America Tycoon: The Wolf of Showbiz-Chapter 756 749: If You Can’t Speak, Then Don’t Speak

"Hi, Steven,"

Getting off the Escalade, Martin spotted Spielberg right away, went over to shake hands with the old man, and said, "I think this is my first time at DreamWorks."

Spielberg said, "Shall I give you a tour?"

With time to spare, Martin followed the host's lead, "I wouldn't miss it."

The two went directly to DreamWorks' exhibition hall.

The entire DreamWorks campus is very large. When it was first established, it covered various sectors such as film, television, music, and media, and was known as the seventh giant of Hollywood.

Like many joint ventures, the partners fought side by side when times were good, but fell apart during adversity.

As the DreamWorks trio fell out, DreamWorks disintegrated. David Geffen was the first to leave with the music and media businesses, followed by Jeffrey Katzenberg splitting off with the DreamWorks Animation studio. The film and television production department under Spielberg's control struggled for survival and even gave up independent distribution.

Of course, all these losses were the company's money.

Spielberg remained the second richest mogul in Hollywood, second only to George Lucas.

Walt Disney has offered a high price of 4 billion US dollars to acquire Lucas Film.

This does not include Industrial Light & Magic.

Martin simply looked around the exhibition hall. Spielberg was busy with the post-production of "Lincoln," and Martin did not want to take up too much of the old man's time.

After leaving the exhibition hall, led by Spielberg's assistant, Martin arrived at the DreamWorks theater where "The Seventh Son" screening was being held.

On the way, Martin ran into Erickson from Disney Studios and Claude from 20th Century Fox, and they walked together.

With Spielberg's assistant around, Martin and Bruce entered the theater very smoothly.

Perhaps due to the negative impact of the box office bombs "Transcendence" and "Lone Ranger," not many people came to the screening of "The Seventh Son" today.

Martin, familiar with Erickson, sat together in the middle section.

Knowing about Martin's conflicts with Megan Ellison, Erickson asked curiously, "How come you're here?"

Martin replied with a smile, "Everyone in the circle knows that 'The Seventh Son' was a project I was interested in first. Then my office safe was stolen, and suddenly someone jumped out to compete with me for it. I didn't have as much capital, so the rights to the project ended up in someone else's hands."

This story had already spread throughout Hollywood; many people who had heard it turned to look in their direction.

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Martin added, "Now that the project's production is complete, I had to come and see it for myself, to see how I missed out on it, especially because it was a film that almost became mine."

"Did you come to see if the movie is still a failure?" Claude laughed and said, "The other two taken by Anna Purna Pictures have both flopped."

Someone else intervened, "It was a total flop. Will they even get back twenty percent of the money they put in?"

Erickson seriously remarked, "Maybe after ten years of offline operations, they might."

To those present, a major production from another company failing—especially spectacularly—brought not only gossip but also a certain schadenfreude.

Claude asked, "Martin, you always had a keen eye, and the projects you personally picked were mostly huge successes. These few weren't deliberate, were they?"

"Are you kidding? Who can guarantee success before a movie release?" Martin shrugged, "A good script is just the foundation of a good movie, but how many have turned a good script into a flop? My studio's production is not the same concept as when others do it."

Suddenly, someone whispered to Claude, "Keep an eye on Martin during the screening. He knows a lot about this project. If he bids high, we'll consider following suit."

The comment reached right into Claude's heart. Aside from the producers at Anna Purna Pictures, Martin Davis was definitely the one who knew most about "The Seventh Son."

Not just them, but many others were surreptitiously watching Martin.

From the theater's second-floor box, Megan Ellison saw Martin and asked, "Who invited him over?"

Drett by her side said, "I've checked the guest list, Martin Davis is definitely not on it."

He pulled out his phone and made a call, then said, "It's someone from DreamWorks who brought him over."

Megan Ellison looked displeased but said nothing more.

This was DreamWorks' territory, and with everyone already there, it was not possible to go down and publicly kick someone out.

Drett asked, "Boss?"

Considering herself unafraid of Martin and not intending to change plans for a single person, Megan Ellison said, "The screening and the subsequent intent-to-deal meeting will proceed as normal. Make sure Wilson is ready."

Drett headed to the next-door projection room.

Megan Ellison sat at the front of the box, staring blankly at Martin below, and suddenly remembered something.

When she first entered Hollywood, her plan was to take the artistic award-chasing route, and the first film she invested in, "The Hurt Locker," was of that type.

But when the scripts for "The Seventh Son" and "Transcendence" were placed in front of her, and with the endorsement of Martin Davis's reputation, she did not hesitate to change her strategy and chose the more profitable commercial blockbusters.

The result? The result is the embarrassment she faces today.

