Exploiting Hollywood 1980

As the general manager of Daydream Pictures, Eddie has been working with "Dirty Dancing" screenwriter Eleanor Bergstein and producer Linda Gottlieb to distribute the company's Weston Pictures Production manager Michelle Cannold discusses working on the production of "Dirty Dancing."

"So, we're stuck here and now we have to figure out a way to move forward."

After chatting all morning in Eddie's former agent's office in New York, Eddie finally summarized the results of the morning's talks to the three parties present, or rather, they were fruitless.

Weston is a company headquartered in Chicago that has been outsourcing video production and distribution for the Big Seven. After the Big Seven gradually took back their video tape business, they urgently needed to transform themselves into distributing big-screen theater movies.

The original condition prepared by Ronald was that Ronald's Daydream Pictures, along with Douglas Jr., would contribute US$1.5 million, and Weston would contribute US$3 million, for a total of US$4.5 million. to make this movie.

It was then handed over to Weston for distribution in theaters nationwide.

However, the parties have been unable to reach a consensus on the order of division.

Weston was interested in the fact that the film could be produced with a budget of less than five million US dollars, and that it could also be used as the company's first theatrical film after its transformation to train its distribution team.

Producer Linda Gottlieb values ​​her share contract more. She was the first to see the potential in the screenplay by her friend, screenwriter Eleanor Bergstein. Originally, MGM's distribution contract had been given the green light, but after Weintraub took over MGM, the project was suspended and put on the circulation list.

Although screenwriter Eleanor is more inclined to cooperate with Ronald Daydream, Linda Gottlieb's interests can be maximized by working with Weston.

If not agreed in advance, the producer has the right to allocate the movie share. After the movie makes a profit, everyone who participates in the sharing will have that share included in the cost. The next person to participate in the sharing will have the allocated funds minus the previous person’s share.

The further you go, the less valuable your share rights are.

After all, Weston is a newcomer to the theatrical distribution market, and he will definitely have an easier time dealing with the pitfalls of these contracts than Ronald, who has collaborated with the studio on many films.

But if you completely put aside Ronald's daydreams, Weston's confidence in this project is seriously insufficient.

As a Jewish producer who grew up in the entertainment industry, Linda's plan was to have both daydreams and Weston, and

Get maximum benefit.

When she first saw the title of the script, "Dirty Dancing," she knew it was a good movie that could potentially earn her millions of dollars. Only by sticking to it tightly can you bring yourself the first huge profit since entering the industry.

As for Ronald, it's relatively simple. On the one hand, he saw the potential of the script, and on the other hand, because he had dreamed about the movie, he was very confident about the box office.

"I feel like Linda, the producer, has a tendency to play both sides," Eddie told Ronald during a lunch break.

"This is normal. The producer wants to turn a script into a movie. This process is so difficult. If you don't want to make a lot of money, it is impossible to succeed." Ronald waved his hand and said that he didn't mind if the producer was in the middle. Share some of the money.

"But this is a small-production movie. The production cost we calculated is between 4.5 million and 5 million. If Linda and distributor Weston share the box office first for such a movie, we will end up with If you participate in the share, it will cost at least 25 million to get back the investment." Eddie has already calculated the possibility of profit.

"I think if this movie is shot well, the box office will exceed this figure." Ronald was very confident.

"Actually, I think Weston's confidence in the movie is much less than yours." Agent Richard interjected from the side, and he also participated in the negotiations. "And I think the producer, Linda, really wanted Weston to participate in this movie so that she could make more money."

"Have you ever thought that since you are so optimistic about the prospects of this movie, you might as well buy the production rights of this movie and then find Seven to cooperate?" Eddie suddenly said.

"This is not good. After all, Linda signed a contract with the screenwriter Eleanor before me. And they are good friends. I am not sure about kicking her out." Ronald actually also wanted to monopolize the power of production.

"In the afternoon negotiations, we still have to introduce the possibility of the seven major studios entering the game. This way we can take the initiative in the negotiations. At least producer Linda and screenwriter Eleanor have a new choice. In the morning negotiations Weston's manager, Michelle Cannold, kept stalling negotiations."

