Bab 70: Chapter 70: $1
Hearing Simon Westeros's request, Peter Sanders nearly blurted out: "Do you even know what a producer does?"
To the average person, the image of Hollywood often conjures up names of big stars and famous directors. However, since the early 20th century, Hollywood has always been centered around the producers.
Except for a few dominant directors and stars, in most cases, the most powerful person on a set is usually the producer. They are the ultimate decision-makers in the creative direction of a movie.
Even those dominant directors and stars often need to hold a producer title to exert influence on a film, which still doesn't break away from the producer-centric system.
Simon Westeros watched Peter Sanders's changing expressions and patiently waited before speaking, "Peter, I know what you're thinking. But since I've already completed 'Run Lola Run', I can certainly handle 'Final Destination' as well. And, there's no one in Hollywood who understands better than I do how 'Final Destination' should be made."
Peter Sanders gathered his thoughts and then said, "If that's the case, Simon, why don't you direct it yourself? Orion could probably be flexible about it."
"Because it's not worth it. I want to focus my energy on movies that interest me more. However, 'Final Destination' is my screenplay, and I want to control its production myself."
Peter Sanders thought for a moment and then shook his head, saying, "Simon, you know Hollywood. Fox won't hand over control of a movie to someone as young as you."
Simon shrugged indifferently: "If that's the case, maybe other studios will agree to do so."
Peter Sanders was momentarily speechless.
The contract Simon had with Fox was ultimately just a right of first refusal. With 'Run Lola Run's box office explosion and Simon's rising fame, Hollywood studios would likely break the unspoken agreement over such rights for profit.
If other studios agreed to let Simon control the movie and Fox didn't follow suit, they would just have to let go.
Fox had already passed on 'Run Lola Run,' and now letting go of 'Final Destination' would make them the laughingstock of Hollywood if the movie still succeeded.
After hesitating for a moment, Peter Sanders said, "What are your terms, Simon?"
"Including producer and screenwriter roles, I'll take a base salary of $1," Simon said, and before Peter Sanders could react, continued, "However, after the movie's release, I want 10% of the North American box office revenue and 5% of the video tape sales. The operation cycle for TV rights is too long; I'll skip that."
Hearing Simon propose a $1 base salary, Peter Sanders already looked surprised, and by the time Simon finished stating the follow-up terms, his expression had turned to astonishment.
This kid, really daring to make such a huge demand.
Peter Sanders understood clearly that Simon wasn't asking for a profit margin with lots of room for manipulation but a direct share of box office and video tape sales revenues.
In all of Hollywood, probably only Spielberg could dare to make such demands.
Stunned for several dozen seconds, Peter Sanders finally said, "Simon, that's impossible."
Simon, seeing Peter Sanders nearly pop his eyes out, made a calming gesture and said, "Peter, actually, I've had someone do a simple budget assessment based on my ideas for this project. 'Final Destination' can be done for $8 million. As for the marketing costs, that's of course whatever you say it is. And, I don't have the energy to calculate the break-even point for 'Final Destination'. So, let's keep it simple, the future domestic box office will be calculated based on twice the production cost, $16 million. If Fox ensures the schedule, screen count, and marketing investment, if the domestic box office falls below $16 million, I'll take only $1. Above $16 million, my salary will be paid according to the terms just mentioned."
Peter Sanders calmed down a bit after hearing Simon's words.
However, recalling 'Run Lola Run's potential North American box office of possibly over $160 million, he quickly shook his head, "Simon, if you want the split you just mentioned, $16 million is definitely not enough, at least $50 million."
Based on the memories of the information and the popularity garnered from 'Run Lola Run', Simon's expectations for 'Final Destination' in North America were indeed $50 million. However, the movie business is always the most difficult to predict, and naturally, he wouldn't set such a high threshold for himself.
And with 'Final Destination' calculated at an $8 million production cost, reaching a $10 million box office in North America would allow Fox to easily profit through subsequent international releases, video tape sales, and TV broadcasting rights.
Simon's offer of $16 million was already quite high.
"Peter, if I remember correctly, out of the
16 movies Fox released last year, only five made over $10 million. Others, like Kate Capshaw's 'Space Station', had a budget of $20 million and made $9.69 million in North America. Sean Connery's 'The Name of the Rose', with the same $20 million budget, made $7.15 million. 'The Manhattan Project', with an $18 million budget, made $3.9 million in North America. Look, you've invested a lot of money in so many failed projects, why not spend a little less on a very secure movie?"
Peter Sanders, hearing Simon suddenly mention 'Space Station', twitched his mouth, unsure if the young man was doing it on purpose, but immediately countered, "Simon, before a movie is released, no one can guarantee its success."
Simon nodded, "Of course, Peter. But I can guarantee that if the movie doesn't succeed, I'll only take $1, not $5 million."
Peter Sanders insisted, "Simon, there are many in Hollywood who would take just $1 for an opportunity."
"Based on the box office results of 'Run Lola Run', looking back three years, 'Top Gun' in '86, 'Back to the Future' in '85, 'Beverly Hills Cop' in '84, so do you think Tom Cruise would take $1, or Robert Zemeckis, or Eddie Murphy?" Simon stared at Peter Sanders, finished his point, and then stood up saying, "Peter, that's my offer. You can discuss it with Mr. Goldberg, and I would appreciate an answer by next week. Oh, and the hotel has been booked by the crew, but if you're staying tonight, I can have a room prepared for you."
Simon finished, nodded to the waiter to pay the bill, and then left.
Peter Sanders didn't get up, still sitting in the café frowning in thought. He had rushed here on a Saturday afternoon not only to discuss the contract for 'Final Destination' with Simon but also to foster relations with the rising Hollywood star, planning to stay at the hotel for a couple of days.
However, recalling Simon's assertiveness during their conversation, Peter Sanders realized that staying on had little point.
As for Simon's terms, now that he was calm, Peter Sanders realized they were not unreasonable.
Though still very young, having made just one film, and part of that film's success being somewhat due to luck. But the anticipated box office for 'Run Lola Run' was simply too impressive. Even if that movie didn't win this year's North American box office, as long as it broke $100 million, Simon was fully justified in his bold pricing.
Peter Sanders also understood that based on the popularity from 'Run Lola Run', a creative and commercially viable horror movie like 'Final Destination' could easily achieve a $16 million North American box office.
Moreover, even expecting higher, a $50 million box office for 'Final Destination' would mean only $5 million for Simon from the revenues, the same amount Sean Connery earned for 'The Name of the Rose', which brought Fox a mere $7 million domestic box office and significant losses.
Of course, there was also the 5% of video tape sales share, a significant offer not to be underestimated. In the Writers Guild's Basic Agreement, film writers could only extract 0.3% of a movie's video tape revenue.
In the recently passed 1986, Hollywood's video tape sales revenue had successfully surpassed North American box office income. Combined with the fact that horror movies generally perform better in the video tape market compared to other genres, Simon's 5% deal could potentially bring in as much as 10% of the box office revenues.
But.
One point Peter Sanders couldn't overlook was that Simon's offer was entirely based on ensuring Fox's profitability.
Fairly speaking, it was quite fair.
Peter Sanders was just finding it hard to accept that an eighteen-year-old was so quickly entering the top echelon of Hollywood, becoming an equal.
That was simply too hard to accept.
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