Megan Ellison wondered if Anna Purna Pictures would have dominated the award seasons had she stuck to the artistic route of "The Hurt Locker."

On the first floor, Bruce reminded Martin, "Megan Ellison is watching us from the second floor."

Martin said, "No worries. For this visit, I've prepared a gift for her."

He definitely would not allow Anna Purna Pictures to harm his Hollywood peers with an inferior product like "The Seventh Son."

At this moment, Martin decided to protect the entire Hollywood film industry.

Boycott "The Seventh Son"!

The big screen lit up, and the screening began.

The film was different from the script Martin had seen.

In addition to fantasy, witchcraft, adventure, and monster-fighting, it also incorporated a romance element, and it strived to make the movie look darker and more cruel.

However, the effect was like gilding the lily.

This was a typical Hollywood assembly-line production of a magical epic film, with very extravagant special effects scenes, with most of the investment poured into special effects.

Ten years ago, had it boasted such special effects, this film might have attracted attention.

But over the years, audiences had grown weary of dazzling computer-generated effects, especially since the advent of "Avatar," which brought CG effects to a peak and also raised the threshold for audiences regarding special effects films.

None of the critics and senior buyers in attendance, including Martin, were moved by the special effects.

When the film's end credits concluded and the theater suddenly fell silent, Erickson suddenly asked Martin, "What do you think of this film?"

"It's not as good as 'The Lone Ranger'," Martin stated his genuine opinion, "Aside from 'The Lord of the Rings' series, it seems like it has been a long time since a magical epic film succeeded, right?"

Those attending the screening were gathered in the middle area, and as the theater quieted down again, most could hear these comments.

Wilson, coming from backstage, stood on the small stage, waved to everyone, and said, "Guys, long time no see. The film's not bad, right?"

Claude replied, "No wonder we haven't seen you for so long, you've been off being a producer at Anna Purna Pictures."

Wilson waved his hand in response and said, "This film is well-made with a strong commercial appeal. Anna Purna is prepared to transfer the rights. Those interested can contact me."

Martin gave Bruce a meaningful glance.

Bruce suddenly raised his hand and said, "Davis Studio is willing to buy all rights to this film for 30 million US dollars."

Everyone's gaze in the room turned sharply towards Bruce and then shifted to Martin.

Martin smiled and nodded his head.

If Anna Purna Pictures really was willing to sell to him for 30 million US dollars, he could turn around and make a profit selling to Netflix.

Claude from 20th Century Fox reacted swiftly, immediately countering with, "35 million US dollars."

The others did not actively participate; instead, they kept looking towards Martin, waiting for him to bid again.

If the film could be acquired for 30 to 40 million US dollars, they saw the possibility of turning a profit upon distribution and release.

Martin shook his head and said to Bruce, "Old Cloth, let's go."

The two stood up and entered the aisle, heading towards the outside of the theater.

Erickson, without any hesitation, followed them.

Claude, who had come with them, also disregarded his previous bid and got up to leave.

As these three parties left, the others grew restless and followed suit.

Soon, the theater, which had been nearly full with around twenty people, was left with only a few stragglers.

A buyer from Lionsgate Films spoke up at this point, "Wilson, 40 million US dollars—if you're willing to sell, we can sign the contract today."

Wilson looked up towards the lighting on the second floor. Megan Ellison in the box made no indication. He said, stiffly, "40 million US dollars is a joke, definitely not."

The buyer from Lionsgate Films looked around; not a single person from the six major companies remained.

Considering that Martin Davis was only willing to bid 30 million US dollars, he who had a better understanding of the project, the buyer sighed, picked up his bag, and also left.

Wilson turned towards the two remaining parties.

One waved their hands, indicating they were just spectating.

But the representative from the other party made a bid, "30 million US dollars—if you agree, we can sign the contract and make the payment right away."

Wilson thought to himself, are you crazy? He held back his frustration and said, "Your offer is too low, someone just made a bid for 40 million US dollars."

"But the person who bid 40 million US dollars has left," the representative pointed towards the direction of the theater's entrance, "If you try to find him now, he won't even offer 30 million dollars."

While the representative was right, Wilson couldn't help but retort, "If you don't know what to say, you don't have to speak at all."

The person extended five fingers, "30 million US dollars! 5! 4! 3…"

By the time he counted down to 1, he turned and walked away.

Given the market situations of "Transcendence" and "The Lone Ranger," there was a certain risk with 30 million US dollars. After all, purchasing the rights was just the basic investment; promotion and distribution were needed to generate sufficient returns.

All of these required money.

The theater was empty and deserted, and Wilson could only see Megan Ellison's figure on the second floor.

This screening and deal-making session was a failure.