Chapter 233: Aiming for the Oscars, Attitude is Key

Chapter 233: Chapter 233: Aiming for the Oscars, Attitude is Key

After the meeting, Tom Hanks and his team were the first to leave. Irene also packed up with Shelly and Vera and drove back to the studio.

Meanwhile, Gil Leonard took the private elevator directly to the CEO’s office on the top floor of the Fox Building.

The entire floor was decorated in a minimalist yet grand style, with floor-to-ceiling windows offering a panoramic view of Hollywood. Adelaide Griffin was sitting behind a large desk, flipping through a post-production progress report for Pirates of the Caribbean, tapping her fingers on the desk with a focused expression.

Hearing footsteps, she looked up at Gil: "How are the negotiations for the overseas distribution of My Big Fat Greek Wedding going?"

"Very smoothly, boss." Gil stepped forward quickly and placed the documents with the negotiation results on the desk. "We eventually sold the global overseas distribution rights for a one-time buyout of 50 million dollars. Director Coppola also agreed to cooperate with overseas promotional activities. We’re definitely making a profit on this one."

Adelaide quickly scanned the numbers on the document and nodded with satisfaction. "Well done. This price is very appropriate."

"There’s one more thing," Gil lowered his voice and continued to report. "I just chatted with Director Coppola and learned through indirect questioning that her next project is a small-budget independent film. Moreover, it’s an Oscar contender aimed right at the Academy Awards."

"An Oscar contender?"

Adelaide put down her pen and was stunned for a moment. Then, realization dawned on her, and a look of deep approval appeared on her face as she lightly tapped the desk. "No wonder she refused to give the project to us. So that was her plan. This move of hers is incredibly clever."

She leaned back in her chair, her gaze deep as she analyzed: "Irene now has the box office, the reputation, and the popularity. With several consecutive commercial hits and dark horse comedies, she has already secured her position as a new-generation director. But in Hollywood, box office success alone isn’t enough. Oscar recognition is the true ticket to joining the ranks of top-tier directors."

"Whether she can win an award is one thing, but she must show her attitude and let the Oscar voters see her artistic pursuit and creative depth. Staying only in commercial films will only make the Academy feel she’s just a box office craftsman, which would actually create distance. This Oscar contender comes at just the right time."

Gil nodded in agreement. "I think so too. Director Coppola’s judgment has always been spot on."

Adelaide waved her hand, her tone returning to that of a calm business decision-maker. "However, since it’s an independent art film aimed at the Oscars, the help we at Fox can provide is limited. Our strength lies in the promotion and global box office operations of commercial blockbusters. Oscar campaigning isn’t our forte."

She picked up the report for Pirates of the Caribbean again, her eyes resolute. "From now on, Fox’s core resources must be fully tilted toward Pirates of the Caribbean, which will be released at the end of the year. This is the top priority that will determine our performance for this year."

"As for Irene’s Oscar contender, we just need to keep an eye on it. There’s no need to force our way in. She is a Coppola after all. She’s probably even more professional at working the Oscars than we are."

Having said that, she waved her hand. "Nothing else. You can head out now. Keep a close watch on the overseas rollout of My Big Fat Greek Wedding and the post-production of Pirates of the Caribbean. There can’t be any mistakes with these two projects."

Gil remained standing there, hesitating for a moment before adding: "Boss, should we proactively offer some promotional support? Even if it’s just symbolic, it would help maintain a close relationship with Director Coppola. After all, she has immense momentum right now. If this Oscar contender really succeeds, its future value will be immeasurable."

Adelaide looked up at him, her eyes carrying the clarity of someone who had seen it all. "Gil, you’re being too hasty. Oscar contenders are different from commercial films. Their core is the accumulation of word-of-mouth and Academy campaigning, not something that can be achieved just by throwing money at promotion."

"The Oscar voting circle is a closed and proud one. They look down on the involvement of pure commercial capital. Irene chose to do an independent production because she wants to maintain the purity of her work and doesn’t want the voters’ judgment to be influenced by capital labels. Do you think she’s really short of that little bit of promotional money? The overseas buyout fee for My Big Fat Greek Wedding has already filled her pockets. What she wants is the posture of artistic independence."

"Besides," Adelaide’s tone shifted to one of precise judgment, "we don’t understand the operational logic of Oscar contenders. From paving the way at film festivals and PR with film critics to private communication with Academy members, every step is handled by specialized teams. That’s the territory of independent film companies and PR firms. If we at Fox jump in, we’ll only disrupt the rhythm and make things difficult for Irene."

"And you must remember," Adelaide’s gaze became sharp, "what Irene needs most right now is to let this Oscar contender grow naturally. Excessive capital pursuit will instead make it lose the texture of an independent art film and turn it into a utilitarian work made just for winning awards in the eyes of the voters. I’m sure her father must have guided her, so it’s not convenient for us to interfere with this movie. As for whether we can participate in the distribution, there’s no need to force it. The box office for this type of film is unlikely to be very high."

Gil suddenly realized and nodded. "You’re right. I didn’t consider it thoroughly enough."

"Mm." Adelaide nodded, her tone softening slightly. "Irene is a smart person. She knows what she wants. If this Oscar contender succeeds, she’ll achieve a double breakthrough in both box office and awards, and her status will be even more secure. Even if she doesn’t win, she’ll gain plenty of prestige and make the Academy remember her. No matter the result, it’s a win-win deal for her."

Gil replied with a "Yes," and this time said no more, turning and quietly exiting the office.

On the other side, Shelly was driving a black sedan smoothly toward the Disney production center. Sunlight slanted through the car window onto Irene, casting a warm glow on her well-defined profile.

His hands on the steering wheel tightened unconsciously, and his eyes repeatedly glanced at the rearview mirror, falling on Irene’s focused profile. Ever since learning about the Oscar positioning of Million Dollar Baby, many actresses within CAA had sent messages through their connections, hoping to fight for this role with unlimited potential. He had been questioned by Ella Walker several times already. If he didn’t get a definitive answer soon, Ella Walker would probably call Irene personally.

Irene had long noticed his small movements. Her fingertips brushed carelessly across the script on her lap, and she spoke without even looking up: "If you have something to say, say it. Stop sneaking peeks at me."

Having been called out on the spot, Shelly stopped hiding it. He cleared his throat and spoke with a hint of testing: "Well, Irene, are you really sure you want Hilary Swank to play the lead actress? Won’t you consider other candidates?" He paused. "You know, many actresses in CAA are eyeing the Oscars right now. Hearing that you’re making an Oscar contender, many have asked me to look for opportunities."

Irene raised an eyebrow and looked at the rearview mirror, meeting Shelly’s gaze. "Who does CAA want to recommend?"