Chapter 089: Adjustments
Since the two are already living together, Janet is clear about the release of "Lola Run". So, the woman took over everything the next day almost without any obstacles.
Simon originally wanted to accompany her for a few days to help her transition, but was directly refused.
Janet's reasons are also very strong, Simon is by her side, she is easy to be soft-hearted and can't play her strength.
Simon didn't know how Janet worked afterwards. But the following Thursday afternoon, after the first formal contact on the issue of follow-up distribution rights, Mike Medois hurriedly called, and even with a bit of grievance in his tone, accused Janet of being too ignorant, hoping that Simon would continue to come forward in person and not let a woman mess around.
Despite his misgivings, Simon would not take Mike Medowa's word for it.
It's just that after getting off work that day, before Simon could ask Jenny about the negotiation in the morning, the woman had already brought back another contract: Mattel bought out the rights to the puppets of a series of characters in "Lola Run" for $2.3 million.
Even if the box office is hot, the peripheral copyright of "Lola Run" is definitely far from being comparable to super IPs such as "Star Wars".
Moreover, as a toy company that mainly produces Barbie dolls, Mattel must only have one character image in front of Laura, and characters such as Manny will obviously not be popular with consumers. As a result, Janet sold the rights to a simple Lola doll for $2.3 million, far beyond Simon's expectations.
According to some information in the industry, Simon's previous highest expectation for this deal was only about $1.5 million.
Since this is the case, Simon naturally no longer doubts Janet's ability, and is very relieved to leave everything to her.
In addition, Simon then made appropriate adjustments to the two companies in his hands.
After a left-handed operation, the box office share, outright income, and peripheral revenue related to "Lola Run" will be transferred from Daenerys Pictures to Westeros.
This divestiture was intended to accommodate Amy's contract, which had been agreed upon by the parties prior to the signing, and Amy's 5% share of the company's net profit would not include the proceeds of Lola Run.
Then, in order to avoid further financial entanglement with Janet, Simon drew up a formal supplementary contract in the name of Westeros: as a 61.5% investor, Janet's share of the revenue from "Lola Run" only needs to be settled by December 31 this year.
This supplementary contract means that Westeros is completely free to reinvest the funds until the payment is settled, and the additional profits generated do not need to be shared with Janet.
Simon also plans to carry out stock index futures operations in the name of Westeros in the second half of the year, and even more investment actions in the future.
With these two aspects in mind, some of the potential entanglements of interest hidden around Simon after the sudden oversuccess of "Lola Run" were completely straightened out.
Deep down, Simon is still an insecure person after all.
If he doesn't do that, he even worries that he will run into a situation described by the male protagonist in "When Harry Meets Sally": two people who don't love each other one day, turn against each other, and then hysterically waste $1,000 on a phone bill over who should belong to an $8 dinner plate.
Janet obviously saw this in Simon's character, so she took the trouble to write IOUs for him to put his fingerprints. The woman knew that she was doing this, and Simon not only would not resist, but would feel very relaxed.
While Simon was making adjustments to the two companies, many other things began to move faster and more efficiently as Janet shared the distribution of Lola Run.
Mattel is very anxious to launch the roller figure as soon as possible, which is understandable.
Therefore, after the signing of the contract, the other party transferred $2.3 million to the Westeros company account within three days. Simon then injected $1 million into Daenerys Films in the name of a loan, and Amy Pascal finally stopped hiring assistants out of her own pocket, and the company began to officially hire more people.
With the money, Amy also quickly negotiated the script of "When Harry Met Sally". The final price was $150,000, which wasn't cheap, but it was definitely not expensive for Simon.
However, in order to win the script, Daenerys Films also promised Nora Ephron that the company would start the project within a year, and the production budget would not be less than $10 million.
In the event of a breach of contract, the copyright of the script will automatically return to the other party.
As for "Pulp Fiction", since he no longer had to juggle the release of "Lola Run", Simon came up with the first draft of the script the following week.
Although Orion Pictures was very unfavorable about the project, Jonathan Friedman helped Simon negotiate a contract comparable to that of "The Grim Reaper".