"That's it."

"Ronald, let me introduce to you, this is one of our bosses in Weston, Steve Tisch."

At the beginning of the afternoon meeting, Cannold, the manager of Weston Pictures, introduced a new negotiation participant, a young man in his early thirties with a thick neck, a square chin, and aggressive eyes.

"Hello, Mr. Tisch." The name Tisch struck a chord in Ronald's mind. The School of Art at New York University, where he had attended classes for more than a year, seemed to be named after this surname.

"He is the son of Bob Tisch, the donor of New York University Tisch College." Eddie whispered in Ronald's ear.

"Their family is the owner of the NFL football team, the New York Giants. They have been messing around in Hollywood since they were young." Richard added in the other ear.

"Nice to meet you. I admire your father's kindness very much."

"I know you, Ronald. There are legends in Hollywood that you are magical. But for this movie, I invited musical expert Aaron Russo, who has a very insightful view on movies."

Steve Tisch ignored Ronald's praise for his father and raised his hand to invite a man with a big and round face.

"Aaron Russo, the producer of The Rose, the movie that got Bette Midler an Oscar nomination." Richard was very familiar with these Hollywood celebrities and immediately reported in a low voice The other party’s resume.

"Hello, Aaron, do you have any advice?"

Ronald looked at Aaron Russo, who had long greasy hair combed back and a round face with a Jewish nose, which made people feel a little funny. Unexpectedly, he was the man who discovered Bette Midler, the heroine of "The Evil Husband" back then.

"How are you going to make this movie? What's the theme?"

Aaron Russo did not face Ronald and the others, nor did he face the writers and producers, nor did he bypass Weston's manager, but directly asked the boss Steve Tisch.

Ronald was surprised. Did this Aaron just come back from an alien planet? Don’t you know the popular Hollywood director Ronald Lee?

So Ronald coughed, then slid his chair forward, closing the distance to Aaron Russo. When Ronald felt his approach and turned around, he said directly to him. :

"I plan to make it into a story about a girl's dream, a poor boy who dances with her hero at a resort, a dancer. Do you have any opinions?"

"If you have this idea, I have to tell you that if you shoot it like this, your movie will not be successful." Aaron Russo did not flinch, and also stepped forward, and there was only one gap between him and Ronald. He stood a few dozen centimeters away, then answered with a lewd smile.

Ronald seemed to smell the bad breath coming from the other person's mouth and leaned back, "Are you sure?"

Where did this guy come from? Guarding a 79-year-old movie maker, don't you know that you are facing the hottest emerging director in Hollywood right now? Still showing seniority in front of oneself, Hollywood is not a place that respects the elderly.

Aaron Russo turned his head again and spoke to Steve Tisch, "Today's directors and producers don't know how to shoot musicals. If you believe me, it's better not to invest in this story. .”

"If you want to make a suggestion, why don't you say it to me?" Ronald was angry. Why did Aaron Russo always skip him and talk directly to Weston's rich second-generation boss.

Musical? Who else in Hollywood can pretend to be a big boss now and say that they know how to make musicals better than you?

Sir, did you know that when you left Hollywood, I made a "Break Dance" movie? Not only did it gross over 100 million at the box office, but the first lady Nancy also had to learn how to dance, and the commander-in-chief also met with me and several of the leading actors.

"You don't understand Hollywood, young man. I'm telling you, no one in Hollywood will release your movie if you do it this way."

Aaron Russo said one last word to Ronald, stood up, shook hands with Weston's boss Steve Tisch, and walked out.

Steve Tisch remained silent and ignored Aaron Russo's rudeness as he whispered a few words to Weston's manager, Michelle Cannold. Then Michelle came over and asked everyone to suspend the meeting first, and Tisch needed to communicate with them new.

"Who is this Aaron Russo? Hasn't he been in Hollywood these past few years?"

"I just came back from Britain. I guess he doesn't know much about the changes in Hollywood in recent years. He is mainly focusing on TV series now." Richard hurriedly went to talk to Niceta on the phone and figured out Russo's story in a few seconds. Details.

"But he has a very close relationship with Xiao Dishi, so I guess he will value his opinions."

