Exploiting Hollywood 1980

Exploiting Hollywood 1980 Chapter 341 This is the check, I bought the production rights of Hot Body Dance

Eddie, as the general manager of Daydream Pictures, has been working with "Dancing Hot" writer Eleanor Bergstein, producer Linda Gottlieb, and distribution company Weston Pictures. Production Manager Michelle Cannold talks about the production collaboration for "Dancing Hot."

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

In the office of Eddie's original agent in New York, we chatted all morning, and finally Eddie summed up the three parties who attended the meeting.

Weston is a Chicago-based company that has been outsourcing video production and distribution to the Big Seven. After they gradually took back the videotape business at the Seventh Congress, they urgently needed to transform themselves to distribute movies on the big screen.

Originally, the condition that Ronald prepared was that Ronald's Daydream Pictures would bring Douglas Jr. and contribute $1.5 million, Weston would contribute $3 million, and the two parties would share $4.5 million. to make this movie.

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

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

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

Producer-producer Linda Gottlieb, on the other hand, is more concerned with her sharing contract. She was the first to see the potential of her best friend, screenwriter Eleanor Bergstein. Originally, MGM's distribution contract had been green-lighted, but after Weintraub's strong takeover of MGM, the project was suspended and put on the circulation list.

Although screenwriter Eleanor prefers to work with Ronald's daydream, Linda Gottlieb's interests are maximized by working with Weston.

If not agreed in advance, the producer has the right to distribute the film share. After the movie is profitable, everyone who participates in the share will be included in the cost. The next person who participates in the share will have the funds allocated minus the share of the previous person.

The further back you are in the ranking, the less valuable the share rights are.

After all, Weston is a novice in the theatrical distribution market, and he is definitely better at dealing with the pitfalls of these contracts than Ronald, who has worked with studios on many films.

But if Ronald's daydreams are completely put aside, Weston's confidence in the project is seriously lacking.

As a Jewish producer who grew up in the entertainment industry, Linda's plan was to get the most out of the relationship between Daydream and Weston.

The first time she saw the script titled "Dirty Dang," she knew it was a good movie with the potential to make her a million dollars. Only by pinning it tightly can you bring yourself the first huge profit since entering the industry.

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

"I feel that producer Linda has a tendency to take advantage of both sides in the middle," Eddie told Ronald during his lunch break.

"It's normal. The producer wants to turn a script into a movie. This process is so difficult. If you don't think about making a lot of money, you can't succeed." Ronald waved his hand and said he didn't mind the producer in the middle. Divide some of the money.

"But this is a small-production film, and we calculated the production cost to be between four and a half million to five million. For such a film, if Linda and the distributor Weston split the box office first, we would end up with If you participate in the share, it will cost at least 25 million to get your investment back." Eddie has already calculated the possibility of profit.

"I think this movie, if made well, will surpass this number at the box office." Ronald is very confident.

"Actually, I think Weston's confidence in movies is much less than yours." Agent Richard interjected,

He was also involved in the negotiations. "And I think the producer, Linda, really wants Weston to be in the movie so she can grab more money."

"Have you ever thought that since you are so optimistic about the prospects of this film, you simply buy the production rights of this film and then find seven major partners?" Eddie said suddenly.

"This is not very good, after all, Linda signed with the screenwriter Eleanor before me. And they are good friends, I am not sure to kick her out." Ronald actually wants to monopolize the power of the production.

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

"Just do it."

"Ronald, let me introduce you to one of our Weston owners, Steve Tisch."

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

"Hello, Mr. Di Shi." The name Di Shi made Ronald's heart move. The School of Art at New York University, the school where he has taught for more than a year, seems to be named after this surname.

"He's a donor to NYU Diese College, Bob Diese's son." Eddie reminded softly in Ronald's ear.

"Their family is the NFL football team, the owners of the New York Giants. Growing up in Hollywood," Richard added in the other ear.

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

"I know you, Ronald, and Hollywood says you're amazing. But for this movie, I brought in Aaron Russo, an expert on musicals, who has a very insightful view on movies."

Steve Dixie ignored Ronald's praise for his father, and raised his hand to call out a man with a big, round face.

"Aaron Russo, the producer of The Rose, got Betty Midler an Oscar nomination for the movie." Richard was familiar with these Hollywood celebrities and immediately whispered opponent's resume.

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

Ronald looked at Aaron Russo, his long greasy hair pulled back and a Jewish nose on his big round face, which made people feel a little funny. Unexpectedly, he was still the heroine who discovered "The Wicked Husband", Betty Midler's man.

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

Aaron Russo did not confront Ronald and the others, nor did he confront the writers and producers, and he bypassed Weston's manager, but directly questioned the boss, Steve Emperor.

Ronald was surprised, this Aaron, did he just come back from aliens? Don't you know the famous Hollywood director Ronald Lee?

So Ronald coughed, then slid his chair forward, closing the distance with this Aaron Russo. When the other party felt his approach and turned his head, Ronald said directly to him. :

"I'm going to make it a girl's dream, on a resort with a hero at heart, a dancer's poor boy, to complete a chorus story. Do you have any comments?"

