The richest actor in Hollywood.

Returning to Los Angeles, Matthew immediately rushed to Angel Agency to meet with Helen Herman. After their discussion, he contacted Richard Hansen, President of the Writers Guild of America West (WGAW), confirming a meeting at Angel Agency the next morning. The reason for his hasty return was because the WGA had reached out to him directly.

Matthew now owned a film production studio and would likely invest in more films in the future. He would inevitably have frequent dealings with the WGA. While the guild might not seem significant to the Producers Alliance, which mainly comprised the six major Hollywood studios, it was a powerful organization for someone like Matthew, who was just starting in the production industry.

Everyone knew that in North America, dealing with a union could be very troublesome if it decided to cause problems.

Richard Hansen had contacted Helen Herman, explicitly stating that he wanted to discuss issues related to the writers' strike.

Matthew valued his career more than beautiful women because a successful career ensured an endless supply of beautiful women. Without a thriving career in Hollywood, how many stars and models would even notice him?

To live a debauched life in Hollywood, one needed capital.

Matthew was very focused on increasing his capital and making himself more attractive.

Even if fame couldn't get him what he wanted, he could follow Karolina Kurkova's example and use money to get it done.

Such a thought was indeed vulgar, but since becoming friends with David Ellison, Matthew found that being a vulgar rich man was quite enjoyable.

The next morning, Matthew and Helen Herman met with Richard Hansen, President of the WGAW, in the Angel Agency's reception room.

Richard Hansen was a middle-aged man in his fifties, a leader of the writers' guild and one of the initiators of the current writers' strike.

"The strike is a last resort," Richard Hansen sighed. "If the strike continues, everyone in Hollywood will suffer."

Matthew earnestly said, "I have always supported your guild's fight for legitimate rights. That's why, after the strike started, I paused the work on 'Twilight' and 'Fast & Furious 4'. Both productions are currently on long-term hiatus."

"We greatly appreciate your support," Richard Hansen said solemnly.

Helen Herman chimed in, "Matthew's projects are also waiting to resume work. He doesn't want to see the current situation continue."

She wasn't wrong. Neither Matthew nor anyone in Hollywood wanted to see the writers' guild strike. Even the Producers Alliance, which kept rejecting the writers' demands, felt the same way.

A large-scale strike would damage the entire industry, affecting everyone in it.

Richard Hansen, a veteran of the WGAW, was a seasoned negotiator. "Matthew, I know your Thirteen Films and David Ellison's Skydance Productions are both heavily invested in these projects. I am sorry for the impact on you."

"No problem," Matthew said politely. "I can bear this time cost."

Richard Hansen continued, "I have a proposal that could help your productions get back on track."

Helen Herman pushed her glasses up slightly. Matthew understood her signal. They had discussed this yesterday, and Matthew was known for being flexible and not making rash decisions.

Feigning interest, Matthew said, "Mr. Hansen, please go ahead."

"If I remember correctly, neither you nor David Ellison's studios have joined the Producers Alliance?" Richard Hansen asked. Seeing Matthew nod, he smiled. "My proposal is simple. You can reach a new agreement with the writers' guild. As long as Thirteen Films and Skydance Productions agree, your productions can resume immediately."

Matthew and David Ellison had indeed voluntarily put their productions on hold, but this was not publicly known.

Helen Herman remained composed. She and Matthew had agreed that he wouldn't readily accept such proposals.

Matthew had already decided to refuse but didn't speak immediately. Instead, he pretended to consider it.

Richard Hansen's gaze swept over Matthew's face. This was a strategy he and the WGA East President had discussed. Simply having the writers strike against Hollywood production companies was a desperate move. If the strike continued, the writers would also suffer significant losses.

The best approach was for both sides to compromise and reach an agreement.

The WGA was prepared to compromise, but the Producers Alliance showed no signs of yielding, as if writers were not an essential part of Hollywood.

So, they began privately lobbying, targeting studios not in the Producers Alliance or those on its periphery. If they could open a breach with these studios, it would lead to a flood of similar agreements.

Before approaching Angel Agency, they had already reached agreements with two small companies, but those companies were too insignificant to make an impact.

Matthew Horner was their carefully chosen target. His significant influence in the industry and considerable fame could generate substantial news coverage. Particularly, his newly established film company, which hadn't yet joined the Producers Alliance, made him an ideal choice.

Getting Matthew Horner to agree would create a domino effect, equivalent to securing a deal with a mid-sized film company.

Matthew lightly tapped his fingers on the armrest, contemplating. He knew the primary demands of the writers' strike.

The previous major strike in 1988 was partly due to the booming home video market, with writers wanting a share of the profits from video sales.

This time, the focus was on DVD, internet rights, and television rights, especially obtaining substantive dividends from new media profits, with the most prominent demand being an increase in the percentage of DVD royalties.

The North American DVD market was massive and a significant source of revenue for Hollywood studios.

The writers' guild wanted a fixed share of new media, including DVD, revenues, raising their share from 3% to 5%.

Though this percentage increase seemed small, the negotiations were far from simple. Numerous talks had failed, with the Producers Alliance maintaining a firm stance, showing no signs of compromise.

Strikes wouldn't fundamentally solve the problem. The Producers Alliance had counter-strategies, with many non-guild writers and writers from outside North America as alternatives.

Matthew didn't need to think much to understand Richard Hansen's intentions. They wanted to use him as a breakthrough point, triggering a chain reaction.

They wanted him to be the pioneer.

As a Hollywood star, being a pioneer was often advantageous, providing ample exposure.

But not in this case.

Though Thirteen Films was a shell company and not part of the Producers Alliance, it would naturally join the alliance once its two films were released.

Given this situation, there was no need to think twice about which side to choose.

Matthew stopped tapping the armrest and diplomatically said, "Mr. Hansen, the writers on 'Twilight' and 'Fast & Furious 4' are paid much higher than their previous rates. Once the productions resume, each writer will receive additional compensation based on their roles."

He emphasized, "I believe writers are a vital part of the film industry and should be valued."

"Uh..." Richard Hansen frowned slightly, not expecting Matthew to refuse in such a way.

He couldn't fault Matthew's reasoning, as increasing writers' actual compensation aligned with the guild's goals.

"Mr. Hansen," Matthew continued, "I'm an actor and, by labor standards, part of the workforce."

He subtly added, "Thirteen Films is just a shell company, mainly investing without participating in actual film production."

Both were smart individuals. Richard Hansen understood Matthew's message: he wasn't interested in being the pioneer.

Realizing he couldn't force the issue, Hansen had a backup plan.

"I appreciate your consideration for writers on your projects," Hansen said. "Many stars, including Tom Hanks, Julia Roberts, and George Clooney, have expressed their support for the guild. If the strike continues, they won't attend the Oscars."

Without hesitation, Matthew replied, "If the strike continues, I won't attend the Oscars either."

He hadn't planned on attending the Oscars anyway.

"Thank you," Richard Hansen said a few more words before leaving.

Minutes after Hansen left, Helen Herman received another call. She told Matthew, "Kathleen Kennedy, Vice President of the Producers Alliance, is calling."

_________________________

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