It's also a $20 million guarantee.
At the box office of more than $20 million, Simon received a 10% share of the North American box office and a 5% share of North American videotape sales.
Although there are too many accidents in the box office success of "Lola Run", after all, the position of the top box office in North America this year has almost been determined, so Simon's salary as a first-line director is more than enough.
Orion signed Simon's next film contract with a base salary of $500,000, but since the sharing terms were not finalized at the beginning, only a sharing agreement equivalent to Simon's value could be given at this time.
Of course, this contract is also very different from "The Grim Reaper", and Simon's share of the sales of the tapes is limited to North America. Because Orion doesn't have the global distribution capabilities that Fox Film does.
In addition, Orion also required that the project budget must be controlled within $8 million.
If exceeded, Simon's share of the two sides will be reduced by 1% and 0.5%, respectively, for every $1 million in excess of the budget, and will be calculated directly rounded up. However, Orion also promised to provide certain sharing terms for big-name stars who are willing to lower their salaries to participate.
In the end, "The Grim Reaper is Coming", the project went the most smoothly.
The company quickly selected a director, and it was Wes Craven, who helped New Line Pictures make "Ghost Street" a few years ago, and the other party's personal style was also very suitable for "The Grim Reaper".
Moreover, Wes Craven is also a client of WMA, although he has the success of "Ghost Street", but Wes Craven's "The Girl Next Door" directed by Wes Craven for Warner last year was tepid, and the box office has only just reached the cost line.
Under the recommendation of the agents of both parties, Simon and Wes Craven had a meal together and talked about the whole project in detail, and the matter was decided.
Speaking of which, Simon naturally remembers clearly that Wes Craven was also the director of the famous "Scream" series in the nineties.
Simon didn't immediately come up with "Scream" for a similar reason to choosing "Pulp Fiction" as his second film. Projects with higher box office potential naturally have to be kept to themselves as much as possible.
But in recent years, in the absence of funds and channels, Simon can only cooperate with other film companies for the time being, and the majority of the profits must also belong to these companies.
Janet, on her part, finalized the first peripheral sales contract, and the woman then negotiated the licensing of the soundtrack, video games and other peripheral products of "Lola Run", bringing more than $8 million to Westeros again.
On April 6, Orion Pictures finally made a compromise and bought the North American videotape and television distribution rights for "Lola Run" for $35 million. On April 9, the overseas rights to the film were also bought by Warner Bros. for the same $35 million.
Although it took a month for the two outright payments to arrive, the total revenue of $70 million was a full $10 million higher than Simon's original expectations.
Add to that the $20 million that Wells Fargo has already deposited into Simon's personal account and the expected $30 million box office share when "Lola Run" closes in North America a few months later, and Simon could raise more than $120 million for the stock index futures operation in October, even if some necessary expenses are removed.
During the busy period when Simon and Janet were busy, the 59th Academy Awards also ended successfully.
Orion Pictures' "Field Platoon" won various awards such as Best Picture and Best Director without suspense, and the box office of the film also happened to successfully exceed the $100 million mark recently.
Meanwhile, after the $23.36 million box office in the sixth week and seven days, "Lola Run" collected another $21.22 million and $16.34 million in the seventh and eighth weeks, respectively. As of April 9, the North American box office of "Lola Run" has reached $146.79 million.
Although the weekly decline began to expand, there is almost no suspense that the total box office of "Lola Run" will exceed 200 million. What everyone is curious about is just how far the film's final cumulative box office can reach.
And so on until April 10th.
In the first week of the Easter schedule, Simon's second film after returning to this era, "The Butterfly Effect", was finally officially released.
Although the reputation of the previous internal test screening critics has been poor, considering the popularity brought by "Lola Run", Fox Film still arranged 1,263 opening screens for "The Butterfly Effect".
As a fairly popular schedule, "Butterfly Effect" naturally cannot be monopolized.
Also released at the same time, there is also "Back to the Future" actor Michael Fox's "The Road to Development", a comedy film produced by Universal Pictures with 1,336 screens and a production cost of up to $12 million, which is slightly better than "Butterfly Effect" in all aspects.