"Want to know what's between me and Calvin? Nothing"
An advertisement for Brooke Shields' CK jeans appeared on TV. Ronald made a series of this advertisement, but only this one was repeatedly played by the TV station.
"I heard that she is the most popular young girl in America right now?" Minahan Golan raised his thick finger and pointed at Brooke Shields on the TV and asked.
"Yes, her blue coral reef is very popular. I heard that she is now participating in a new movie 'Endless Love.'" Yoram replied.
"We also want to invite her to film a movie. She looks very classical, and we can definitely win her over as an Oscar-winning actress."
Ronald used the excuse that he wasn't hungry and didn't touch the pagoda-designed fast food, but Minahan and Yoram ate it all.
When the two Israelis first saw the slogan, they laughed very loudly. It seemed that even the foreigners had no problem understanding the implications of the slogan.
Thinking about it, Minahan also arranged for the beautiful heroine to sing a song called "I'm ing" in the blockbuster "Apple". It can be seen that no matter what foreign language you learn, the first things you learn are swear words and that
kind of words.
Ronald didn't want others to know that he shot this vulgar advertisement, so he didn't say anything. The TV station singled out this one and played it repeatedly. It seems that Brooke Shields and her daughter will be under a lot of pressure.
…
"Want to know what's between me and Calvin? Nothing"
Michael Eisner, president of Paramount Studios, was also talking about the ad.
"People in the distribution department are unwilling to go to theaters to promote this CK jeans advertisement. They use the excuse that there is no precedent for advertising before movies. In fact, they are just unwilling to accept changes and have no motivation."
Michael Eisner, the president of Paramount Productions, sat across the desk from a bald man with a bigger head and a thicker neck than his, reporting to him.
"Michael, we know each other. Honestly, do you think it's a good idea to play commercials before the movie starts in the theater?"
The speaker was Barry Diller, chairman and CEO of Paramount. Diller was Eisner’s old superior. Since he jumped ship from ABC and took over Paramount in 1974, he also hired Eisner.
He came over and was placed in the position of president of the studio, and he was his right-hand man who reported directly to him.
In recent years, Diller's main focus has been on producing dramas for TV stations. He gradually let go of film matters to this subordinate who had outstanding performance at ABC but had a rough style.
This style has tended to get worse at Paramount. Recently, many people from the film production department and external investors of the film have complained to him, stating many of Eisner's arrogant actions.
Barry Diller knew that Eisner offended many die-hards and partners when he was promoting the strategy he had formulated. In fact, he was very satisfied with Eisner's ability to advance, but things were out of control and needed to be faced face to face.
Remind him again.
"I think there is essentially no difference between movies and TV. TV stars can naturally make movies. And there is no problem with advertisements on TV programs being played in cinemas." Eisner talked about this, which is the film and television promoted by boss Diller.
We must keep up with the integrated strategy.
"I heard that you recently wanted to fire Marion Dorotti, the studio's vice president in charge of casting?" Barry Diller suddenly mentioned a personnel arrangement.
"Marion, she always gives me trouble." Others may rarely see Eisner's complaining side. Only in front of this boss and mentor, he still retains some of his former straightforwardness.
"I actually like Marion Dorotti's casting. She was the first woman to add the title of independent casting director in the subtitles. 'Grease' the year before last, and 'Urban Cowherd' last year." She discovered it herself
John Travolta." Eisner first praised her.
"But she is a stubborn person and is unwilling to implement the integrated film and television strategy. She always opposes TV actors participating in movies, and she spreads this idea in front of her subordinates.
I have no problem with her personally, but when we poached her from the New York casting studio, she was not made the casting director, but the vice president in charge of casting. This was a blatant violation of the established strategy, and I had no choice.
, we can only let her go."
Eisner explained his motivation for firing Marion Dollotti as being contrary to the company's strategy. He knew that this was Barry Diller's bottom line. The boss had always valued the television business over the film business.
"And Robert Sternwood, he also came to me and complained that you didn't like his choice of Andy Gibb for the lead role in the Grease sequel."
Barry Diller clicked again.
"Come on, Andy Gibb can't act at all..."
"I didn't mean to accuse you." Barry Diller stopped Eisner from explaining, "We are old acquaintances, Michael, you did a good job."
Eisner was in high spirits when he returned to the president's office of his studio and easily repelled the rumors about himself from Barry Diller. He whistled and practiced golf on the artificial turf in the office.
Putter.
"Pop", another push into the hole. Eisner hummed, stepped forward and bent down to take out the golf ball from the hole.
