Chapter 162: Division standards
For "Miscreant" to make its mark in the Chinese market, it had to abide by their rules.
Following Han Cheng's instructions, several scenes needed adjustment. Close-ups of Nicholas Cage's elevator fight had to be toned down, the direct shots of Tom Cruise's killing of Kate Beckinsale had to be avoided, and both Heath Ledger's actions and Tom Cruise's moves to gain power were to be trimmed. Beyond these edits, there wasn't much more to address.
After listening to the specific requirements, Lyman responded with a succinct "Understood." His prompt agreement filled the film acquisition team from China Film with delight.
Considering that they had no recourse if the edits were rejected, they might have to abandon their intention of bringing the film for screenings.
"Let's get into the specifics of the distribution and agency matters..." Han Cheng continued, outlining the terms for revenue sharing from the film.
This time, Han Cheng hadn't considered releasing "Miscreant" as a buyout of distribution rights. Although this approach could potentially yield more profits, it was simply a matter of availability. This method permitted China Film and Huaxia to bring in around 15 films each and release them individually. Such a convenient option was swiftly taken up.
Moreover, buying distribution rights typically applied to films that had already been in circulation for a while, which could reduce costs. However, "Miscreant" had only premiered at Cannes, making this option less appealing.
Subsequently, negotiations focused on collaboration, with both parties showing sincerity, which made the discussions progress smoothly.
Before long, the pertinent issues were resolved.
China Film proposed a revenue-sharing condition: EuropaCorp could claim 13% of the box office earnings from "Miscreant" in China. To clarify, this percentage was non-negotiable; foreign film distributors had no choice if they wanted to enter the Chinese market.
A 13% share might seem stringent, especially when compared to standard international distribution shares of producer 35%, distributor 17%, theaters and exhibition venues 48%. However, guided by the principle of earning what they could from screenings, George and Lyman were quite content.
Dissatisfaction was futile; the regulations were set by the nation, and there was no room for defiance.
Hollywood had long been displeased with this percentage. By 2012, the allocation was increased to 25% of total box office earnings through a verdict.
In any case, it was a transaction, and as long as it wasn't too grim, they were fine with it.
Addressing this phenomenon, the concept of "co-production" was introduced.
For instance, co-productions like the Sino-American film "The Great Wall" and the Sino-French film "Wolf Totem" enjoyed the privileges of domestic films upon release in China. They were exempt from quota restrictions, enjoyed a reasonable revenue sharing ratio, and even benefited from relevant supportive policies.
The only stipulation was that the copyright had to be assigned to the Chinese side, and shooting conditions were demanding.
For joint productions employing foreign creative personnel, approval from the government was necessary. Moreover, the proportion of foreign lead actors couldn't exceed two-thirds of the total cast, and after completion, the production team had to submit the film to the State Administration of Press, Publication, Radio, Film, and Television for review. Upon approval, they could proceed with the corresponding release arrangements, bearing the dragon logo.
However, as long as success was achieved, they could secure a combined 43% share of profits from both the production and distribution sides. Of course, the specifics could be discussed, but it had to be higher than the revenue-sharing ratio for imported films, which was also encouraged by the country to reduce pressure from foreign blockbusters on the domestic market.
Every nation with some degree of influence had measures to resist the invasion of Hollywood films into their markets. Oh, you mean Japan, South Korea, Canada, Australia? Well, their international standing was decent, but they didn't seem to have much say in this matter. If they did, it was a red-card warning—no one dared to act recklessly.
A bit unfortunate...
...
"Pleasant cooperation," Han Cheng extended his hand proactively, saying.
After negotiations concluded, the group's mood was quite positive.
"Pleasant cooperation," Lyman smiled, shaking hands.
"If there are no issues, once the edits are made and we secure the screening qualification, we estimate that we can schedule the release for early June."
"Understood," George also chimed in.
"Well then, that's it. Have a good time, we have some matters to attend to, so we'll take our leave," Han Cheng bid farewell.
Watching the China Film team depart, Lyman couldn't help but feel a bit sentimental, "It's the first time, they came to us willingly."
By the way, Lyman had already directed four films. Except for "3 Idiots", which was treated as a special case and had its distribution rights bought out by China Film, but still hadn't been scheduled for release, the remaining films like "Buried " and "Fury" were even less promising. Quotas were limited, and they didn't seem interested.
"It's a good start," George continued, "Lyman, I'm heading out as well. I need to handle the simultaneous release of "Miscreant" in France."
"Sure, go ahead."
George was truly driven, and it was rare to catch him idle. He was always running here and there, and one wondered if he ever got tired.
After pondering this with unnecessary concern, Lyman strolled along the outskirts of the beach.
He didn't call Eva Green over; after all, he had business to handle, and she would undoubtedly be neglected. Rather than letting her wander alone and unfamiliar at the gathering, it wasn't necessary.
The sand was fine and delicate. He took off his shoes and found it incredibly comfortable to walk on. Gazing at the pitch-black expanse of the distant sea and then at the revelling crowd nearby, he inexplicably didn't feel like joining in.
Sometimes, being alone was quite nice.
As he savored this tranquillity, there was always someone to disrupt the timing.
"Director Lyman."
Upon hearing the greeting, Lyman turned to look, and there was Sophie Marceau walking towards him.
As she drew near, there was a faint fragrance emanating from her. He wondered what brand of perfume she used; if only he could get a bottle for Eva too. It smelled rather enchanting.
"Congratulations on your film winning the Jury Prize," she expressed in the same courteous manner.
"Thank you," Lyman reciprocated, of course.
What familiarity could there be between two people who had only met briefly? Without the formalities, there wasn't much to chat about.
"I've watched the film; it's very well made," she continued, trying to find a topic. Ever since Lyman had invited her to be part of the film, she had become somewhat invested. After watching "Miscreant" in the theater, her interest had become even more evident.
As an actress, there was always a desire to perform in quality works, especially for someone like her who had aspirations.
"You haven't scheduled any projects yet, have you?" Lyman inquired once more.
"Not yet."
"That's great. My script is almost complete. After a while, when you have some time, you can take a look."
"Sure, I will."
"Oh, by the way, what brand of perfume are you using?"
"Dior." Sophie seemed slightly surprised but still answered.
"Thank you." With that, Lyman turned and walked away.
She found him rather peculiar. Such thoughts crossed her mind.
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