Conflict

The day after the banquet, Irene dove headfirst into the editing room, silently swearing to herself that she would make this film even more perfect than it had been in her past life.

She utilized transition techniques and editing styles from films that wouldn't be released for years, constantly updating and refining the movie, though some segments appeared so "fresh" that Hill, the editor, was momentarily unsure if they should be included.

Francis, meanwhile, focused more of his energy on planning the test screening, leaving the entire editing process to Irene.

After the Oscars concluded, Hollywood returned to a brief period of calm.

Generally, after a production company finishes a film, they need to seek out a distributor to pitch their product. However, because the Coppola name carried such weight, and with George Lucas also throwing his support behind it, several major distributors gave them the courtesy of attending the test screening organized by Francis.

Paramount Pictures sent their acquisition executive, Robbins Cook, to judge the quality of the film and see if it was worth bringing under their banner.

Although rumors outside suggested that this film was actually directed by Francis Coppola himself and merely carried Irene Coppola's name, Robbins knew the director well enough to know he would be above such things. Besides, looking at the title, Legally Blonde, it didn't seem like something that would fit Francis Coppola at all.

When he walked into the temporarily rented screening room, several peers were already scattered throughout the seats. They nodded to acknowledge one another, and he picked a seat at random.

The film began shortly after.

On the screen, the girl named Reese Witherspoon, with her blonde hair and pink outfits, looked like a typical sweet girl, yet she charged headlong into the arrogant Harvard Law School with unexpected intelligence and tenacity.

She wasn't a joke; she was a joke-making machine herself. The reactions of the peers around Robbins were the most direct barometer. At first, there was polite chuckling, which soon turned into unguarded, heartfelt laughter, and eventually, at certain moments, even spontaneous applause.

Robbins rested his chin on his fingers unconsciously, his professional brain racing. This was a masterpiece similar to Pretty Woman, yet smarter and more in tune with the thoughts of the current generation.

As the screening ended and the lights came up, Robbins noticed several peers who had been stone-faced earlier now wearing lingering smiles, exchanging looks that said, "I didn't expect it to be this good." At that moment, he knew the race for this film had begun.

He didn't linger, grabbing his belongings and heading straight back to the office.

Upon arriving, he immediately went to the upper management to request an emergency briefing.

The company approved his request, and staff were assembled instantly. In less than half an hour, the heads of the distribution department and other personnel were already seated in the conference room.

"Robbins, tell us, what film has you so excited?" Department head Sawyer Walker sat across from Robbins, signaling for him to get straight to the point.

"I just watched a film called Legally Blonde. I know it might sound like a teen comedy imitating Pretty Woman, but I tell you, it is so much more than that. This is the script." Robbins spoke with high energy, handing the script to his boss.

While the other party looked over the script, he continued to voice his thoughts on the film.

"It perfectly blends comedy, fashion, and themes of female empowerment—it's terrifyingly precise. I observed the reaction at the test screening; the laughter was genuine, sustained, and infectious."

"The lead, Reese Witherspoon, has incredible appeal. This film has the potential to become the next cultural phenomenon. It will become a classic that young women will flock to see, and even watch repeatedly."

Sawyer Walker flipped through the script quickly, pondering for a moment before asking, "Is this that new Coppola film?"

"Yes, it's Irene Coppola's work." Robbins wanted to continue, but was interrupted by another voice.

"With all due respect, this appears to be this young lady's first work. Are you sure it's as brilliant as you say?" Michelson Owen raised an objection.

"Listen to me, boss. This isn't just a film worth distributing; this is a film we must secure. It has all the ingredients for a massive hit: high entertainment value, a clear target audience, strong buzz, and derivative potential."

"Our competitors haven't fully realized its value yet. We must act immediately and secure the distribution rights with the most competitive terms!" Robbins used a more earnest tone, hoping his boss would seriously consider his idea.

"Hey, Robbins, if I understand you correctly, this film is a teen comedy, right?"

Robbins hadn't wanted to engage with Owen, as he was a rival for a higher position, but since he hadn't received a response from Sawyer Walker, he answered reluctantly, "So what if it is? Even if it is just a teen comedy, it..." Before he could finish, he suddenly thought of something.

Michelson continued, "The best release window for a teen comedy is the summer season, but you seem to have forgotten that we already have a better project for the summer—a film starring the superstar Julia Roberts."

Yes, Robbins remembered. Runaway Bride, directed by the renowned Garry Marshall and featuring the second collaboration between superstars Julia Roberts and Richard Gere, with a budget as high as 78 million.

As a romantic comedy, the film had long been scheduled for the summer, and it was standard practice for distribution companies not to release two films of the same genre in the same window.

"BOSS, I still hope you can give Legally Blonde a chance, because it really is the best teen comedy I've seen in the last two years. We will regret missing out on it." Robbins was still unwilling to give up, trying to fight for it one last time.

"BOSS, I disagree. Runaway Bride is far superior to that Legally Blonde thing, both in terms of director and cast. There is no need for us to release two films of the same genre in the same window; it would be an irresponsible use of company resources."

Robbins hadn't expected Owen to openly oppose him, and his speech quickened, "BOSS, I..."

Sawyer Walker raised a hand to cut Robbins off. "That's enough, Robbins. I know you think highly of Legally Blonde, but Owen is right. The two films aren't comparable, and there's no need for us to compete against ourselves. That's all. Go find a more suitable film." With that, he stood up and left the conference room.

Michelson Owen gloated to Robbins, "Legally Blonde? You actually wanted to fight me with a project from a baby director? I don't know if you're too naive or if you've just given up and are self-destructing. Next time, try picking a better target, will you?"

Seeing that Walker had already left the room, Robbins felt a heavy blow. Without looking at Owen, he turned toward the door. As he prepared to leave, he retorted, "Regardless of what you think, I simply believe in the film Legally Blonde." He then walked out.

Leaving Owen standing there alone.