After Simon's explanation, Robert De Niro suddenly felt a sense of enlightenment.
Compared to those films or roles etched in cinematic history, the young man before him seemed even more ambitious.
He wanted to create a complete fictional world, making the audience believe every person in it was vividly alive. He aimed to subtly draw viewers' attention into this world through an unconventional plot structure, incessant dialogue, and unusually rich details.
It was imaginable that if this goal were achieved, no one could deny this film becoming a classic etched in film history.
Robert De Niro had already experienced his most glorious years. Films like The Godfather, Taxi Driver, The Deer Hunter, and Raging Bull had brought him too many honors. He had thought nothing in the world could spark his interest much anymore.
But now, this young man's ambitious work reignited his passion for acting.
Moreover, as a dedicated method actor, Robert De Niro realized that the role of Butch Coolidge would be an intriguing challenge for him.
Butch Coolidge was entirely a fictional character from an absurd world. To build this role, he couldn't drive a taxi like for Taxi Driver or box like for Raging Bull. He would have to construct this character from scratch and fully believe he lived in the absurd world of Pulp Fiction.
Pondering these thoughts, once Robert Redford's figure disappeared, Robert De Niro didn't hesitate, saying directly, "Simon, let's talk salary."
Simon quickly replied, "A base of $2 million, plus 15% of North American box office net profits. Bob, Pulp Fiction's budget is only $8 million, so this is the highest offer I can make."
Robert De Niro didn't hide his feelings, shaking his head. "A bit low."
In recent years, though his box office ranked last among the original four actors, his status remained rock-solid, with salaries starting at least at $3 million, and films rarely budgeted under $10 million.
For example, Angel Heart, released this year with Warner, had a $17 million production cost.
As for profit shares, due to Hollywood's unique accounting where films rarely profit on paper, stars usually treated such promises as empty checks.
From Run Lola Run onward, through Final Destination and now Pulp Fiction, Simon insisted on direct box office shares to avoid "Hollywood accounting" as much as possible.
Hearing De Niro's response, Simon explained earnestly, "Bob, this net profit share is calculated like this: Orion and theaters split 50-50; they only take 15% for marketing, leaving 35% of total North American box office. Subtract the $8 million budget, and the remainder is the net profit base—you get 15% of that. Under this formula, if Pulp Fiction hits $50 million, your total pay reaches $3.5 million. Run Lola Run's projected North American box office exceeds $200 million. I can't guarantee my next film will be that successful, but $50 million should be no problem."
Robert De Niro still shook his head slightly. "Simon, under this formula, even at $100 million North American box office, I'd only get $6 million."
Simon said seriously, "This might be presumptuous, but Bob, you really need a hit film right now. So if Pulp Fiction luckily reaches $100 million domestically, what you gain far exceeds just $6 million in pay."
Robert De Niro finally fell silent.
His recent films: This year's Angel Heart, $17 million cost, nearing the end of its run with just over $14 million domestic. Last year's The Mission, $25 million budget, $17.21 million North American. Earlier, Once Upon a Time in America, $30 million cost, a mere $5.32 million domestic.
In the 1980s, none of his films exceeded $20 million domestically, yet all had blockbuster-level budgets over $10 million.
Hollywood is very pragmatic: No matter the status or Oscars, if you can't bring profits, you're discarded.
Actually, before this meeting, Robert De Niro had faced a setback.
He had eyed a Fox project in development called Big.
Director Penny Marshall also wanted him as the lead and recommended him to the studio. But due to his increasingly tepid box office, while Fox was interested, their salary offer was even stingier than Simon's just now.
Now, that role had gone to an up-and-comer named Tom Hanks.
Undoubtedly, Robert understood he was in an awkward spot, desperately needing a hit to prove his box office draw.
After pondering for a moment, Robert De Niro finally decided, standing and extending his hand to Simon. "Then, Simon, here's to a pleasant collaboration."
Simon stood too, shaking De Niro's hand with a smile. "Pleasant collaboration."
With Robert De Niro on board, both heavyweight actors for Pulp Fiction were in place.
Before this, Amy had secured John Travolta.
After 1978's domestic box office champ Grease, John Travolta shone for a few years. But teen stars' foundations are shallow and prone to fading. After the $20 million Perfect flopped two years ago, the now-33-year-old Travolta, seeking a transition, even did a TV movie last year.
Thus, after contact, Travolta quickly accepted $1 million plus 5% North American box office net profits.
Like Final Destination, Pulp Fiction was fully controlled by Daenerys Films; Orion only invested and distributed. Beyond the $8 million budget, Orion gave Simon 20% total net profits for casting.
Securing Travolta and De Niro, Simon had spent $3 million in salaries and all the profit shares.
Per the preliminary budget, offline costs for locations, equipment, and crew salaries needed at least $3 million, leaving just $2 million for the film's other roles.
Though many roles, with careful budgeting, this amount was sufficient.
Robert Redford agreeing to cameo as the Wolf introduced some variables.
Unlike the career-sliding Travolta and De Niro, Redford was solidly a top male star commanding over $5 million, even for a cameo—Simon couldn't be too stingy.
This would have to be discussed with Orion next week.
Simon and De Niro discussed more details, then left the villa for the courtyard party.
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