In the reception room of the Ritz-Carlton Hotel in London, Ronan met Jodie Kramer, who was nearly 50 years old, and the female producer listened to what he said, and she was very happy to agree.

"Mr. Anderson, I've always wanted to make Mamma Mia into a movie. Judy Kramer looked at the famous producer from Hollywood and said directly: "But my ability is limited, I have never been able to find a suitable entry point, I am very happy that you can fancy this project." ”

Ronan said seriously: "If I own the copyright, I can start preparing for this project tomorrow." ”

Judy Kramer, who knows who Ronan is, said: "I have no doubt about that. She sighed: "I used to make a lot of efforts to make this project into a movie, just looking for the right screenwriter, it took me two years to find Katherine Johnson to adapt the film script, and it took nearly three years to promote the project, but no one accepted." ”

Ronan can see that Jodie Kramer has invested a lot in the film adaptation of "Mamma Mia", not only energy, but also her own emotions, so when her long-cherished wish a few years ago was possible, she not only did not set up obstacles, but actively cooperated.

Judy Kramer continued: "I spent a lot of money to get the rights to the film adaptation of 'Mamma Mia', and most of my working capital was pressed on it, which directly hindered the development of my company, and if I wasn't lucky, my company might have gone bankrupt. ”

Ronan could hear the subtext in these words, and said, "Ladies Kramer, don't worry, I will definitely give you a satisfactory transfer price." ”

It is one thing to realize the long-cherished aspirations and feelings of this project, and it is another thing to obtain actual benefits.

Judie Kramer has her own company and is more of a businessman than a producer with little experience.

"I'm not very demanding. Judy Kramer said so implicitly before, but also for fear of scaring away the only potential buyer today: "As long as you can recoup the investment you made back then." ”

Ronan didn't respond immediately, but asked, "Can you know how much money you spent to get the copyright back then?"

Instead of answering, Judy Kramer opened her briefcase, took out a contract, handed it to Ronan, and said: "This is a copy of the licensing agreement that was signed that year, with a specific price on it, the film adaptation rights and some other licenses that I bought for £1 million. ”

With this move, Judy Kramer is not only showing sincerity, but also proving that the copyright of "Mamma Mia" is in her own hands.

Ronan quickly flipped through the copy of the contract, and with his current professionalism, he could naturally see that there was no problem with the contract.

"Ms. Kramer. Ronan closed the contract, returned it to Judy Kramer, and said, "You can make an offer." ”

The other party's willingness to sell the copyright is very strong, and he doesn't want to make it so troublesome, so he just goes straight to it.

Judy Kramer groaned slightly, tentatively saying, "£1.5 million?"

Ronan quickly cut through the mess: "Yes, then 1.5 million pounds." ”

Hearing this, Judy Kramer breathed a sigh of relief, although counting the value of the currency and the time cost of occupying funds, the 1.5 million pounds is only a return to the capital, but the film project that has occupied funds in her hands for so long can finally be exchanged for important liquidity.

Ronan added: "The details of the copyright transfer ......"

Judy Kramer was a little anxious and said, "I'll notify my lawyer and let him come over." ”

Ronan nodded, pointed to Connie, who had been sitting next to him, and said, "This is my assistant, and she is in charge of receiving your lawyer." ”

"Yes. "The key deal price has been agreed and Judy Kramer has no opinion.

Connie smiled at Judie Kramer and left the reception room to also contact the lawyer at Embassy Pictures UK to prepare for the next negotiations and the signing of the agreement.

Judy Kramer didn't move, as if she still had something to say.

Ronan chatted with her about the unnutritious weather in London, and Judy Kramer asked again tentatively, "Mr. Anderson, you know that I am a producer, but I have always lacked practical experience, can I participate in the film adaptation of Mamma Mia." ”

She was worried that Ronan's misunderstanding might affect the deal, saying, "These are just some of my personal requests and have nothing to do with our rights deal. ”

Ronan groaned for a moment and said, "Ms. Kramer, as you said, you have no practical experience, so you can join the future crew, but it is impossible to take the position of producer, you can only be named executive producer and join the crew in your personal capacity." ”

The meaning of this is very clear, Judy Kramer has no power in the crew, let alone a joint venture with her or something.

