A high-level meeting regarding the newly greenlit sci-fi film, Jurassic Park, was underway at Universal Pictures.
Steven Spielberg, having finished shooting Hook, was present to attend this meeting in addition to being busy with post-production.
Even before Michael Crichton's original Jurassic Park novel was published, Spielberg had already discussed the dinosaur story with the author, also a renowned screenwriter.
Since then, Spielberg had closely followed the novel's progress, keenly realizing that it was highly suitable for film adaptation.
As expected, he wasn't the only one with foresight.
When Michael Crichton's novel roughly took shape, it sparked a bidding war among Warner Bros., Columbia Pictures, 20th Century Fox, and Universal Pictures.
Ultimately, thanks to his good relationship with Michael Crichton, Spielberg helped Universal Pictures secure the project last year.
To ensure Michael Crichton personally adapted the screenplay, Universal Pictures paid an additional $500,000.
While Spielberg was filming Hook, Michael Crichton completed the screenplay adaptation, so it was time to discuss greenlighting the project.
After acquiring the film rights last year, Universal Pictures indicated that Spielberg should ideally direct the film himself.
However, Spielberg wanted to finish Schindler's List before directing Jurassic Park, leading to a disagreement.
Later, Sid Sheinberg, president of MCA Inc. (Universal Pictures' parent company), spoke with Spielberg, requesting that he complete Jurassic Park first.
Sid Sheinberg understood Spielberg, knowing that once he finished Schindler's List, he would lose interest in Jurassic Park.
This was unacceptable. MCA Inc. was Universal Pictures' parent company, primarily focused on profit. Sid Sheinberg, not being Jewish, didn't care about any "lists."
Of course, to appease Spielberg, Sid Sheinberg also instructed Universal Pictures executives to offer Spielberg some conveniences.
Even if Spielberg wanted to insert his own person as the male lead, they could agree.
But who would have thought that before the project approval meeting was even held, Universal Pictures would change ownership?
After Sony acquired Columbia Pictures in 1989, other major Japanese conglomerates also became eager.
Finally, brokered by renowned Hollywood agent Michael Ovitz, Matsushita Electric acquired Universal Pictures in December 1990.
Not just Universal Pictures itself, the wealthy Japanese conglomerate bought all associated Universal entities: MCA Television Group, MCA Home Video & Pay TV, USA Network, publishing companies, theme parks, and Universal's vast film and television library.
At this time, Japanese businessmen were boasting about buying up the entire United States.
Of course, it wouldn't be long before Matsushita Electric regretted their impulsive decision, as the entertainment industry was completely different from electronics manufacturing.
The change in the parent company did not affect Universal Pictures' operations, and the greenlighting of Jurassic Park remained on schedule.
The new Japanese parent company, knowing Universal Pictures was preparing a major sci-fi project, and desperately needing their acquisition to translate into actual profits, Matsushita Electric couldn't sit still.
The new president, Akio Tanii, was instructed to agree to whatever terms Spielberg proposed, no matter what.
Thus, to Akio Tanii's anticipation, the meeting to greenlight Jurassic Park finally began after Spielberg finished Hook.
During the meeting, they thoroughly discussed initial project approval, preparations, actor casting, and other details.
Spielberg had long known this project inside and out. He asked Vice President Lou Wasserman, "I sent an invitation to Harrison earlier. Has he replied?"
Lou Wasserman shook his head and said, "Harrison flat out refused the male lead invitation. We then invited William Hurt, but he declined without even reading the script."
Spielberg raised an eyebrow, a bit surprised, but he still said, "That's okay. The film is still in early preparation; we can take our time choosing the right actors."
At this point, Akio Tanii added, "Director Spielberg, Mr. Matsushita, the chairman of Matsushita Electric, has always admired you and specifically instructed me to tell you that you can propose any conditions you have."
"All my demands are in the director's contract; there's nothing else," Spielberg said, then remembering the script Gilbert had given him, he asked his assistant to bring it in.
"Actually, there is one thing. Take a look at this script..."
Having considered recommending it to Universal Pictures beforehand, the assistant had printed several copies so that all the executives at the meeting could read it.
Lou Wasserman immediately had a visceral reaction upon seeing the title The Shallows on the script's cover, recalling Spielberg's 1975 film Jaws.
"Is this a sequel to Jaws?" Lou Wasserman asked.
"No," Spielberg explained, "This is a script written by one of my executive directors. He's looking for an opportunity to direct independently, so I recommended the script to you."
A script recommended by a top-tier director must be significant, so the Universal Pictures executives began to read the script seriously.
The story of the script was simple: it was about how a girl escapes from a shark's jaws, nothing extraordinary.
If there was anything extraordinary, it was that the protagonist was female.
The script also included a few storyboard sketches, which detailed a novel filming technique, something quite unique.
Everyone present, except for Akio Tanii, was a seasoned film industry professional and immediately began to calculate the potential of The Shallows, and whether it had a profitable future.
It was Lou Wasserman who asked Spielberg, "Is it Bruce Cohen?"
Bruce Cohen had long served as Spielberg's assistant; if it were him, Universal Pictures would confidently invest in the film.
But Spielberg shook his head again, "No, it's Gilbert Landrini."
"Who?" Lou Wasserman indicated he hadn't heard the name.
Spielberg had to explain, "You know Old Gilbert, right?"
"You mean the producer who squandered his entire fortune?"
Well, good news travels slowly, but bad news flies far. Everyone in Hollywood knew about Gilbert's unfortunate father.
"Exactly," Spielberg nodded, "This is a script written by his son, Gilbert. Gilbert wants to direct this film himself."
A Universal executive who was familiar with Old Gilbert then said, "If I'm not mistaken, Old Gilbert's son is only twenty-one this year. Can he do it?"
At twenty-one, wanting to direct a film independently was pure fantasy.
Even Spielberg was 29 when he directed Jaws; twenty-one-year-old Gilbert was just a novice.
Spielberg detailed Gilbert's situation: "I've talked with Gilbert, and he's very diligent and practical working on my set; he doesn't have any fantastical notions.
If Little Gwen hadn't given me the script, I wouldn't have known Gilbert had the ability to write it.
We discussed ideas for this script; he shows neither arrogant overconfidence nor an inferiority complex. I think he's worth a try."
Despite Spielberg's endorsement, the Universal Pictures executives still felt they needed to consider it.
If Gilbert were a few years older and had some accomplishments, allowing industry insiders to get to know him, then seeking directing opportunities would be much easier.
Even with Spielberg's backing now, they still wouldn't trust a fledgling young man.
Lou Wasserman suggested, "Why don't we find a more mature director to take charge? We could just give Gilbert a script buyout fee."
Although he hadn't interacted much with Gilbert, Spielberg felt Gilbert was similar to himself.
"I don't think Gilbert would hand over his hard work to someone else to direct; he'll insist on directing it himself," Spielberg stated.
"That's a shame then. If that's the case, Universal Pictures cannot invest in this film." Lou Wasserman's tone clearly wasn't very regretful.
Universal Pictures' script library had plenty of similar scripts. If it hadn't been recommended by Spielberg, this script wouldn't even have been discussed at a high-level meeting.
What about copying the script without paying? Hollywood film companies could actually do that.
However, the Landrini family was considered part of the Hollywood establishment, albeit a struggling one, but still insiders.
Universal Pictures wouldn't stoop to stealing from their own.