Capítulo 177: Chapter 177: Video Game Adaptation
Participating in this Cannes Film Festival screening, Millamax aimed to promote the film and sell it for a better price.
Although local French media were largely indifferent, "Planet Terror" received mostly positive reviews from media in neighboring countries like the UK, Spain, and Germany. The few small-scale audience screenings also garnered favorable feedback. With its simple structure, tight pacing, and clear selling points, the film was exactly what fans of intense content craved.
Thus, aside from Millamax's own distribution in major markets like the UK, France, Germany, Spain, and Italy, and the already agreed upon Australia, distributors from many regions such as New Zealand, South Korea, Japan, the Philippines, and others signed distribution agreements for "Planet Terror."
These agreements were mostly buyouts, for example, 500,000 dollars from New Zealand, 1 million dollars from South Korea, 1.3 million dollars from Japan, 400,000 dollars from the Philippines, 300,000 dollars from Indonesia, 400,000 dollars from Norway...
Including the 3 million dollars from Australia, Millamax had garnered nearly 10 million dollars in revenue from about thirty countries and regions at this Cannes Film Festival!
Just from overseas rights, Millamax not only recouped its entire investment but also made a profit.
And as Murphy and Bill-Rossi withdrew from negotiations due to exhaustion, Harvey Weinstein and Erika Stamburg's discussions with other international distributors continued, likely adding several million dollars more to "Planet Terror's" earnings by the festival's end.
Since Murphy's contract didn't involve the film's overseas market, this income seemed unrelated to him. However, he understood that the higher "Planet Terror's" earnings, the smoother his path in Hollywood would be.
It's simple logic: directors who generate profit are truly valued in Hollywood.
Moreover, these revenues reassured Murphy that the film wouldn't lose money, meaning he could continue climbing towards his goals.
Of course, not all distributors were interested in "Planet Terror." For instance, a representative from Vietnam bluntly stated that such a film would surely be ignored in the Vietnamese market, and a representative from Venezuela also refused this large-scale film.
As Millamax's negotiations with other companies continued, Murphy and the rest of the crew had essentially completed their tasks and could enjoy the Cannes atmosphere.
Unlike Robert Downey Jr. and Jessica Chastain, who specifically visited the paparazzi-filled Promenade de la Croisette for publicity, Murphy spent more time roaming the streets and alleys with James Franco, Jonah Hill, and Seth Rogen, even watching a Danish film in a cinema. However, they left feeling confused, unable to grasp what the director intended to convey.
On their way back to the hotel, Murphy was surprised to find paparazzi following them, with one even running ahead to take photos.
"Should we celebrate this?"
Standing at the hotel entrance, Jonah Hill appeared excited, "To think paparazzi would follow me! And Fleet Street paparazzi know my name, Jonah Hill!"
James Franco lifted his chin, "That's because you're walking beside me."
"No, wrong!" Seth Rogen shook his head, "I think they might be attracted by Murphy."
Murphy pushed open the revolving glass door, "What does that have to do with me?"
The other three squeezed into the small space of the revolving door with Murphy, creating an awkward scene. Once they made it through, Seth Rogen replied, "With 'Planet Terror' creating over 10 million dollars in transactions at the festival, how could the media not notice you?"
"That makes sense!" Jonah Hill nodded, then pushed James Franco, "Hear that? It has nothing to do with you!"
The group entered the hotel lobby and was about to head towards the elevators when a person suddenly appeared on the left, blocking Murphy's path.
"Hello, Director Stanton,"
The person's English wasn't fluent, but clear enough, "Do you remember me? I attended the premiere of your film a few days ago."
Murphy only glanced once before recognizing him and extended his hand, "You're Director Uwe Boll, right?"
This German director's distinctive appearance was memorable.
"Uwe! Just call me Uwe!" He switched his briefcase to his left hand and firmly shook Murphy's hand, glancing at James Franco and the others before suggesting, "Can we talk alone?"
Although unsure of his intentions, Murphy sensed no harm and told his companions, "Go ahead, no need to wait for me."