Richard added.

On the other side, screenwriter Eleanor and producer Linda were also whispering. It seemed that they were also a little confused about this unexpected situation.

Ronald waited for a while, then Steve Tisch and manager Cannold came over. Dishi waved his hand, and Cannold came over to talk.

"Ronald, Eleanor, Linda, and Weston have a new evaluation of the film, and we need Eleanor to revise the background of the baby and the plot in the script.

First of all, the baby should not be Jewish, and if it must be Jewish, her lover should not be Irish..."

"Nonsense, this is a complete story. If the heroine baby is not Jewish, how can she go to a Jewish-only tourist destination? If she is not Irish, where can such a masculine dancer come from? "

Screenwriter Eleanor was furious and immediately interrupted Weston's request.

Ronald also looked sideways, why did the screenwriter have such a big reaction?

Ronald vaguely remembered that this seemed to be a script adapted by screenwriter Eleanor based on her own experience. Maybe she was the prototype of the baby, and her first love was of Irish descent?

Producer Linda covered her face. She understood that this was Eleanor's bottom line. She originally gave the script to her just to realize a dream of her youth on the screen.

"Sorry, Mr. Cannold, this plot is our bottom line. The entire story is based on the love between a Jewish girl and an Irish boy that crosses class and race." She had no choice but to talk to Weston. explain.

"Aaron's point of view is very convincing. We feel that the future of this movie is worrying. If you are unwilling to modify the script, the movie will be postponed indefinitely." Xiao Di said forcefully.

"Our funds have already been deposited into the account of the project company. If you don't modify the script as required, we will have no choice but to withdraw our investment."

"I don't think there's anything wrong with this plot. If you don't want to invest, I can take over."

Ronald saw the opportunity and said suddenly.

The background of the character in the dream was not changed. The baby was still a Jewish girl, and Jennifer Gray, an actress with a big nose, was cast to play the role.

"Wait, let me talk to them first." Producer Linda pressed screenwriter Eleanor, who was about to agree, to talk to Weston's boss first. She always felt that the other party's reasons seemed very strong. .

"Eleanor, I like this movie very much. I originally wanted to fully invest in it..." Ronald took the opportunity to go to the screenwriter and discuss his ideas with her.

Ten minutes later, producer Linda came back and said, "Eleanor, Ronald, if you insist on not modifying the script, I will withdraw from the role of producer of this film."

"Linda, you..." the screenwriter became anxious.

"I have good reasons. If you want to continue producing this movie, Ronald, you might as well buy the production rights together." The producer held down the screenwriter's hand.

"How much?" Ronald somehow remembered what Coppola told him about the past. He didn't insist on buying "American Graciousness" directed by Lucas, and missed the opportunity for the peep show company to make a lot of money in one fell swoop. .

"The fixed price is US$500,000. In addition, I suggest that Eleanor also have a copy of the script transfer fee, so that her hard work can be guaranteed."

Producer Linda Gottlieb put forward her own conditions. Although the income was higher than expected, it was better than nothing. Then she whispered something in screenwriter Eleanor's ear.

"This? Okay. Maybe you are right." Screenwriter Eleanor also listened and turned to Ronald, "I am willing to transfer the script to you."

"How many do you want?" Ronald turned to the screenwriter.

"Two hundred thousand dollars, plus Linda and I's 1% profit share." Screenwriter Eleanor wrote down her asking price and pushed it over.

When Ronald heard the price, it was very cheap. He quickly took out his checkbook, wrote two checks, and handed them to the two ladies respectively, "My lawyer will prepare the contract immediately."

"Thank you." Producer Linda folded the check and put it in her pocket.

"Thank you. We originally planned to invest 4.5 million in production costs. I hope that in your hands, it will look like what I imagined."

The screenwriter Eleanor looked reluctant to give up, but she still took the check heartily.

"Ronald, they seem to have agreed too quickly. Is there something wrong?" Richard felt something was wrong and came over to ask Ronald.

"It's no problem. Anyway, we can sign a contract with a publisher right away and get some investment. Find a suitable director to direct it. I'm very optimistic about this story."

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