These people are all at the forefront of the Hollywood industry chain, especially directors, producers, actors and screenwriters, and they are exposed to scripts very frequently, and there may be some that they pass by and are not impressed, and there may be some that have left a deep impression on them even if no company is willing to buy them.

The people that Ronan wants to mobilize not only have a relatively close cooperative relationship with Relativity Entertainment, but also have rich experience in the industry, which can make them feel that interesting scripts and projects will have a higher probability of production value.

The more people you have, the more people you will have to have a wider range of contacts, and you will see more scripts and projects.

And just let them recommend, and it was Ronan himself who made the final decision.

Both George Clint and Jessica Felton agreed with Ronan's proposal, which is undoubtedly a good way to expand the options when the script cannot be detached from human review.

"I have some classmates and mentors who work in Hollywood. Jessica Felton said: "They can also be targeted. ”

Ronan nodded slightly: "Yes." He said to George Clint: "It's up to you to keep a list with Jesse, send letters or emails, and add my signature." ”

George Clint said, "Okay, I'll go back and set it up." ”

Ronan added: "We have established a blacklist of projects within Relativity Entertainment, and the recommended related projects or scripts are included in the blacklist, and then we select the projects that can be cooperated with for screening. ”

He specifically emphasized: "The blacklist is not necessarily the best original project, adaptation or other genre can be, and what can impress those of our collaborators shows that there is merit." ”

A story in which a discerning group is moved, stimulated, and found interesting will not be bad at the very least.

George Clint has been thinking about it for a long time, and then adds: "I think the company can systematize this measure, and the follow-up collaborators can be brought in. ”

Ronan nodded, "Yes." ”

Capital can bring greater efficiency to the cultural industry.

Jessica Felton said, "If the opportunity is right, we can also host events like the Nikkor Screenplay Contest. ”

Ronan said: "It's okay to have the right opportunity in the future. ”

If the email recommendations of the insiders who have worked with them belong to the online collection, Jessica Filton's method is an offline supplement.

Hollywood also has scripts and screenwriting activities similar to auditions, and it is also a good opportunity for some new screenwriters to make their debut.

Generally speaking, there are basically three ways for a rookie screenwriter to make a name for himself in Hollywood.

The first is very common, after creating a script, print a lot of copies, and deliver them according to the public mailboxes of various film companies, so as to hit the luck.

Although the percentage of winners is outrageously low, it is not unique.

There are also lucky people's scripts that have been bought, but there is no possibility for screenwriters who are not from the Screenwriters Guild to sell them for a high price, and the Screenwriters Guild's various minimum guarantees are for members, and the entry conditions for the Screenwriters' Guild are quite high.

The second is to participate in some Hollywood script competitions, the most famous of which is the Your Nikkle Screenplay Contest hosted by the Academy of Motion Picture Arts and Sciences.

Compared with the first type, the second type is a little more reliable, and every year new screenwriters emerge through this kind of competition.

Of course, the so-called rookie screenwriter here refers to a screenwriter who has no signed work.

This type of screenwriter may have been working in Hollywood for many years.

The third is to find a part-time job in a place where Hollywood directors, producers, and studio executives often go, find a way to make connections and expand the circle, maybe after getting to know them, send the script to these people, and they will take a moment to read the script.

Hollywood is a closed system.

This ensures that Hollywood has a more independent creative type, but it also brings a rigid model of choice.

Ronan's move did not break the Hollywood model, and as a vested interest, too much change would do more harm than good to him and Relativity Entertainment.

This is entirely based on Hollywood's traditional script selection channels, just using the connections made by Relativity Entertainment filming and production to expand the horizon of selection, not just within Relativity Entertainment.

In fact, James Huang recommended Wen Ziren, and James Cameron recommended his special effects director, and there is already a prototype of this model.

The three of them discussed to the end, and determined a lot of specific details, and even the roster of recommended projects in the future was determined - called "real-time blacklist"!

Specifically, George Clint is responsible for the implementation, and it is not difficult to get the support of some people with the appeal of relativistic entertainment.

Besides, it's not a gratuitous recommendation.

After George Clint left, Jessica Filton didn't leave for the time being, and said to Ronan: "The company has been pumping funds recently, is there a big move?"

