While Duke was back in Los Angeles negotiating with Warner Bros. about a new film project, another eye-catching event occurred in Hollywood—Michael Ovitz, once considered untouchable and hyped by many tabloids as the secret king of Hollywood, was forcibly dismissed by Walt Disney and swept out the door.
The primary reason for his dismissal? Michael Ovitz was deed incompetent and unable to manage a massive dia company like Walt Disney.
Once the king of CAA, Michael Ovitz had not even realized his ambitions before being defeated in a complex personnel struggle, leaving Disney in disgrace.
Just like the fiercely competitive Hollywood industry, the internal workings of major film companies are fraught with power struggles and compromises, involving sex, money, and power. The road to power is never smooth.
What surprised Duke the most, however, was the information he received from Robert Iger. The board of directors, led by Michael Eisner, dismissed Ovitz for another imdiate reason—the project "Chicago," which Ovitz had vetoed, beca a global box office hit!
If taken literally, without "Chicago," Michael Ovitz might have remained Disney’s CEO a bit longer.
Of course, Duke wasn’t naïve and understood the core of the situation.
Ovitz indeed lacked the capability to manage a dia giant like Disney. However, Michael Eisner’s decision to choose his childhood friend as CEO likely included an intention to use Ovitz as a puppet. Yet, for soone like Ovitz, who once held imnse power, how could he accept being a puppet?
Power is a poison, often more tempting to n than money or beauty.
The battle for power turning childhood friends into bitter enemies is all too common.
Initially, their conflict was sowhat restrained. But Eisner’s surgery changed everything.
A few years ago, Eisner underwent heart surgery. During his recovery, Ovitz, leveraging Eisner’s wife’s trust—or perhaps for other undisclosed reasons—took control of Eisner’s hospital room. Apart from Ovitz and Eisner’s wife, no one else, not even Eisner’s lawyer, was allowed to see him.
Naturally, according to Disney’s rules, Eisner’s power transferred to Ovitz during his absence. But it didn’t last long. Eisner recovered quickly and, upon his return, severed ties with Ovitz entirely.
In Duke’s estimation, "Chicago" was rely a trap Eisner laid for Ovitz.
Michael Ovitz couldn’t return to CAA after leaving Disney, as he no longer held any shares in the company. Duke secretly hoped he would return, as that would surely ignite more internal power struggles within CAA, already plagued by infighting among its leadership, Martin Bob and Ino Martin.
Unfortunately, Ino Martin’s limited shares prevented him from ousting Martin Bob completely.
Duke hadn’t forgotten about his potential and widely acknowledged adversary. Martin Bob was currently entangled in internal disputes with Ino Martin, but Duke believed that if given the chance, Bob would strike at him like a venomous snake.
And Martin Bob certainly had the capability and resources to do so.
Michael Ovitz, now departed from Disney, received a substantial severance package. Combined with his already significant wealth and extensive network, he quickly established an entertainnt agency. Rumor had it that he had convinced Sony Entertainnt to bring a terrifying monster to life on the big screen.
Amidst his busy film schedule, Duke also received good news from outside the movie industry—Steve Jobs had successfully returned to Apple earlier this year, thanks to Pixar’s phenonal success.
This allowed Duke to rest easy about his investnts outside of film.
By late April, Warner Bros. fast-tracked its review of "The Matrix" and confird full involvent in the film’s investnt and distribution.
Simultaneously, Duke and Robin Grant officially greenlit the project, forming the Matrix Studio. Using his Warner Bros. shares as collateral, Duke secured a $20 million bank loan, which, along with $20 million from his own funds, covered half of the $80 million budget for "The Matrix."
Twentieth Century Fox ultimately did not invest. Their finances were stretched thin due to two major productions, Speed 2 and Titanic. While the forr was manageable and slated for a sumr release, the latter was proving to be a "pit."
Thus, Warner Bros. not only funded the remaining $40 million but also secured rights as the North Arican and overseas distributor.
"Our competitor, Fox, has fallen behind!"
