Glendale, Los Angeles—DreamWorks Headquarters.
Steven Spielberg was incredibly busy these days, as DreamWorks projects were encountering one problem after another.
"How's the investigation going?" Spielberg asked his assistant.
"Robert Redford had verbally agreed to direct the 'Return to Glory' project," the assistant quickly replied. "However, he suddenly backed out after being contacted by Disney. We're not sure what Disney offered him, but it seems they extended an invitation to him."
Spielberg removed his round glasses to clean them, saying, "Why is the MPAA holding up the ratings review for our two movies?"
The assistant responded, "The MPAA claims that some scenes and dialogues are too intense and don't meet PG-13 criteria."
The MPAA was controlled by the Big Six studios, leaving DreamWorks with no say in the matter. Spielberg, feeling helpless, said, "Withdraw them and make the necessary edits to comply with the MPAA's requirements."
Recently, DreamWorks had been facing a series of setbacks, as if someone were targeting them specifically. Spielberg, who was as much a businessman as he was a director, could sense this.
"Is there any more bad news?" Spielberg asked.
The assistant cautiously said, "The theater chains reported that the test screenings for 'Gladiator' were not well received, and they plan to reduce its initial release scale."
"I see," Spielberg muttered, feeling a strong urge to curse but restrained himself due to years of cultivated composure.
Putting his glasses back on, he asked, "David, what's your take on all these recent events?"
After some thought, the assistant replied, "Someone seems to be targeting DreamWorks specifically."
"The Big Six studios," Spielberg identified the culprits. "They don't want a strong DreamWorks."
Since two or three years ago, the Big Six had been causing minor troubles for DreamWorks, but this time, the problems seemed concentrated and severe.
It was as if the Big Six could no longer tolerate DreamWorks.
Spielberg couldn't quite understand why, as DreamWorks had made significant concessions to the Big Six, such as handing over the overseas distribution of their live-action and animated films to the Big Six's distribution arms to secure essential development space.
Could it be that DreamWorks' rapid growth posed a threat to them?
That didn't make sense either, as DreamWorks was just starting to find its footing.
"I'll handle these matters personally," Spielberg said with utmost seriousness. "You go ahead and set up a meeting with Robert Redford for me."
As the assistant was about to leave, Spielberg asked, "Any news from Albert?"
"Not yet..."
Before the assistant could finish, the phone on Spielberg's desk rang. After a brief conversation, Spielberg's expression grew more severe. Hanging up, he instructed, "Book me a flight to Japan for tomorrow. These Japanese are too unreliable!"
"I'll get right on it," the assistant replied, confused but aware that it wasn't the time to ask questions.
Spielberg added, "Prepare some materials related to 'The Ring' remake."
The assistant nodded, "Understood."
Spielberg then called Robert Redford to set up an afternoon meeting, instructed the production department to address the MPAA issues, and had the distribution department deal with the theater chains. He then turned his attention to the matter involving the Japanese.
Originally, Japan's ACE company had agreed to sell the remake rights of 'The Ring' to DreamWorks, but recently, Sony Entertainment had interfered, and ACE seemed to be reconsidering.
Spielberg was determined not to let this promising project slip away.
He worked late into the night, dealing with various DreamWorks issues, and early the next morning, he was off to the airport, flying to Japan.
Not only Spielberg but most of DreamWorks' live-action film department were busy firefighting, leaving them with no time for other matters.
Meanwhile, in Manchester, England, Michael Davenport was receiving updates from Chris.
It was clear that the Big Six, having been entrenched in North American entertainment for years, couldn't prevent DreamWorks from establishing a North American distribution channel but didn't want DreamWorks to have an independent overseas distribution channel.
Compared to DreamWorks, a small company like Relativity Entertainment wasn't seen as a threat by the Big Six.
Michael had heard some rumors about DreamWorks and the Big Six. It was said that two or three years ago, executives from the Big Six had met and agreed not to allow new companies outside their traditional circle to share the largest piece of the pie.
