Hollywood Road

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"Is it over there?"

Seeing James Franco hang up, Murphy hurriedly asked, "What's the result?"

Seth Logan at the back also moved closer.

James Franco put away his mobile phone, "Morris Entertainment is very interested in the film. During the negotiation, a buyout price of 4 million US dollars was offered, no matter how high..."

He shook his head.

Murphy patted the steering wheel, not only to remind the two companions, but also to warn himself, "Be calm, there are Lionsgate and Fox searchlights behind."

Back at Stanton Studios, Murphy talked in detail with Bill Rossis, who rushed back later. Morris Entertainment can basically give up. This small publishing company is unlikely to offer higher prices. I'm not interested in the distribution of copyright.

Early the next morning, Murphy rushed to Lionsgate. Milton Johnson and his team also had a very high evaluation of the film's market potential.

Hollywood’s large distribution companies have a mature evaluation system. There may be many factors that can affect the success or failure of a film, and they cannot make a completely accurate evaluation, but whether a film really has market value Ability is still there.

The selling point of "Chain Saw" is here. A typical horror film production and distribution company like Lionsgate Films cannot fail to see its advantages.

But they will not give much good terms.

"Director Stanton..." Milton Johnson sat behind his desk and looked at Murphy on the opposite side. "Lionsgate has also signed distribution contracts with other companies. This is not without precedent."

He clasped the table gently, "Thirty percent of the issuance rake is our bottom line."

Just as Murphy was about to say something, Milton Johnson raised his hand and signaled that he hadn't finished saying, "According to company practice, Lionsgate must still own 50% of the copyright of the film."

This has completely exceeded Murphy's acceptable limit, and even more stringent than Miramax's conditions.

Bill Rossis on the other side couldn't help but said, "Mr. Johnson, you have seen this movie, you should be able to see that this is the best kind of horror movie..."

"Bill, you are from CAA, you are very knowledgeable." Milton Johnson leaned back in his chair, folded his arms around his chest, and said something with a hint of sarcasm. "Please tell me, a movie with great content will definitely Is it successful? Lionsgate’s release of this film is really risk-free? Can you guarantee profit?"

No matter how thick-skinned, Bill Rossis would not dare to say such a thing.

Milton Johnson continued, "Lions Gate Pictures has to bear the high risk of the announcement, and of course it must have the expected high share! Otherwise, what can I use to persuade the rest of the company?"

Murphy Bill Rossis shook his head, indicating that there was no need to talk.

He did not speak at all, Milton Johnson did not give them the opportunity to bargain at all. This kind of negotiation is completely exploitative and squeezed by one party on the other. Milton Johnson is almost tougher than Harvey Weinstein, and there is no need to waste saliva. .

It was impossible for both parties to negotiate such a condition. He and Bill Rossis quickly walked out of Lionsgate’s headquarters in Santa Monica.

In the office, Milton Johnson made a call, "Jamie, the backup plan is activated."

Murphy and Bill Rossis got in the same car. Murphy in the co-pilot asked the more experienced Bill Rossis, "Will they lower the conditions?"

Bill Rossis shook his head, "Unless you are willing to sell the copyright."

Murphy said without hesitation, "Lionsgate is temporarily listed as the last choice."

Hearing the offer made by Milton Johnson, he was not even interested in bargaining.

Although it is normal for small production companies in the lower reaches of the industry chain to be squeezed by upstream issuing companies, it is not comfortable for the weaker party in the negotiation to replace it with himself.

"Thirty percent of the distribution fee." Murphy pressed down the window glass to let the outside air blow away some of the boredom in the car. "This is not a distribution contract for a film made by a large distribution company. ?"

By convention, Hollywood’s distribution fees are generally 5% to 20%.

"It's very simple, your Stanton studio..." Bill Rossis put **** together and made a very small gesture, "and it's impossible for other publishing companies to give you too good terms. It is a common phenomenon in this circle that upstream companies squeeze downstream companies. Even if someone offers better conditions, they still have room for adjustment. Also, other companies offer 30% of the issuance commission, which often includes announcements. Lionsgate doesn’t bring the cost of distribution!

Murphy puts on his seat belt, and the idea of ​​releasing a movie on his own has never been stronger.

This kind of issuance cannot be successfully established in a short time. The establishment of a relatively complete issuance mechanism also requires a large amount of funds.

How can we break this dilemma? Murphy couldn't think of a good way for a while. The issuer's near-dominant advantage in the industry, let alone now, will not change even in another ten years.

He can't sneak into the top of these companies and threaten them with a knife to issue, right?

In fact, in the negotiation of "Fruit Hard Candy", he wondered whether to find some Harvey Weinstein insider in exchange for better terms.

But now is not before, freelance journalists can do this, directors can't, this will only be rejected by everyone, and it is possible that no partner can be found in the future.

Think about your goals, and if you want to achieve them, doing so is simply looking for a dead end.

Just as Bill Rossis said, there were DreamWorks and several other publishing companies who had watched the preview contacted Murphy. Murphy, like a hardworking ant, kept coming and going in and out of these companies, but There seems to be an unwritten convention among most Hollywood distribution companies. They treat small production companies with a similar face.

The selling prices offered by these companies are similar. Murphy has a film with a box office of millions of dollars as the basis. They can also be released under contract, but the release conditions are basically similar.

In contrast, the buyout price offered by Miramax and the conditions for an intentional contract are relatively favorable.

"We are still facing some second-tier issuing companies, and the first-tier issuing companies are even tougher."

After starting the car and merging into the traffic, Bill Rossis said, "After decades of growth, the giants not only monopolized the distribution rights of their own films, but also used their control on blockbuster films to'deter' theaters-in the same period. In the competition, the films released by the giants will receive more theater support and publicity support, which can squeeze out independent producers."

He shook his head, "In such a market structure, independent filmmakers have to do their best to choose giants as distributors unless they don't want to open large-scale paintings, which is a prerequisite for the film to gain huge box office."

Murphy also knows that the traditional six major Hollywood roles in the distribution field cannot be shaken in a short period of time.

Suddenly thinking of the rumors that I had seen on the Internet, Murphy couldn't help asking, "I heard that the Big Six companies often use distribution commissions to manipulate some video data?"

"Yes, this is also a common phenomenon."

I haven't talked about this topic before, and now that it is, Bill Rossis simply said, "Their methods are very clever. Many times they know that there is a problem, but they can't help it."