Judy Kramer responded, "No problem. ”

Ronan nodded lightly and said very politely: "I'm also glad that someone like you who knows "Mamma Mia" can help and guide the work of the future crew." ”

Judy Kramer is also modest: "I'm a learner. ”

Speaking of which, she took out a script from her briefcase and said, "This is a movie script that I asked Katherine Johnson to adapt a few years ago, and if I can use it, my previous work will not be in vain." ”

Ronan was also unkind, and after taking it and looking at it, Judie Kramer added: "I did a lot of work at the time, and Katherine Johnson created a heartwarming, uplifting and good story. I also lobbied the famous female director Philippa Lloyd to make her the director of the film adaptation......"

"She didn't agree?" Ronan asked.

Judy Kramer shook her head: "Philippa Lloyd has some interest in the script, but I have never been able to get investment, and I don't have the money to hire Philippa Lloyd as a director." ”

Ronan took the name Philippa Lloyd to heart, briefly flipped through the script, and said, "It's well written, but there are many things that need to be revised." ”

Judy Kramer continued: "I had a serious discussion with Katherine Johnson about the idea of writing a screenplay, and then we had this story about two generations of women with different views of love, and the two completely different outcomes of flippant love and mature love, and then interspersed with friendships, annotations of identity, and the fulfillment of wishes. ”

Ronan nodded slightly, there is no problem with the theme and framework of the story, such a content setting is relatively easy to resonate in the hearts of most audiences, and it can have an attraction that cannot be ignored for any age, regardless of gender, regardless of nationality.

And then there is the use of songs, which is the key and soul of the revue, Judy Kramer did a lot of work at the beginning, and also got the copyright of the use and secondary creation of some songs of the Abale band, and wanted to use this as a basis to create songs suitable for the movie.

Later, when he returned to Hollywood, Ronan would not be completely confined to it, but would find professional musicians to combine the music of the script and the stage play to write or adapt songs suitable for the movie.

The framework of the script can be retained, but part of the content must be revised, this is a pure British story, and the main market for the film in the future is North America, and it must be changed to an American story.

Ronan chatted with Judy Kramer all morning, and Connie's negotiations with Judy Kramer's lawyer didn't end until mid-afternoon, and the two parties needed to draw up a contract, complete a series of formalities such as copyright transfer registration, and it was not until the morning of the third day that a formal transfer agreement was signed at the Ritz-Carlton Hotel.

Cutting through the mess quickly, Ronan was extremely efficient, and got the film rights to "Mamma Mia" before the charity dinner.

Judy Kramer is very satisfied with this deal, and it is not easy for her to sell the project that has been in her hands for many years, exchange it for important liquidity, and enter the crew of a major Hollywood company.

As for the success or failure of a film project, Judy Kramer thinks so, if it succeeds in the future, she can learn from the experience of making successful films, and if it fails, she can learn from it.

It's only good for her, no harm.

On the afternoon of the signing of the formal copyright transfer agreement, Judy Kramer was in a good mood and returned to the office to receive a call from an old friend.

"You're saying Mr. Tom Hanks from Hollywood wants to talk to me about the rights to Mamma Mia? What? You're coming to my company?"

Judy Kramer was a little surprised, "Mamma Mia" had been in her hands for many years, and she couldn't sleep when no one cared about her, but now not only are people buying it, but one is bigger than the other.

Fifteen minutes later, Judy Kramer received Tom Hanks and his party in the company, facing the honest and kind Tom Hanks, which left a very good impression on Judy Kramer.

But no matter how good the impression is, no matter how much you like this famous superstar in Hollywood, it is impossible to sell one copyright into two.

"The copyright to 'Mamma Mia' is out of your hands?" Tom Hanks was a little surprised: "But when I checked the copyright the day before yesterday, the movie copyright was still in your hands." ”

Judy Kramer smiled wryly: "I just signed a copyright transfer agreement with someone this morning, and I went through the final formalities of copyright transfer in the afternoon. ”

Tom Hanks was a little crying and laughing, but he didn't show it, and at the same time he was curious about who was the first step ahead of him and Preton, and asked, "Ms. Kramer, take the liberty of asking, who did you transfer the copyright to?"

Judy Kramer also doesn't hide it: "Sand Sea Entertainment, a subsidiary of Hollywood Relativity Entertainment, Ronan Anderson, the owner of Relativity Entertainment, personally approached me. ”

"Is that him?" Tom Hanks' honest face was a little heavy: "How could Ronan Anderson get ahead of us?"

No one can answer Tom Hanks that question.

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