บท 48: Chapter 48: The Devil Wears Prada
After Focus Features took over the rating review for Saw, Charles felt relieved. James Wan would make cuts to meet the R-rating standards for release.
As for refusing long-term cooperation with Universal, it was simply to avoid being a labeled brand by Universal, although being labeled would mean not worrying about funding and distribution.
It's like Tom Cruise's Cruise/Wagner Productions working with Paramount or Brad Pitt's Plan B Entertainment partnering with Warner Bros. Studios.
A bit different, perhaps more like Jerry Bruckheimer's production company working with Disney, helping develop movie projects, earning profits without bearing risks.
Jerry Bruckheimer and Scott Rudin, these Hollywood golden producers, were not Charles's targets.
"Boss, Miss Lauren Weisberger and her agent are here at the company," Donna reported.
"Take them to the reception room," Charles wanted to negotiate the movie adaptation rights for The Devil Wears Prada.
Lauren Weisberger was only 25 or 26 years old, a new author having graduated just two or three years ago.
Hearing that Carpe Films wanted to adapt The Devil Wears Prada, of course, she was supportive. No reason not to be.
Charles didn't waste much time and negotiated with her agent to buy the movie adaptation rights for The Devil Wears Prada for $1.45 million.
However, Carpe Films spent $150,000 on a deposit to sign the priority purchase rights with Lauren Weisberger. If Carpe Films didn't develop the novel within three years after publication, the author would have the right to reauthorize it to other film production companies.
Within three years, Charles could choose to spend $1.45 million to buy the adaptation rights or not develop and lose the $150,000 deposit.
The agreement was reached, and both parties were satisfied.
Charles's offer wasn't low, but buying it before the novel's publication meant the other party's agent would definitely set the price appropriately.
The three-year priority purchase right was also the agent's request because there wasn't a large market for workplace films at the moment.
However, Charles had more important things to address, like which movie to choose as the first project in the three-movie deal with Universal - Infernal Affairs or Mr. & Mrs. Smith.
Both seemed viable, but since the Infernal Affairs series filmed in Hong Kong was releasing its second part this year and the third part next year, Charles decided to present the Mr. & Mrs. Smith project to Universal for review first, then develop the remake of Infernal Affairs.
As for the third movie, Charles had the script for Wedding Crashers. It was a romantic comedy. Would Universal accept it?
Los Angeles, Hollywood, Universal City.
Since Vivendi acquired Universal, movie performance hadn't significantly improved, and high debt made Vivendi uncomfortable.
Universal Studios, a subsidiary, was very optimistic about the movie market, and Vivendi was negotiating with General Electric, which owned the American network NBC, about the acquisition of Universal's film and entertainment group.
Universal Studios' CEO Ronald Meyer had been in charge since 1995. Now, Universal was again on the brink of a new ownership.
In the office, Production Chief Donna Langley was discussing cooperation with Carpe Films with Ronald Meyer.
"Over a hundred million dollar budget? Charles Carpe is only 21 years old this year, right?" Ronald Meyer was surprised.
"He's developed two films with very low budgets but achieved surprising box office results. Lost in Translation alone earned him over $6 million in North American theaters with Focus Features in charge!" Donna Langley had to give credit.
"Unfortunately, Carpe Films sold overseas distribution and DVD rights to Sony Columbia Pictures," Ronald Meyer sighed.
"What's Stacey Snider's and Adam Ferguson's opinions?" Ronald Meyer asked.
Stacey Snider was currently the president of Universal Studios, one of Hollywood's top women executives, second only to Paramount's Sherry Lansing and Sony Columbia's Amy Pascal.
However, Universal Studios President Stacey Snider's name wasn't as well-known as Sherry Lansing and Amy Pascal.
Adam Ferguson was the marketing chief at Universal, on par with Donna Langley, both executive vice presidents of Universal Studios.
"Stacey rates Charles highly but is skeptical about a hundred million dollar budget unless Carpe Films can initially invest at least half of the budget. Universal Studios would then join.
Adam believes we should wait to see the performance of Saw first. We can let Carpe Films develop a mid-range production to start our collaboration!"
Donna Langley's message was clear: everyone believed cooperation with Charles Carpe shouldn't be missed.
"The three-movie deal, Carpe Films responsible for at least half the budget, his terms show confidence," Ronald Meyer had no objections, "Let's wait until Saw releases and see if it succeeds. Then have him bring that mid-range budget project over!
If he can gather a forty to fifty million dollar investment budget, a hundred million dollar project is worth considering."
With a budget over a hundred million, it would definitely be a commercial blockbuster. With Universal Studios' operational capabilities, pre-selling overseas and budget contracts as collateral for bank loans, funds could easily be raised from overseas and banks.
Combined with Carpe Films' capital, Universal wouldn't have to invest much. It just depended on whether Carpe Films' project was attractive.
"However, Charles insists that we can only take a 10% distribution commission on the new films we collaborate on!"
"If Charles can have three consecutive hit films, 10% distribution commission is what he deserves!"
Ronald Meyer didn't mind. A filmmaker using his capital to make movies would certainly have risks and rewards proportional.
"By the way, Carpe Films seems to have invested in The Passion of the Christ," Donna Langley reminded.
"First Brokeback Mountain, now The Passion of the Christ. Charles Carpe has quite the eye for projects," Ronald Meyer shook his head,
"Don't worry about that. Universal Studios won't be distributing The Passion of the Christ. Carpe Films invested their own money. This film's impact is too significant, so we don't have to be involved!"
Universal Studios had no obligation to distribute his film, especially such a controversial one offending Judaism.
Religious-themed films in Hollywood often end up being flops, don't they?
"Alright, I will find an opportunity to discuss the cooperation agreement with Charles Carpe," Donna Langley actually believed in Charles's continued success in romantic films since he had already succeeded with two romantic films.
Why insist on making big-budget commercial blockbusters? Aren't low-budget romantic movies good enough?
*****
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