In this aspect, the Big Six, including the declining MGM, naturally stood united.
Steven Spielberg was one of Hollywood's most beloved directors, but DreamWorks wasn't just Spielberg's company. Even if it were, the Big Six would still suppress it without mercy.
This time, led by Sony Entertainment, even Universal and Paramount, Spielberg's closest collaborators, had joined in.
The Big Six would rather see Polygram Pictures' overseas distribution channel fall to a non-threatening company like Relativity Entertainment than let DreamWorks acquire it.
Chris mentioned that Universal had even considered delaying the dismissal of some Polygram Pictures employees.
Fortunately, this was Universal's last resort, as they didn't want to bear too many labor costs.
Polygram Pictures had a vast number of employees, which would be a headache for any company taking over. Luckily, Michael only wanted the distribution department.
With no further contact from DreamWorks and a visit from Redbus Film Distribution in Manchester, Michael continued to persuade Alan Albert and Danny Donald, who didn't even consider Redbus due to its smaller scale compared to Polygram.
On Christmas Day, Michael finally reached an agreement with the two.
After Christmas, they returned to London, where Alan Albert and Danny Donald quickly completed their exit formalities from the soon-to-be-dissolved Polygram Pictures. With lawyers present, Michael, representing Embassy Films, signed formal employment contracts with them.
After over ten days of effort, he finally secured these two key figures.
"Welcome to Embassy Films," Michael said, shaking hands with Alan Albert and Danny Donald. "From now on, we're family."
Having made their choice, Alan Albert and Danny Donald were no longer hesitant. Alan said, "It's an honor to join Embassy Films."
Danny added, "I believe this is the start of something successful."
For high-level talent with capital, recruitment is a two-way selection process. Michael was pleased with their final decision to join Embassy Films.
The contract's terms matched what Michael had previously discussed, including non-compete clauses similar to those in many industry executive contracts.
Additionally, Embassy Films' overseas distribution department would operate separately from Thomas's domestic distribution department.
This was another promise Michael made to them.
Of course, as time went on, Michael would introduce new personnel to the overseas distribution channel, ensuring Embassy Films genuinely controlled it.
After signing the contracts, the real work began. Alan Albert started contacting former distribution team members, while Danny Donald handled follow-up matters at Polygram Pictures.
Most of the soon-to-be-laid-off employees, hearing from their department heads about a better option, chose to follow. Out of nearly fifty key overseas distribution team members scattered worldwide, forty-five chose to join Embassy Films.
These individuals quickly returned to London, completed their formalities with Polygram Pictures, and signed contracts with Embassy Films.
Michael, accompanied by Alan Albert and Danny Donald, held individual meetings with these new recruits to stabilize morale.
Generous salaries, comprehensive benefits, a personable boss, and the global success of 'The Blair Witch Project' and 'Final Destination,' along with the influence of Alan Albert and Danny Donald, at least temporarily reassured these new team members.
Busy until after the New Year, Michael finally completed the initial work.
Alan Albert and Danny Donald needed to move to Los Angeles for their roles, which was easy since both were single.
Most of the other team members were spread across various overseas offices, minimizing disruption.
As these individuals left Polygram Pictures, new office locations were necessary, leading to the establishment of Embassy Films' overseas offices.
Michael had reserved nearly $30 million for this purpose.
With Embassy Films and Relativity Entertainment still small, these overseas offices would later serve as a foundation for future expansion.
Using a conference room at the Hilton Hotel, Michael held a meeting with the overseas distribution department, granting a few days off and instructing everyone to report to Embassy Films' headquarters in Burbank, Los Angeles, in a week before heading to their respective locations.
Managing distribution channels requires empowering responsible individuals while maintaining oversight and establishing comprehensive rules. Hollywood's Big Six and other distribution companies have long-established successful models, which can be adapted to fit Embassy Films' needs.
This trip to London, despite its twists and turns, ultimately achieved its goal.