"Hmm. Ronan nodded slightly: "There are some actions that have been planned for a long time to be implemented. ”

He won't say specifically, even if he knows that Jessica Felton won't reveal it to the outside world casually, but as the owner of the company, Ronan can't talk about it to anyone outside the plan.

Jessica Felton is also a smart woman, and seeing that Ronan didn't go into details, she didn't continue to ask, but said: "I'm negotiating with Embassy Pictures to prepare for "Juno" to participate in the three major European film festivals next year. ”

Ronan asked, "When will 'Juno' start filming?"

Jessica Filton said: "Filming can start before the New Year, the Cannes Film Festival is a bit tight, I should go to Venice. ”

The subject matter of "Juno" is also not suitable for the Berlin Film Festival.

Ronan never interfered too much in the "Juno" project, and said directly: "It's good that you make a decision." He asked, "What about Fast and Furious 4, what are your plans?"

"Let's wait for the release of "Fast and Furious 3" before making a decision. Jessica Filton is equally cautious: "I want to see the market response in person and tally the feedback from the audience so that I can make adjustments in time. ”

Ronan said: "It's okay, we shoot and produce commercial films for the public, and the market response is very important. ”

Market research, audience testing, review, revision, refurbishment, and rework are all essential parts of modern commercial cinema.

Jessica Felton said: "I recently got a market study on the Pirates of the Caribbean franchise. The data shows that after the first two movie screenings, more than 70% of fans said that as long as Captain Jack Sparrow is around, they will always watch "Pirates of the Caribbean", regardless of the film itself. ”

She said very seriously: "In the future filming of "Pirates of the Caribbean 4", Captain Jack Sparrow is the core of our can't get around. ”

Ronan knew what he meant: "Don't worry, even if you shoot the fourth part, it will be five years later." Johnny Depp at that time may not be the current Johnny Depp. ”

Jessica Filton still has a bit of a headache: "Who would have thought that a magical pirate film would be about to turn into a pure fan movie." ”

Ronan smiled and said, "That's the charm of Jack Sparrow, isn't it?"

Jessica Felton looked at her watch and said, "We'll talk about it another day, I asked Sofia Coppola to see the location, and I guess she's almost there." ”

"Take control of this project, and if all goes well, Juno will be on the awards season next year," Ronan said. ”

Jessica Felton said: "I understand. ”

Sending Jessica Felton away, Ronan read the rest of the script forwarded by Shahai Entertainment, and as most of the time, there was no genre that made him shine.

Ronan doesn't have emotions like disappointment, it's a normal situation, and when you see a valuable script, that's called an accident.

Relativity Entertainment will set up a "real-time blacklist" mechanism internally, which may bring some surprises.

If this mechanism can be successful, it may be able to make a successful business like the former Hollywood script blacklist.

I vaguely remember that the Hollywood person who created the "blacklist" later set up a "script blacklist" website, and really made recommending scripts a very successful business.

This "blacklist" is far from being as simple as it seems.

Although Ronan didn't know much, he was quite impressed by one thing.

When the "blacklist" is upgraded from an email message to a website, playwrights who want their work to be seen by more people can pay a fixed anonymous panel of professional judges on the website to give their opinions, including scores, short evaluations and commercial possibilities.

Scripts with high scores can be pushed to good positions and highlighted in email journals.

It is estimated that most people will be familiar with this website operation mode.

This is also in line with the environment of Hollywood, after all, it is a business circle, and everything can be commercialized.

Of course, as far as relativistic entertainment is concerned, this aspect will not be considered for the time being.

Ronan's goal is to find valuable film and TV series projects after a wider range.

George Clint moved very quickly, made an initial plan that afternoon, and will be able to execute it this week, and expect to receive some feedback this month.

Ronan was about to leave work when he received a call from Harvey Weinstein, who asked again about Disney, especially related to Michael Eisner.

The Weinstein brothers' conflict with Michael Eisner is well known in Hollywood, and such problems seem normal.

Ronan told Michael Eisner very seriously as before that Relativity Entertainment was still eating Disney's shares, and even suggested that he go to Disney's shareholder meeting together to see how Michael Eisner was ousted by Relativity Entertainment and Roy Disney.