Chapter 136: The First Three-Way Meeting

Chapter 136: Chapter 136: The First Three-Way Meeting

Midway through the conversation, Baird changed the subject, his tone carrying a hint of deliberation. "Oh, there’s something I should probably tell you. Disney has sent word through us."

Irene looked up, her heart stirring slightly.

"They said your nomination showed them your creative strength," Baird said slowly.

"Their previous concerns about your experience in handling big productions have eased significantly. They hope to make initial contact with you through Fox to see if there’s any possibility of further cooperation. It seems they are somewhat interested in your three-way partnership proposal."

This was undoubtedly a pleasant surprise.

Irene suppressed the waves in her heart, remaining calm on the surface. "Thank you for passing that on, Mr. Baird. If Disney is truly sincere, I am ready to communicate at any time."

"Don’t worry, we will help you coordinate everything," Baird’s smile deepened. "Now that you are an Oscar-nominated producer, the initiative is in your hands. Disney’s willingness to show goodwill is a good thing for all three parties."

During a break in the meeting, while Irene was going to the restroom, she inadvertently heard two mid-level Fox employees whispering to each other.

"I really didn’t expect Mean Girls to be nominated for an Oscar. I think it’s just because the competition was too weak this year."

"You can’t say that. I watched the movie, and the character development is truly impressive, especially those lines. I don’t know how she came up with them."

"But she’s too young, only 20 years old, and with the help of the Coppola Family, who would believe she didn’t pull strings? My cousin spent ten years writing a script exploring war trauma, and he didn’t even get close to a nomination."

"That doesn’t mean you can deny her talent, and Disney has already sent word through us, so they must see her potential."

"Sigh, it’s good to have connections. She writes a random script and someone invests, she makes a random movie and someone buys shares. Why don’t we have that kind of luck?"

"All right, stop talking. If she can make every movie a hit, I’d actually thank her for bringing us bonuses."

The voices gradually faded away. Irene walked out of the stall and washed her hands with complete indifference.

She knew that these private discussions would not stop. Some were jealous, some were skeptical, and some genuinely recognized her, but none of that mattered anymore.

Disney’s goodwill was already the most tangible gain from the nomination. At the very least, the door to cooperation on Pirates of the Caribbean had finally been pried open a crack.

A week later, Irene arrived at the Fox Building again.

Sunlight streamed through the blinds, casting mottled light and shadows on the long table. Irene sat beside Baird Fergus, and opposite her sat the representative sent by Disney, Amy Pascal, who was also the General Manager of the Live-Action Film Marketing Department.

When Jerry Bruckheimer walked into the room, she still subconsciously straightened her back.

The name of this Hollywood gold-medal producer was almost synonymous with box office success. Bad Boys, The Rock, and *Pearl Harbor*—each one was a resounding big production.

Likewise, the Pirates of the Caribbean project they were about to launch was originally his work, an important stepping stone on his path to becoming a legend. But now, this stepping stone had been snatched by Irene beforehand.

But to say Irene would feel ashamed because of this would be an overstatement. In front of this group of Hollywood capitalists, only by being thicker-skinned than the others could one better grasp power.

She had originally thought that this Jerry Bruckheimer in front of her would be like that fat jerk Harvey Weinstein, nitpicking and spewing insults at her. She had even mentally prepared herself to be picked apart.

After all, she was very well aware of how much trash that fat jerk had talked about her behind her back.

But as soon as Jerry sat down, he picked up the project outline, his tone carrying clear appreciation.

"This story framework is very interesting. The character Jack Sparrow is so vivid, completely different from the traditional pirates, and very charming. I have to say, Miss Coppola really has a knack for character development."

The sudden praise caught Irene off guard. Why wasn’t the other party playing by the rules? Shouldn’t he have first belittled her abilities to take the high ground?

Seeing this, Disney representative Amy Pascal immediately took over the conversation.

"Jerry is our designated lead producer. As a big production, Pirates of the Caribbean needs an experienced operator like him to control the overall situation. From casting to filming rhythm, everything must be under his coordination."

This was Disney’s bottom line and the prerequisite for their willingness to sit down and talk. After all, although Irene had the backing of an Oscar nomination, she lacked experience with big productions, and Jerry’s involvement could greatly reduce the project’s risk.

Irene did not hesitate in the slightest and nodded in agreement. "I agree to Jerry serving as the lead producer. His experience can help the project avoid many detours, and I trust his judgment on the story."

That Jerry Bruckheimer could speak highly of her project was already a pleasant surprise. There was no need to dwell too much on who would be the lead producer, especially since in her previous life, the movie didn’t have any major issues under his guidance.

But immediately after, she changed the subject, looking directly at the Disney representative. "However, I have one request: the final cut must belong to me."

This sentence was like a pebble thrown into a calm lake. The meeting room instantly went silent.

The smile on the face of Disney’s Amy Pascal froze, her eyes full of surprise, and she even subconsciously raised an eyebrow. "Ms. Irene, you’re not joking, are you?"

In Hollywood, the final cut has always been the exclusive power of top directors. Even many veteran producers find it difficult to get their hands on it, let alone a newcomer who is only 20 years old and has only directed a teen comedy and an unreleased action film.

"I am very serious," Irene said, her tone firm, without the slightest concession.

"Pirates of the Caribbean is the result of over a year of my hard work polishing the script. I know every plot point and every emotional turn of every character like the back of my hand.

I trust Jerry’s production ability, but the editing directly determines the narrative rhythm and core expression of the story. I need to ensure that what is ultimately presented to the audience is the most complete story in my mind."

She paused for a moment and added, "I’m not trying to deny anyone’s professionalism. I just want to protect the core of this story. If I don’t even have the final cut, then as the original creator and initial producer, I lose the most core control over the project."

Amy Pascal subconsciously looked at Fox’s Baird Fergus, obviously wanting him to step in and dissuade her.

But Baird only nodded slightly, with no sign of opposition on his face. Instead, he said, "Fox supports Irene’s request. Her control over the story has already been proven by Mean Girls, and having the final cut in her hands will also allow her to push the project forward with more dedication."

It was normal for Disney to have reservations about Irene’s final cut since they hadn’t seen The Italian Job. However, they had internally test-screened it. One should know that even X-Men didn’t get an A+ in internal test screenings, which was enough to prove how terrifying Irene’s ability was.