From Flower Vase to Film Emperor in Hollywood

Without a doubt, Edgar's two options were both sincere, truly opening Anson's eyes and finally allowing him to feel the impact of a Hollywood blockbuster.

Not just bold, but even insane.

However, Anson had different ideas:

Perhaps, these terms were too aggressive?

In Anson's view, William Morris was treating him and this project as tools, attempting to use this opportunity to gain momentum, complete their overall strategy, and win back ground in the direct competition with Creative Artists Agency, thereby winning more clients and more projects; the subsequent benefits were the main prize.

But, had they sincerely considered Anson's position? How much room for negotiation did such aggressive, insane, and bold terms leave?

Assuming the negotiation failed, and the worst-case scenario became reality, what would happen next?

Sony Columbia would cut their losses in a timely manner, abandon Anson, re-cast, and re-audition. Perhaps Tobey Maguire would take over, and they would still be able to maintain the initiative.

William Morris could use other actor candidates to replace Anson for auditions, renegotiate with Sony Columbia, and learn from their mistakes to adjust their strategy.

The only one sacrificed would be Anson.

In addition, Edgar's hard work and efforts would all be in vain.

Anyway, a young actor and a young agent were both objects that Sony Columbia and William Morris could abandon at any time.

Indeed, within the entire story's context, Anson had some value, and William Morris was willing to support Anson, but in the face of greater interests, Anson was still just a pawn —

At least for now.

In essence, William Morris and Creative Artists Agency, William Morris and Sony Columbia, they were all the same; in the face of company interests, individual interests could be sacrificed at any time.

Unless the pawn could increase its own value, making it impossible to sacrifice casually; or even upgrade to become a player.

So, what to do?

Anson had an idea.

"Box office revenue sharing."

He threw out a bait.

In 2000, box office revenue sharing was not popular; film companies didn't like it, and actors and directors didn't like it either. Lump-sum payments were still the mainstream.

Things only started to change five years later because of "Pirates of the Caribbean 3."

Disney discovered that Johnny Depp's salary was getting higher and higher with each film, and they had to pay the salary and bear all the risks of box office success or failure, which made them feel dissatisfied.

At the same time, Johnny Depp's agent also discovered that there was an upper limit to how much a lump-sum salary could increase. The $20 million club seemed to be the limit. If an actor's salary wanted to break through, they had to join box office revenue sharing.

Historically, a film's box office revenue was divided among the film company, the distribution company, and the theaters. Naturally, each party needed to bear the risk.

In the 1980s and 1990s, when actor salaries were still controllable, film companies naturally didn't want to cut into their box office revenue to give to actors, directors, and screenwriters; however, as production costs continued to rise and actor salaries became higher and higher, the risks that film companies had to bear also became greater and greater.

Thus, the situation changed.

"Pirates of the Caribbean 4" was a typical case study. Because of the success of the third film in the series, Johnny Depp took a share of Disney's profits. When it came to the fourth film, Disney was unwilling to share box office revenue, so they offered a record-breaking, unprecedented lump-sum salary:

Fifty-six million dollars.

This also led to the film's production cost exceeding $250 million, and with the addition of advertising and distribution costs, the film's cost easily exceeded $300 million.

After that, when actors and film companies discussed box office revenue sharing, film companies were much more willing. Compared to a lump-sum salary of $56 million, $10 million plus 5% or 10% of North American box office revenue was actually much more cost-effective for film companies, at least reducing the pressure on box office revenue.

As for now, box office revenue sharing clauses have also gradually appeared; they are not non-existent, but most appear in independent film crews because they lack sufficient funds to hire the actors they dream of, so they invite actors to invest in the form of box office revenue sharing, which is also a kind of alternative investment.

But mainstream commercial films?

Few, very few.

Regarding this, Anson thought this way.

"The current situation is this: Sony Columbia needs to conduct a risk assessment. They are under tremendous pressure. A cost of $100 million has already made them worry."

"Part of the reason for choosing Sam Raimi as the director is because of Sam's down-to-earth approach, ensuring that every penny is used wisely."

"If I am willing to lower my salary and bear some of the risk in the form of box office revenue sharing, while also cooperating with Sony Columbia's publicity and cooperating more actively; and then add supplementary clauses, how much my salary for the next sequel will increase if North American box office revenue exceeds a certain number; how much it will increase again if it exceeds another number."

The so-called contract negotiation is either asking for the sky and settling for the ground, or drawing cakes for each other and bragging arbitrarily —

Ultimately, it depends on whose cake is more tempting, more realistic, and more persuasive.

Anson's idea not only took advantage of the psychology of William Morris and Sony Columbia, but also cleverly found a balance in the area of ​​interest.

First, reduce the risk and ensure that you will definitely do your best 100%.

Second, put the sequel on the table, share the pressure, but don't talk about signing a guarantee. Anson and Sony Columbia can both take it one step at a time.

Third, and most importantly, Anson cleverly used everyone's "lack of confidence."

William Morris and Sony Columbia both hoped that "Spider-Man" would be successful, but from the current situation, superhero movies are indeed not very special, and they are not confident that the film will be successful —

Or rather, they are not sure how successful it can be.

Therefore, box office revenue sharing is not so painful, but rather a visible reduction in the salary check by one level. Compared to the previous outrageous numbers and sequel bundling, it is much easier to accept psychologically.

In fact, it can be seen from Edgar's reaction.

Edgar thought carefully for a while, not hiding his concerns.

"Anson, do you know what this means?"

"This means that you and this project will become a community of destiny. If the film fails, no, not to say fails, even if the film is successful, but the success does not meet expectations, such as $200 million in North American box office revenue, then everyone will condemn you, thinking that you need to take responsibility."

"This pressure… are you sure?"

Confidence is one thing; Edgar believes the film can be successful.

But blind self-confidence to the point of losing correct judgment is another matter. Edgar believes Anson is taking a risk.

If Edgar knew that the North American box office revenue of "Spider-Man" in his previous life would eventually exceed $400 million, perhaps he would be able to understand Anson's certainty.

Fifth update.