"I didn't mean to accuse you." Barry Diller stopped Eisner from explaining, "We are old acquaintances, Michael, and you did a good job."

Eisner was in high spirits when he returned to his studio president's office, easily fighting off the rumors about him from Barry Diller's side. He whistled and practiced golf putting on the artificial turf in his office.

"Pa", another push into the hole. Eisner hummed, stepped forward and bent down to take the golf ball out of the hole.

When you bend over and lower your head, blood flows to the brain. Eisner looked down and saw that all the furnishings in the office were upside down, with the desk at the top and the chandelier at the bottom.

Suddenly a wave of doubt arose in my heart. Eisner put the putter away and sat back in his chair to think about it.

"Why did Barry Diller specifically mention Marion Dorotti and Robert Sternwood?" Eisner rubbed his chin.

"Could it be that my opponents in the studio system heard the news that I was going to fire Marion?" Since he took office, he has adopted a strategy of dividing and attacking, never allowing the person who opposes the most fiercely to have the most support. By.

However, Marion Dorotti, the vice president in charge of casting operations, has led the way for many Oscar-winning actors and she has deep connections in the industry. And the casting studio he founded continues to operate in New York. She often quarreled with herself in person and was not afraid of the threat of her dismissal.

And Robert Sternwood took advantage of the power of several blockbuster movies and began to dictate to himself. This lucky record salesman thought he had found the secret to a successful movie and was trying to do it again.

Eisner first made a call to his informant at the brother company, "Okay, Warner Bros. has met her? She didn't agree to change jobs? Thank you, I understand."

Marion Dorotti has actually been in contact with Warner Bros., and has not yet agreed to the other party's poaching. If she agrees to the other party, there will be one less vice president in the company who opposes her. But I might be able to use her upright character to impress her and establish my own prestige within the company.

"Ms. Dorotti, please come to my office." Eisner thought twice before pressing the call button and giving the order to his secretary. He decided to talk to Marion Dorotti first.

Eisner and Dorotti have accumulated deep conflicts. In the high-level meeting, the two people's eyes no longer met.

Marion Dorotti was also surprised to learn that Eisner was looking for her, and she walked to the president's office, which she had not seen for a long time.

"Marion, please don't leave us." Eisner unexpectedly waited outside the office door and held Marion Dorotti's palm with both hands. "I heard that you have thoughts of leaving Paramount? Although we have some differences on some things, we can't live without you."

Eisner welcomed Marion into the office and made some nonsensical remarks. I'll send her out in person in ten minutes.

Marion Dollotti had a guess in her mind, and when she returned to the office, she dialed a phone call to her then-subordinate Julia Taylor, who would take over the New York casting studio after her.

"Julia, it's me Marion...I'm afraid Eisner is going to fire me. I will accept Warner Brothers' invitation to work there. You need to know where I am going first."

Michael Eisner is very satisfied with his operation. If Marion was smart, she would leave her job and accept Warner Bros.'s offer. It would be better if she was stupid enough to stay. The effect of a public dismissal would be more shocking inside and outside the company than resignation, and her power at Paramount Studios would be more stable.

"Pick me up to Katzenberg." Eisner answered the call of his subordinate in charge of production.

"Jeffrey, this is Eisner. How's the sequel to Grease going?"

Jeffrey Katzenberg was on the other end of the phone, and it felt a little sudden. Eisner rarely asked about specific production details.

"Sterwood found a screenwriter, but he still insisted that the film can be completed before the end of the year. As long as they start shooting, we must invest the agreed production costs in accordance with the contract."

"Agree to his request and don't start filming until we get the script. I will go find Sidney from MCA, understand?" Eisner explained a few words and hung up the phone.

Sidney of mca refers to Sidney Sheinberg, the president of mca, the parent company of Universal Pictures.

Paramount and Universal had formed a joint venture since the early seventies, with the two studios sharing distribution channels outside North America. Therefore, the two studios often exchange projects. If Paramount is not optimistic about a project, Universal may buy it and take it over, and vice versa.

"Why did Robert Westwood, the record company owner, offend Eisner?" Katzenberg knew full well what Eisner was planning. Sternwood wanted nothing more than to make his singer Andy Gibb famous. And his contract stipulates that the sequel to Grease must start filming by the end of the year in order to receive automatic investment from Paramount.

Eisner first pretended to agree to the filming plan, then found a reason to stop it, put the script into the rotation list, and let Universal take over. With such a tight schedule, Sternwood may be forced to give up Andy Gibb as the protagonist due to investment pressure, and suffer a hidden loss.

"Anyway, Andy Gibb really can't act, and that long face is not photogenic." Katzenberg picked up the phone, "Get me through Ovitz at CAA, and ask their screenwriter to talk about 'Son of Grease' tomorrow. 's script contract."

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