Chapter 235: Have They Slept Together?
After finishing his conversation with Tom Rothman, Aaron suddenly spotted David Lynch — an independent filmmaker he had collaborated with in the early days.
More importantly, within Lynch's Propaganda Films was another director Aaron held in high regard: David Fincher.
"Aaron, long time no see," Lynch said, giving him a warm hug.
"It's been a while," Aaron replied with a smile.
Lynch hadn't released much over the past couple of years. Last year's Twin Peaks: Fire Walk with Me had served as a continuation of the Twin Peaks television series, but it hadn't stirred much momentum.
"Is Fincher still revising the script for Se7en?" Aaron asked.
"Yes," Lynch nodded. "He really likes the material."
"Good. Se7en needs to be out no later than the year after next," Aaron said firmly. When he promised Fincher creative autonomy, it wasn't empty talk.
Lynch studied him for a moment before speaking again. "There's a Disney project — I'm not sure if you'd be interested."
"Oh?"
"Producers Don Simpson and Jerry Bruckheimer are backing a script. They've chosen one of our commercial directors, Michael Bay, to helm it."
"But Disney seems hesitant."
Simpson and Bruckheimer were a powerful producing duo in Hollywood. They had previously worked with Paramount but had recently shifted their partnership to Disney.
Aaron quickly grasped the situation. "Disney's concerned because the director's inexperienced? Or is there more?"
Michael Bay? Aaron hadn't expected that. Just like Fincher, Bay had started in commercials under Propaganda Films.
Propaganda really was a talent factory — David Lynch, David Fincher, and now Michael Bay.
"There are multiple factors," Lynch explained. "Bay is only 29. He's earned solid reviews directing commercials, or Simpson and Bruckheimer wouldn't have picked him."
"As for the script — it's a gun-heavy action film called Bad Boys. The leads are two Black protagonists, and there's a lot of profanity. That's another reason Disney's uneasy."
Aaron nodded calmly, betraying nothing on his face. "Let me read the script first. If it fits, Dawnlight will purchase it from Disney and back Simpson and Bruckheimer in developing the project."
Inside, Aaron had already connected the dots. Bad Boys. Michael Bay. Two Black leads.
Will Smith.
The name surfaced immediately in his mind — Will Smith — still building his career through music and television.
Aaron stepped into the lounge area and dialed his assistant, Evelyn Beckett.
"Contact Disney, as well as Simpson and Bruckheimer. We want to acquire the Bad Boys script."
He paused for a second, then added:
"And there's a comic series called Men in Black — about extraterrestrials. Secure the adaptation rights to that as well."
If Will Smith was in the picture, there was no way Aaron would let Men in Black slip away.
After hanging up, Aaron leaned back and thought it through.
When it came to box office dominance, action films still ruled. But this year, the explosive success of Jurassic Park had shifted the landscape — big-budget, effects-driven spectacles were about to surge.
The next wave of commercial cinema would clearly revolve around action and large-scale visual effects.
Twentieth Century Fox had already moved aggressively. Their upcoming sci-fi action epic True Lies, directed by James Cameron and starring Arnold Schwarzenegger, carried a staggering $115 million budget — surpassing even Cameron's own Terminator 2: Judgment Day. It was now the most expensive production in Hollywood history.
Blockbusters were escalating.
Leaving the Roosevelt Hotel, Aaron drove to Kate Beckinsale's apartment in West Hollywood.
"You're here?" Kate smiled, visibly pleased at the sight of him.
"I missed you," Aaron said, pulling her into a kiss.
Moments later, they were tangled together on the sofa. Kate wrapped her arms around him and, after a heated exchange of kisses, added excitedly:
"ICM's Nancy Josephson signed me. I officially have a Hollywood agency now."
Aaron nodded. "Nancy Josephson — daughter of ICM founder Marvin Josephson."
"ICM focuses heavily on the international market. They're not CAA, but alongside WMA they're still top-tier."
He rested against her, feeling the softness of her body beneath him.
"Legends of the Fall starts shooting soon. It's your Hollywood debut. No surprise ICM moved quickly."
After all, Aaron had worked with Nancy before. ICM had played a meaningful role back when he acquired The Silence of the Lambs from Orion.
Kate smiled, letting his hands roam freely.
"My agent said the same thing. Just focus on Dawnlight's Legends of the Fall. Once it's released, I won't be short on scripts."
She wasn't wrong. British actresses had clear precedents — Catherine Zeta-Jones and Elizabeth Hurley had both benefited from Hollywood exposure.
An Aaron Anderson production was practically a launchpad for newcomers.
Kate wrapped her arms around his neck and kissed him deeply, tongues entwining, heat rising fast. Within minutes, clothes were discarded, and he carried her into the bedroom.
"A couple of days ago," Kate said breathlessly, now straddling him, "I ran into Elizabeth Hurley at ICM."
"Oh? Did you know each other before?"
Aaron smiled up at her, hands resting on her waist. "She's been around much longer than you."
"No, we didn't know each other. We met after that." She leaned down, kissing him again. "But I heard you two know each other, right?"
He chuckled. "She's in Dawnlight's Forrest Gump this year."
Kate leaned closer, whispering into his ear, her tone teasing.
"Is that all?"
"Have you two ever slept together?"
Aaron grinned slightly.
"You tell me."