Michelle Pfeiffer was momentarily stunned by Simon's direct and unhesitating rejection. After all, they were talking about an Oscar, a decision made by thousands of Academy members. Yet, Simon had casually said, "I can't give it to you," as if the golden statuette was his to hand out.
Seeing Michelle's confusion, Simon simply smiled and raised his glass to her before turning to leave.
While Michelle Pfeiffer might be a distant Hollywood goddess to many fans, she didn't hold much attraction for Simon. She just wasn't his type.
Watching Simon walk away, Michelle considered following him, but he was quickly approached by another middle-aged man with dark hair. She hesitated and then paused, taking another glass of wine from a passing tray while keeping her eyes on the man across the room.
"Hello, Mr. Westeros. I'm Tim Bevan."
"Hello."
Simon politely shook hands with the man and accepted the business card handed to him, feigning interest as he glanced at it.
In truth, upon hearing the name, Simon already knew who Tim Bevan was.
As expected, the business card read "President, Working Title Films."
"Working Title" is a common term in the film industry, referring to a provisional name given to a project during its development and production phases for confidentiality and other reasons. Many films do not have their official titles finalized at these stages and thus use a working title as a placeholder.
Working Title Films might not be well-known to the general public, but in the original timeline, many of its films were hugely popular and critically acclaimed, including "Four Weddings and a Funeral," "The Big Lebowski," "Fargo," "Notting Hill," and "Bridget Jones's Diary."
In Simon's memory, Working Title Films started as a small operation and only recently began to gain prominence when Polydor Records, aiming to enter the film industry, invested in it. The company's big break came with the global success of "Four Weddings and a Funeral." Polydor Records was later acquired by MCA, the parent company of Universal, turning Working Title into a Universal subsidiary. This arrangement continued until Simon's rebirth, during which Working Title Films consistently produced noteworthy films.
Tim Bevan had no idea how familiar Simon was with him, but seeing a chance to speak with Simon Westeros, he seized the opportunity. He quickly said, "Mr. Westeros, I have a very promising script that you might be interested in hearing about."
Simon put away Tim Bevan's business card and looked up. "Tell me about the projects your company has been involved in first."
Tim Bevan smiled slightly and replied, "The 1988 Cannes Film Festival entry 'A World Apart' was actually our company's work."
Simon remembered the 1988 Cannes Film Festival well.
That was the year "Pulp Fiction" won the Palme d'Or, making Simon the youngest winner of the prestigious award in the festival's history.
"A World Apart" won the Jury Prize, the second-highest honor at Cannes.
Simon quickly recalled the general information about "A World Apart," a political film about apartheid in South Africa. Given its niche subject matter, it wasn't surprising that the film's commercial performance was less than stellar.
Tim Bevan's mention of this film was clearly an attempt to curry favor by invoking Cannes, but under different circumstances, Simon would have had little interest in discussing it further.
However, now he couldn't just dismiss it.
With an understanding smile, Simon said, "Alright, tell me about your script."
As a film producer, Tim Bevan had more than one script in hand. However, he knew that getting an audience with Simon Westeros was already a significant opportunity, and he couldn't expect more.
Gathering his thoughts, Tim Bevan quickly outlined, "It's a crime drama called 'Bloodied Romeo.' It follows an FBI agent named Jack, who makes a fortune by selling out the hiding locations of informants. After leaking the whereabouts of a Russian mob hitwoman, Jack finds himself caught in a web of intrigue and conspiracy. While it doesn't feature the intricate non-linear narrative of 'Pulp Fiction,' it shares a similar tone, with twists and coincidences being its main selling points."
Simon hadn't heard of "Bloodied Romeo" before, but listening to Tim Bevan's pitch, he understood the gist.
Tim Bevan was clearly trying to cater to Simon's tastes by pitching this story.
However, Simon was more interested in "Four Weddings and a Funeral."
According to his memory, "Four Weddings and a Funeral" was slated for release next year. If history hadn't changed, the project should already be in the planning stages.
Simon also understood that even if Tim Bevan had the "Four Weddings and a Funeral" script, he wouldn't pitch it now. In the original timeline, the film wasn't highly anticipated before its release.
Given that Tim Bevan was approaching him now, Simon didn't want to rush things.
Besides, although he hadn't heard of "Bloodied Romeo," it seemed like a perfect fit for someone he had in mind—Quentin Tarantino.
Simon had just taken some time in the morning to read Quentin's new script, "True Romance." He had seen the finished film before. In the original timeline, "True Romance" was written by Quentin Tarantino but directed by Tony Scott, ultimately leading to its failure.
In this timeline, with "Pulp Fiction" already claimed by Simon, Quentin, who had gained fame with "Reservoir Dogs," had been working on "True Romance," intending to direct it himself.
However, compared to "Pulp Fiction," "True Romance" seemed rather mediocre.
Maybe Quentin could take a shot at "Bloodied Romeo."
"True Romance" and "Bloodied Romeo"—even their titles suggested a thematic connection.
While Simon hadn't read the "Bloodied Romeo" script yet, he knew that "True Romance" was a chaotic and underwhelming story.
With a plan in mind, Simon looked at Tim Bevan, who was eagerly awaiting his response. "Are you currently an independent producer?"
Tim Bevan, sensing something, quickly nodded.
Since the 1980s, Tim Bevan and his partner, Sarah Radclyffe, had been trying to find a major backer for Working Title Films. Last year, they had some talks with Polydor Records, but they fell through, partly because of Daenerys Entertainment's overwhelming presence.
