Opportunities and abilities are crucial for anyone striving for success. Being back in 1998 gave Michael Davenport a chance, and he enhanced his abilities in various ways.
However, another key trait for a budding entrepreneur is having thick skin and a relentless drive.
So, even if there were only a one percent chance, Michael would go for it.
As for potential setbacks, Michael didn't care. Starting a business always comes with obstacles.
Michael confidently walked into DreamWorks, founded by the renowned Jewish trio David Geffen, Jeffrey Katzenberg, and Steven Spielberg, to discuss the distribution of "The Purge."
"This plot has issues," said a man with dark hair and a big nose, looking over the materials Michael had brought. "The ending is bad; it won't be well received."
Michael looked at the man, unable to discern any particular ethnicity from his appearance, and replied, "The ending ties back to the beginning."
The man with the dark hair and a big nose shook his head. "If the film turns out with this plot, DreamWorks won't distribute it."
Michael guessed the reason but knew no one would bluntly state such matters.
Having visited nearly twenty distribution companies, he'd encountered all sorts of situations. This issue didn't faze him. He probed, "Can we discuss it again once the film is completed and you've seen the final cut?"
"If you don't change it," the man said disinterestedly, "there's no point in discussing further."
With the conversation reaching this point, Michael didn't press on. He politely took his leave and exited the meeting room, preparing to leave DreamWorks.
As he took the elevator down to the first floor, the doors opened to reveal Tom Hanks and Steven Spielberg escorting an older man from another private elevator.
Who was this older man who warranted such attention from Tom Hanks and Steven Spielberg?
Only a few people in Hollywood could receive such treatment.
Michael casually exited the elevator and followed at a distance, close enough to overhear snippets of their conversation.
"Steven, your novel is fantastic," Tom Hanks said, easily recognizable by anyone familiar with his movies. "There's too much content for just one movie; a TV series would be a better choice."
Steven Spielberg's voice followed, "Mr. Ambrose, I agree with Tom. Please reconsider."
The elderly man responded slowly, "You are the professionals; I'll follow your lead."
Spielberg added, "You're the expert on World War II's European theatre. Without your guidance, we couldn't have depicted the brutal war in 'Saving Private Ryan.'"
The older man stopped, and so did Hanks and Spielberg. The lobby was crowded, so Michael couldn't stop and eavesdrop. He walked past them but continued to listen.
Tom Hanks's voice carried over, "Since I received your book, I've been determined to bring Easy Company to the audience!"
Spielberg added, "Mr. Ambrose, it might take a few years. Tom and I want to create an epic war series, which requires extensive preparation. DreamWorks is just getting on its feet, and we need to find partners and secure funding."
"No problem," the elderly man's voice faded, "I can wait..."
As Michael walked farther away, he could no longer hear their conversation. Just before leaving the building, he glanced back. Steven Ambrose?
Could that be Stephen Ambrose?
Michael thought about it as he walked, recalling snippets of their conversation: a novel, TV series, World War II, European theatre, war epic, and Easy Company.
Michael stopped in his tracks and turned to look at the building, suddenly remembering a name—"Band of Brothers."
Could this elderly man be the author of "Band of Brothers"?
It must be. He vaguely remembered that the author of Band of Brothers was a special consultant for Saving Private Ryan. His book came to Tom Hanks's attention and was recommended to Spielberg.
"Saving Private Ryan" was about to be released, and Hanks and Spielberg were likely pushing the "Band of Brothers" project.
When "Band of Brothers" was released, it caused a sensation and had a lasting impact. The DVD sales alone made the rights holders a fortune.
What a pity...
Michael continued walking. It was frustrating to see a potential blockbuster but not be able to participate.
Could he find a way to get involved?
This miniseries would be expensive to produce. A lot of money would need to be spent to depict war effectively. He remembered that this was a collaboration between DreamWorks and HBO. Given Hollywood's typical approach, there were likely other investors sharing the risk—mid-sized to large companies in Hollywood were adept at this.
Michael got into his car but didn't start it. He continued to think.
A TV series like this could make any platform explode in popularity. HBO gained significant fame and subscribers because of it.
What if it was a streaming platform? No, at this time, even in North America, streaming high-definition videos wasn't ideal.
Exclusive online DVD or video tape rentals? Michael laughed to himself. Was he thinking too far ahead? He glanced at the DreamWorks headquarters through his rearview mirror. With Hollywood's usual pace, this miniseries would take at least three to four years to materialize.
The main issue was money. Without sufficient funds, he could only watch from the sidelines. DreamWorks itself didn't have enough funds, hence the need to bring in other companies to share the investment and risk.
Michael took out his notebook and jotted down "Band of Brothers."
He would research Stephen Ambrose and his "Band of Brothers" to see if there was an opportunity. If not, there was nothing he could do.
Ultimately, it was a matter of money. Without enough funds, he wouldn't even qualify to enter many projects.
This realization made him scratch his head in frustration.
Michael drove away from DreamWorks and headed to his next target, Lionsgate Films, quickly calming himself. The road had to be walked step by step. Trying to leap too far would only lead to disaster.
At Lionsgate, he met with the head of the distribution department, Greg Enrique.
After reviewing the materials Michael brought, Greg Enrique asked curiously, "Mr. Davenport, can I ask you a question?"
Michael smiled. "Go ahead."
Greg Enrique immediately asked, "As far as I know, Seashore Entertainment has always produced B-movies. Why did you choose a horror film this time?"
Michael replied without hesitation, "Since the failure of my last film, I've carefully studied the successful Hollywood films of the past decade. I discovered an interesting phenomenon: horror films dominate among the films with the highest cost-to-return ratio."
"That's true," Greg Enrique nodded slightly.
"These successful horror films have another characteristic," Michael continued. "Their costs are relatively low, and the promotion and distribution expenses are also relatively modest."
Greg Enrique glanced at the script in his hand.
Michael continued, "Horror films generally don't receive high ratings, but those that genuinely win over horror fans quickly spread within this niche audience. A targeted marketing strategy can help control expenses."
Greg Enrique smiled. "Mr. Davenport, you seem to be an expert in this field."
"Not an expert," Michael waved his hand. "I've just studied many cases."
He remembered clearly that Lionsgate initially made its name with horror films. Compared to other companies, Lionsgate might appreciate "The Purge" more.
Greg Enrique was quite polite. "Lionsgate's distribution department was established only last year, and we hope to distribute quality films." He glanced at Michael again. "We look forward to seeing the finished version of 'The Purge' as soon as possible."
Michael smiled. "No problem."
Compared to DreamWorks' blunt treatment, the new company, Lionsgate, was much more courteous.
After chatting for over half an hour, Michael took his leave.
Despite visiting so many distribution companies, only the most receptive Lionsgate would commit to collaboration if they saw the final cut.
However, most companies were willing to evaluate the film.
(Note: The details about how the "Band of Brothers" book came into Tom Hanks' possession were likely adapted for promotional purposes. The author did serve as a consultant on "Saving Private Ryan" and was involved with the film's production in Europe.)