As with other films, following the announcent press conference for "The Matrix," there was a celebratory party. Warner Bros.’ CEO, Jeff Robinov, seed full of confidence. "Ladies and gentlen, we’ve tied Hollywood’s finest young director to Warner’s chariot!"
"I propose a toast to that!"
A Warner Bros. executive vice president raised his glass first. Although the party’s star was still outside dealing with the press, Warner’s executives were already celebrating.
As the executives mingled, Robert Solomon approached Jeff Robinov.
"Have you heard, Jeff?"
With a serious expression, he pulled Robinov aside to a quiet corner. "Duke has acquired the film rights to Tolkien’s The Lord of the Rings. The Duke Studio is already preparing an adaptation. I’ve heard Charles has even joined the team."
"I’ve heard so similar rumors," Robinov nodded seriously. "Duke and Charles visited Australia recently. Besides scouting Sydney, they were likely preparing for this."
Understanding Solomon’s concern, Robinov added, "Don’t worry, I already have plans. I’ll talk to Duke about this."
The party hall entrance suddenly erupted in noise. Many people crowded around as Robinov glanced over, his face lighting up with a warm smile. He walked over enthusiastically.
Duke Rosenberg deserved such treatnt from any studio CEO, didn’t he?
With that thought, Robinov walked through the crowd and greeted Duke with open arms, embracing him warmly. He seed like an old friend eting Duke after years apart.
If it ant continuing Duke’s collaboration with Warner Bros., Robinov would have gladly danced on a table like Michael Ovitz had once done.
After brief greetings, Robinov watched Duke mingle with others, marveling at the transformation of the young man who once sought opportunities from him into a superstar director whose collaboration Warner was now vying for.
Despite his youthful appearance, Duke now carried an air of maturity. His dark eyes radiated confidence, just like when he had confidently walked away after pitching Speed, even after being rejected.
Confidence, determination, resilience, effort, and genuine talent—these qualities were essential for success in Hollywood. And Duke embodied them perfectly.
After mingling, Duke approached Robinov, who had been waiting nearby. With a tacit understanding, they moved to a quiet corner and sat down.
"Duke, I heard you’re planning to adapt Tolkien’s masterpiece?" Robinov asked.
"Yes."
Though still under wraps, the news would inevitably spread as production ramped up. Duke saw no reason to deny it. "A trilogy, fild back-to-back."
"You’re that confident?" Robinov frowned slightly. "This is considered one of the most challenging works to adapt in Hollywood. Many have tried and failed. Filming an entire trilogy at once is incredibly risky!"
"I can’t guarantee success," Duke admitted with a smile. "But every director needs to try new things and turn the impossible into possible."
Hearing this, Robinov nodded heavily. Duke’s past achievents spoke for themselves. A year ago, how many people believed he could successfully adapt Chicago? Even Robinov had greenlit its release with long-term prospects in mind, fully prepared for potential losses.
And yet, Chicago had grossed $185.5 million dostically and $325.75 million globally, still climbing. Warner Bros. and Warner Records had already made $30 million in profits just from the box office and rchandise, with more revenue to co.
anwhile, Duke’s Duke Studio had earned even more. Robinov rembered the figures clearly—$45 million from North Arican and overseas profits combined, plus another $20 million from rchandise, all still growing. Such staggering returns on investnt were almost unheard of in film.
As for The Matrix, which had just been greenlit, if not for Fox’s financial constraints, they would never have passed on the opportunity to invest.
If anyone could successfully adapt Tolkien’s masterpiece, Robinov believed it was Duke Rosenberg.
"Duke..."
Robinov began but was interrupted by Duke raising his hand.
"Jeff, Warner has always been my most supportive partner. I’m also a Warner Bros. shareholder. If there’s a need, Warner will be my first choice. I can tell you clearly that Nancy will soon discuss global distribution rights for The Lord of the Rings trilogy with you."
Then, Duke shifted the topic. "I think we can further collaborate to create a franchise as profitable as Star Wars!"
....
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