"If that's your idea, I have to tell you that your movie won't be a success if you make it this way." Aaron Russo didn't flinch, but also stepped forward, only a short distance from Ronald. At a distance of dozens of centimeters, he replied with a wretched smile.

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

Where did this dude come from? Watching a movie that has been around for 1979, don't you know that you are facing the hottest emerging director in Hollywood right now? Hollywood is not a place to respect the elderly.

Aaron Russo turned his head again and said to Steve Dies, "Directors and producers now don't know how to make musicals, if you believe me, it's better not to invest in this story. ."

"If you want to make an opinion, why don't you say it to me?" Ronald was angry, how could this Aaron Russo always skip himself and speak directly to Weston's rich second-generation boss.

Musical? Now who else in Hollywood can be a big man and say that he knows how to make musicals better than himself?

Sir, did you know that when you left Hollywood, I made a "breakdance" movie? Not only did it sell 100 million at the box office, but the first lady, Nancy, had to learn to dance, and the commander also met with me and a few leading actors.

"You don't understand Hollywood, young man. I tell you, nobody in Hollywood will release your movie if you do it this way."

Aaron Russo and Ronald said one last sentence, and simply stood up, shook hands with Weston's boss, Steve Dies, and walked out.

Steve Dixie was silent and ignored Aaron Russo's rudeness, and he whispered a few words with Weston's manager, Michelle Cannold. Then Michelle came over and asked everyone to suspend the meeting first, and Emperor Shi needed to make new communication with them.

"Who is this Aaron Russo? Has he been in Hollywood for a few years?"

"I just came back from Britain, and I don't think he knows much about the changes in Hollywood in recent years. He is now focusing on TV dramas." Richard hurriedly went to talk to Nisita on the phone, and he figured out Russo's situation in a few seconds. The bottom is fine.

"However, his relationship with Xiaodi Shi is very strong, and it is estimated that he will value his opinion."

Richard added.

On the other side, screenwriter Eleanor and producer Linda are also whispering, and it seems that they are also a little unclear about this sudden situation.

Ronald waited for a while, and Steve Dies and the manager, Cannold, came over. Emperor Shi waved his hand, and Cannold came over to speak.

"Ronald, Eleanor, Linda, and Weston have a new assessment of the film, and we need Eleanor to revise Baby's background and plot in the script.

First of all, Baby had better not be Jewish, and if she had to be Jewish, her lover had better not be Irish..."

"Nonsense, this is a complete story, if the heroine Baby is not Jewish, how can she go to a tourist destination exclusively for Jewish people? If not Irish, where would such a masculine dancer come from? "

The screenwriter Eleanor was on fire and immediately interrupted Weston's request.

Ronald also looked sideways, why did the screenwriter react so strongly?

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 that Baby, and her first love was Irish?

Producer Linda covered her face. She understood that this was Eleanor's bottom line. When she handed over the script to herself, she wanted to realize a dream of her youth on the screen.

"Sorry, Mr. Cannold, this plot is our bottom line. The whole story is based on the love between a Jewish girl and an Irish boy, across class and race." She had to talk to Weston. explain.

"Aaron's point of view is very convincing. We feel that the future of this film is bleak. If you are not willing to revise the script, the film will be postponed indefinitely." Xiao Di Shi said strongly.

"Our funds have been credited to the project company's account. If you don't modify the script as required, we will only withdraw."

"I don't think there is 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 role in the dream has not been changed. Baby is still a Jewish girl, and she has also found an actress with a big nose, Jennifer Gray, to play.

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

"Eleanor, I like this movie very much, and I wanted to invest in full..." Ronald took the opportunity to go to the screenwriter and put his thoughts on it with her.

After more than ten minutes, the producer Linda came back, "Eleanor, Ronald, if you insist on not revising the script, I will withdraw from the role of producer in this film."

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

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

"How much?" Ronald somehow remembered what Coppola said to himself. He didn't insist on buying "American Graffiti" directed by Lucas, and missed the opportunity for the diorama company to make a lot of money in one fell swoop. .

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

Producer Linda Gottlieb offered her own terms, and while it beat the expected earnings, it was better than nothing. Then she muttered in the ear of screenwriter Eleanor.

"This? Okay. Maybe you're right." Screenwriter Eleanor listened, turning to Ronald, "I'd like to transfer the script to you."

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

"$200,000, plus a total of 1% of the profit for me and Linda." Screenwriter Eleanor wrote down her asking price and pushed it over.

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

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

"Thank you, we originally planned to invest 4.5 million production costs. I hope that in your hands, you can shoot what I imagined."

The screenwriter Eleanor looked reluctant, but still took the check cruelly.

"Ronald, they seem to agree too quickly, is there any problem?" Richard felt something was wrong and came over to ask Ronald.

"It's okay, anyway, you can sign a contract with a publisher right away, and then pull in some investment. Find a suitable director to guide, I'm very optimistic about this story."

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