James Franco and the others nodded and headed towards the elevator. Murphy followed Uwe Boll to the hotel lobby's seating area, where they found two armchairs and sat down.
"Uwe," Murphy asked directly, "What's the matter?"
"A few days ago, you agreed to look at a script for me," Uwe Boll reminded, "I wrote a horror film script and added some zombie elements in the past few days."
As he spoke, he opened his briefcase, took out a script, and handed it to Murphy.
With the script in hand, Murphy couldn't refuse. He opened it and saw it was handwritten in English, likely prepared by the director himself.
Murphy read attentively. It was a typical Western horror script, featuring haunted houses, killings, deaths, gore, and zombies...
He skimmed quickly, taking about twenty minutes before closing the script.
Uwe Boll watched Murphy, awaiting feedback.
This German director seemed to be a newcomer, sincerely seeking Murphy's advice. Murphy offered his honest opinion, "My personal view is that while the script has many appealing elements like haunted houses and killings, they feel disjointed. If you can't integrate these elements during filming and post-production..."
"Really?" Uwe Boll scratched his head, "I always felt something was wrong with the script but couldn't pinpoint it."
Murphy shook his head, "Uwe, this is just my personal opinion."
"Thank you, Murphy." Uwe Boll seemed grateful, "You've helped me see the problem."
He sighed, "Actually, I know horror isn't my forte, but it's the genre with the lowest cost and easiest return on investment."
Murphy remained silent.
Uwe Boll looked somewhat downcast, "I've been trying to be a director for years, but I still haven't found my niche."
Seeing Uwe Boll, Murphy was reminded of his own early struggles. He knew how hard it was to start and how easy it was to take the wrong path.
Perhaps feeling compassionate, Murphy pondered for a while before suggesting, "Uwe, have you considered directing films in more niche genres?"
Uwe Boll had specifically sought Murphy out after researching his rise from obscurity. Interested in Murphy's suggestion, he asked, "What kind of genre? Even more niche than splatter horror films?"
Murphy returned the script to Uwe Boll, saying, "Video game adaptations!"
"Uh..." Uwe Boll scratched his head, "Games can be adapted into movies?"
"Of course," Murphy nodded, "For instance, Super Mario Bros. was brought to the big screen by Hollywood in the early '90s, though the adaptation wasn't well-received."
He thought for a moment and added, "I believe fantasy-themed games are more suitable for movie adaptations."
Uwe Boll's interest piqued, "Tell me more?"
"Like the 'Dungeons & Dragons' series that was popular in the '70s," Murphy recalled, "And 'Dungeon Siege' that was released last fall, as well as Blizzard's 'Diablo' and 'Warcraft.' I think they have great potential for film adaptations."
Although vaguely aware that this German director's adaptations had ruined several games, his ability to secure continuous funding and keep producing films at least proved one thing: these adaptations were relatively successful in the market and commercially.
"This is interesting..." Uwe Boll packed up the script, stood up eagerly, and said, "I'll go check out the games you mentioned right away."
Murphy nodded, watching Uwe Boll leave the hotel.
After steering the unique director towards his path, Murphy returned to his room to wait for the Cannes Film Festival to end.
Unlike the opening ceremony, Murphy and a few main actors attended the closing ceremony of the Cannes Film Festival for publicity. As Murphy remembered, "The Pianist" and Roman Polanski became the biggest winners of the festival, easily defeating all competitors and winning the Palme d'Or, the highest honor of the Cannes Film Festival.
Murphy could only watch as a spectator.
Later, news came that "The Pianist" and Roman Polanski would compete in the North American awards season, including the Oscars.
This type of film naturally has an advantage at the Oscars.
As the Cannes Film Festival ended, Murphy returned to Los Angeles. Due to the positive media reception of "Planet Terror" at its Cannes premiere, he began participating in various promotional activities planned by Millamax, rallying support for the North American release of "Planet Terror."
The film was set to premiere in North American cinemas in early June, not as a limited release but in wide distribution.
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