When he bent over and lowered his head, the blood flowed to the brain. Eisner looked down and looked at all the furnishings in the office. They were all upside down, with the desk at the top and the chandelier at the bottom.
Suddenly a wave of doubt arose in his heart. Eisner put away the putter, sat back in his chair and thought about it.
"Why did Barry Diller specifically mention Marion Dorotti and Robert Sternwood?" Eisner rubbed his chin.
"Could it be that my opponents in the studio system heard the news that I was going to fire Marion?" Since he took office, he has adopted a strategy of dividing and attacking, never allowing the person who opposes the most fiercely to gain the most support.
By.
However, Marion Dorotti, the vice president in charge of casting business, is the leader of many Oscar-winning actors. She has deep connections in the industry. The casting studio she founded is still running in New York. She often quarrels with herself in person.
She is not afraid of the threat of being fired at all.
And Robert Sternwood took advantage of the power of several blockbuster movies and began to dictate to himself. This lucky record salesman thought he had found the secret to a successful movie, and he was trying to do it again.
Eisner first made a call to his informant at the brother company, "Okay, Warner Bros. has met her? She didn't agree to change jobs? Thank you, I understand."
Marion Dorotti has actually been in contact with Warner Bros., and has not agreed to the other party's poaching. If she agrees to the other party, there will be one less vice president in the company who opposes her. But he may be able to use her integrity.
Let her remember her character and establish her prestige within the company.
"Please ask Ms. Dorotti to come to my office." Eisner thought twice before pressing the call button and giving the order to his secretary. He decided to chat with Marion Dorotti first.
Eisner and Dorotti have accumulated deep conflicts. In high-level meetings, their eyes no longer met.
Marion Dorotti was also surprised to learn that Eisner was looking for her, and she walked to the president's office, which she had not seen for a long time.
"Marion, please don't leave us." Eisner unexpectedly waited outside the office door and held Marion Dorotti's palm with both hands. "I heard that you have thoughts of leaving Paramount? Although
We have some differences on some things, but we can't live without you."
Eisner welcomed Marion into the office, made some nonsensical remarks, and sent her out personally ten minutes later.
Marion Dollotti had a guess in her mind, and when she returned to the office, she made a phone call to her then-subordinate Julia Taylor, who would later take over the New York casting studio.
"Julia, it's me Marion...I'm afraid Eisner is going to fire me. I will accept the invitation from Warner Bros. to work there. You need to know my whereabouts first."
Michael Eisner is very satisfied with his operation. If Marion is smart enough, she will leave her job and accept Warner Bros.'s offer. If she is stupid enough to stay, that would be better. The effect of public firing is better than resigning.
The more shocking power he has within and outside the company, the more stable his power at Paramount Studios will be.
"Pick me up to Katzenberg." Eisner answered the phone of his subordinate in charge of production.
"Jeffrey, I'm Eisner. How's the sequel to Grease going?"
Jeffrey Katzenberg was on the other end of the phone, which felt a little sudden. Eisner rarely asked about specific production details.
"Sterwood found a screenwriter, but he still insisted that the film can be completed before the end of the year. As long as they start shooting, we must invest the agreed production costs in accordance with the contract."
"Agree to his request and don't start filming until we get the script. I'll go find Sidney from MCA, understand?" Eisner explained a few words and hung up the phone.
Sidney of MCA refers to Sidney Sheinberg, the president of MCA, the parent company of Universal Pictures.
Since the early 1970s, Paramount and Universal have formed a joint venture, and the two studios share distribution channels outside of North America. Therefore, the two studios often exchange projects. If Paramount is not optimistic about the project, it will
Universal may buy it and take it over, or vice versa.
"Why did Robert Sturwood, the record company owner, offend Eisner?" Katzenberg knew full well about Eisner's plans. Sterwood wanted to make his singer Andy Gibb popular.
And his contract stipulates that the sequel to Grease must start filming by the end of the year in order to receive automatic investment from Paramount.
Eisner first pretended to agree to the filming plan, and then looked for reasons to stop it, put the script into the rotation list, and let Universal take over. With such a tight time limit, Sterwood was forced to give up Andy Gee due to investment pressure.
Bu plays the leading role and suffers a secret loss.
"Anyway, Andy Gibb really can't act, and his long face is not photogenic." Katzenberg picked up the phone and said, "Put me through Ovitz at CAA and ask their screenwriter to come and talk about 'Son of Grease' tomorrow.