In the original timeline, Polydor Records attempted to break into film production, hoping to capitalize on the film industry's resurgence in the 1990s. They wanted a slice of the Hollywood pie.
However, with Daenerys Entertainment's aggressive dominance in recent years, even second- and third-tier studios in Hollywood were struggling to survive, let alone newcomers like Polydor.
Lacking sufficient motivation, Polydor eventually shelved its plans to expand into the film industry.
Without Polydor's backing, Tim Bevan continued to sustain Working Title Films as a small operation.
Upon learning that Simon Westeros would be at the Berlin Film Festival, Tim Bevan put in considerable effort to secure this meeting. He meticulously prepared every detail, from invoking "A World Apart" to remind Simon of "Pulp Fiction" to pitching "Bloodied Romeo" to appeal to Simon's taste.
Initially, Tim Bevan feared he wouldn't get the chance to speak. To his surprise, things were going smoothly.
Almost too smoothly.
Seeing Tim Bevan nod, Simon pulled out a business card from his suit pocket and handed it to him. "Take this and contact Ira Deutschman. He's currently in Berlin. You can discuss the details with him."
Many in the hall had noticed Simon's conversation with Tim Bevan. Those familiar with Tim Bevan and aware of Working Title Films were keenly observing. Seeing Simon hand over a card, many realized what had just transpired.
As Tim Bevan walked away from Simon, others quickly moved in to talk to him.
Simon was patient with these interactions but didn't hand out any more cards in the next ten minutes.
Michelle Pfeiffer continued to watch Simon skillfully navigate the crowd, waiting for a chance to approach him again. However, each time she attempted to move closer, someone else beat her to it. When three tall, stunning women surrounded Simon, Michelle realized her chance was gone.
Seeing Claudia Schiffer, Nadja Auermann, and Paulina Porizkova together with Simon, many in the hall could only look on with envy.
Claudia Schiffer and Nadja Auermann, both Germans, were naturally present to support their home festival. Simon was surprised to see Paulina Porizkova, whose features bore a striking resemblance to Audrey Hepburn. After greeting and hugging the three women, he asked about her unexpected presence.
"I have a small role in 'Arizona Dream,'" Paulina explained, with a hint of longing in her eyes. "But it's just a tiny part."
Unmoved by her wistful gaze, Simon smiled and said, "Even Oscar-winning actresses start with small roles. I think your main focus should still be on modeling."
"But I'm already..." Paulina began, hesitating before continuing, "I'm already 28."
At 28, she was nearing the end of her prime as a model.
Sensing her concern, Simon looked into her eyes and said, "If someone told me you were 18, I'd believe them."
Paulina raised an eyebrow, slightly disappointed. "So, Simon, do you now prefer 18-year-old girls?"
Amused but not swayed by her teasing, Simon nodded and said, "Yes, indeed."
He then turned to Nadja Auermann and extended his hand. Nadja leaned in, allowing Simon to wrap an arm around her waist while she shot a playful glance at Paulina.
Nadja Auermann, at 22, still had a long career ahead, especially with Simon's support. Even Claudia Schiffer, more famous than Paulina, was only 23
. Despite her continued beauty, Paulina was becoming a wave about to be overtaken by the tide.
Especially after last year's Victoria's Secret Fashion Show.
Paulina, believing her style didn't suit the lingerie runway, had opted out of the show. With the rise of the Victoria's Secret Angels, she now deeply regretted her decision.
Seeing Nadja cling to Simon and flaunt in her direction, Paulina ignored her rival and focused on Simon. "Simon, do you remember the promise you made us?"
At Simon's twentieth birthday party, Cindy Crawford, Helena Christensen, Paulina Porizkova, and Stephanie Seymour had attended together. In the midst of their interactions, Simon had made a small promise to them.
Initially, Paulina hadn't paid much attention to it.
But now, among the four women, the other three were all Victoria's Secret Angels, flourishing in their careers, while Paulina had been left behind.
She had once been a top-tier model with endorsements like Estée Lauder. However, with her popularity waning and overtaken by newer stars, she knew that without a boost to regain her standing, she'd be replaced when her contract expired at the end of the year. Losing the Estée Lauder deal would mark the end of her modeling career. With so many more prominent newcomers, brands would no longer choose a fading model like her.
In the reception hall, Simon responded to Paulina's mention of his promise by shaking his head and smiling. "I don't remember."
Paulina's eyes widened. "Simon, you're such a rogue."
"A bit of roguishness is what makes a man attractive," Simon replied with a smile before turning to Nadja. "Right?"
Nadja didn't answer but leaned in to kiss Simon on the cheek, continuing to flaunt her connection to him. Despite not being as beautiful as Paulina, Nadja, younger and backed by Simon, had a promising career. Even Claudia Schiffer, more famous than Paulina, was only 23. Although still stunning, Paulina was clearly being left behind.
Especially after last year's Victoria's Secret Fashion Show, which reshaped the industry.
Through a series of videotapes, photo books, and merchandise, the 40 Victoria's Secret Angels became the most recognized names in the fashion world. Despite the disdain some top fashion brands held for the show's format, they couldn't ignore the necessity of having Victoria's Secret Angels in their shows.
Ultimately, the goal of any fashion show is promotion.
Without the most famous models, it risked appearing less prestigious.
As a result, the five Victoria's Secret Angels' spokeswomen became the darlings of the fashion world.
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