Chapter 149: A Mixed Blessing
The unrest in Los Angeles sparked intense debate both domestically and internationally.
At its core, it became a confrontation over the American judicial system and systemic racism.
Inside Dawnlight Films' private screening room, a rough cut of Schindler's List was playing.
Aaron rested his chin on one hand, watching the black-and-white images flicker across the screen.
He was already thinking ahead.
Once the film was released, the Best Picture race at next March's Academy Awards would be all but settled—there would be little room left for debate.
"Spielberg is still in Hawaii, right?" Aaron asked suddenly.
Brad Grey, standing nearby, nodded.
"That's right. Jurassic Park won't wrap anytime soon. Universal has scheduled it for next summer, so Spielberg's schedule is packed."
Schindler's List was slated for a year-end release anyway. Films like this relied heavily on awards season buzz for publicity.
Besides, with the Jewish media's influence—newspapers and television alike—the promotion would practically take care of itself.
---
That afternoon, inside Aaron's office.
A novel titled Interview with the Vampire lay on the desk. It was the first published book in The Vampire Chronicles, written by Anne Rice—an author known for her Gothic fiction infused with religious themes and erotic tension.
Don Steel was in the middle of her pitch.
"Interview with the Vampire was published in the '70s. Paramount bought the adaptation rights for ten years but never developed it," she explained.
"After that, the rights were transferred to Lorimar Pictures under a five-year agreement, which expired at the end of last year."
"That means the rights are currently open," she continued.
"I think we should move on it. We've just participated in Coppola's Bram Stoker's Dracula, and we've already built experience with dark supernatural material."
Aaron glanced at the novel on his desk and smiled faintly.
"Sounds good. Go talk to Anne Rice's team," he said. "I'm optimistic about this one."
After Don Steel left, Aaron picked up the book and began reading it himself.
---
Malibu.
A BMW Z1 convertible cruised along Pacific Coast Highway No. 1, the ocean stretching endlessly beside them.
"So," Sophie Marceau said, brushing her hair back as the wind rushed past,
"You're sending me to England to shoot a romantic comedy?"
She had just arrived in Los Angeles from the set of True Romance and had been handed the script for Four Weddings and a Funeral.
Aaron laughed softly, his hand resting casually on her thigh.
"Yes. It's a very interesting script—unexpectedly so," he said.
"Completely different from something intense like True Romance."
Sophie flipped through a few pages and nodded.
"It's definitely comedic. Light. Shouldn't be hard to shoot."
Romantic comedies were among the easiest genres to film, after all.
And Sophie Marceau had made her name years earlier starring in youthful, tender French romance films.
Not long after, the car pulled into a seaside villa at Point Dume in Malibu—a vacation property Aaron had purchased earlier.
"You really know how to enjoy life,"
Sophie Marceau said, holding Aaron Anderson as they stood on the balcony, feeling the warm Pacific breeze, beneath blue skies, white clouds, and the rhythmic sound of waves below.
"What else is money for, if not enjoyment?"
Aaron kissed her lightly, holding the beauty in his arms, and smiled.
"So? Shooting a Hollywood film—feels different, doesn't it?"
"It really does," Sophie replied. "Tony Scott has quite a temper, and the pace on set is intense."
"Transitions between shooting locations are fast. In Europe, things are never this rushed."
Compared to the laid-back rhythm of French productions, Hollywood's model was far more commercialized and efficiency-driven.
---
That night, in the bathroom, Aaron and Sophie shared a steamy bath together.
"Are you going to Cannes?" Sophie asked softly.
"They've invited me to attend the closing ceremony. I'll need to head over early—probably right after the weekend."
Standing beneath the shower, she leaned into Aaron, enjoying the warmth of the water cascading over them.
"I don't see much worth watching there," Aaron replied casually.
"And Indecent Proposal opens next Friday. Dawnlight has too many projects right now—ordinary films don't really interest me."
Between Speed, Philadelphia, The Mask of Zorro, Four Weddings and a Funeral, and The Piano, plus Dawnlight's foreign investments—there was no shortage of work.
On top of that, Aaron had just approved Don Steel's push to develop Interview with the Vampire, not to mention Dawnlight still held the rights to Forrest Gump.
Projects were piling up.
Sophie smiled and kissed him gently on the lips.
"Cannes is practically drowning in Basic Instinct news right now," she said.
"Paul Verhoeven's film has stirred massive controversy—every major outlet is arguing about it."
After premiering at Cannes, Basic Instinct became a lightning rod for debate.
Its North American box office had already surpassed $80 million, and crossing the $100 million mark was all but guaranteed.
"Four Weddings and a Funeral should start shooting in London in about two months," Aaron said.
"Will you go straight from France to the UK?"
After Cannes, Sophie would certainly return to Paris for a while.
"It depends," she replied lightly.
"If needed, I may come back to the U.S."
As she spoke, her fingers traced slow circles across Aaron's chest, smiling as she explored the firm lines of his muscles.
"You really do have an incredible physique," she teased.
"No wonder women find you irresistible."
She couldn't help but kiss his chest again.
"Well," Aaron chuckled, "I'll be heading to London too when the time comes."
Moments later, Sophie slowly knelt down…
---
By mid-May, Indecent Proposal, developed by Dawnlight Films, officially premiered.
Opening on the same day was Warner Bros.' sequel blockbuster, Lethal Weapon 3.
Lethal Weapon 3 launched in 2,510 theaters across North America, earning $33 million during its opening weekend.
Indecent Proposal opened in 1,720 theaters, pulling in $19 million over its first three days.
Both films generated strong buzz, kicking off the summer box office season on a high note.
However, while Indecent Proposal attracted intense discussion, its reception was decidedly mixed.
Chicago Sun-Times wrote:
"Indecent Proposal cleverly cloaks a fundamentally vulgar premise in glossy romantic packaging."
The Hollywood Reporter commented:
"Despite its absurd setup and weak script, the director still delivers the kind of sleek, erotic pop fable he excels at."
But outlets such as Variety and The New York Times were far less kind:
"The most irritating flaw of Indecent Proposal is that it abandons its own filth."
"What begins as an odd curiosity devolves into a dull—and shockingly mediocre—domestic soap opera."