Simon heard Michael Ovitz's terms and replied, "Michael, Bob is indeed worth $1 million. However, Pulp Fiction is just a mid-budget production, so I can only offer $500,000 base salary, plus 5% of North American box office net profits. As for the profit-sharing model, I imagine I don't need to explain it again."
All of Hollywood knew Michael Ovitz was a details obsessive—the terrifying kind. Since he was so well-informed about Daenerys Films' recent contacts with CAA clients, he couldn't possibly be unaware of Pulp Fiction's net profit sharing rules.
Michael Ovitz indeed didn't press, simply saying, "Simon, if it were before today, Orion might have capped Pulp Fiction's production budget at $8 million. But now, they probably wouldn't mind adding more, right?"
Michael Ovitz clearly hadn't probed into Simon's contract details with Orion.
The $500,000 base salary Simon proposed still came from the original $8 million budget, leaving him with only $1.5 million for selecting other actors.
As for the extra 5% North American box office net profits, Simon had secured it from Orion that morning.
Traditional Hollywood filmmakers had a strong star worship, and Robert Redford joining Pulp Fiction was something Orion eagerly desired. The Butterfly Effect's second-weekend box office had also renewed Orion executives' confidence in Simon.
Thus, Simon hadn't needed much persuasion; Mike Medavoy nodded in agreement.
Facing Ovitz's question, Simon didn't beat around the bush, shaking his head. "Michael, this involves contract issues."
Though Simon's sharing terms with Orion were confidential, Final Destination's were public knowledge—Fox had deliberately publicized the original sharing clauses as a gimmick.
Hearing Simon's response, Michael Ovitz showed understanding but added, "Simon, you want Bob to join but aren't willing to pay enough salary—that definitely won't work."
From the original Run Lola Run's nominal executive producer to the later Sundance Film Festival, Robert Redford had helped Simon immensely.
Simon listened to Michael Ovitz's implied jab without embarrassment. "$500,000, plus 5% profit share—this contract's value has a high chance of exceeding $1 million. I've offered the highest price I can, which proves my sincerity. If Bob can't be satisfied, I can only say that's regrettable. But a film is a film, Michael—this is the riskiest business in the world; we can't act on whims."
Michael Ovitz listened to Simon's words, his gaze deeply appraising the young man before him. His expression seemed hesitant, but he still said, "Simon, I'll convey your terms to Bob. Additionally, let's talk about When Harry Met Sally. Nora Ephron is also a CAA client—it's a pity the script was bought by you first. How about CAA fully handling this project? Name your terms; we'll contact the studios."
Simon shook his head. "Very regrettable, Michael—I've already received several calls about When Harry Met Sally today, so Daenerys Films doesn't need CAA's help right now."
"That's indeed very regrettable," Michael Ovitz shook his head slightly too, then stood. "In that case, Simon, perhaps I should leave."
Simon rose as well, extending his hand to Michael Ovitz. "Regardless, it's a pleasure to meet you, Michael—you're a Hollywood legend."
Michael Ovitz shook Simon's hand readily but didn't turn immediately, standing in place. "Simon, honestly, to get you to join CAA, I did very detailed research before coming—even prepared enough topics for us to chat all afternoon."
Simon just smiled. "Then why leave so soon?"
Michael Ovitz didn't hide it. "Simon, before coming, I already realized we're likely the same type of person, but that didn't deter me. However, just now, I suddenly realized we're destined to be rivals."
The smile on Simon's face didn't fade at all. "Honestly, Michael, I felt the same—and very strongly."
Michael Ovitz smiled too, asking with interest, "When?"
"When you just said: We always strive to fulfill clients' every request," Simon replied, then countered, "And you?"
"A film is a film; we can't act on whims," Michael Ovitz repeated Simon's earlier words, but immediately added, "However, Simon, your expectations might be hard to achieve—filmmakers are very whimsical."
Simon retorted, "The big studio era wasn't."
Michael Ovitz said, "The big studio era is history now."
"History always cycles. That's why people use 'the wheel of history' to describe the passage of time."
"An interesting view," Michael Ovitz nodded with a smile. "Perhaps we can be friends privately."
"Of course—and rivals at the same time."
"You realize, Simon, before CAA, you're still very weak right now."
"A lion wanting to change history needs a big target, it can't take ants as rivals."
"Speaking of changing history, when I and Ron thought the same, we started a small company whose name alone sparked a lawsuit. A profound lesson."
"That's not a threat, is it?"
"Of course not. In terms of stance, we're actually salespeople; you're the consumer. A salesperson threatening a consumer would be utterly stupid."
Simon and Ovitz chatted like this, unwittingly developing a rapport.
However, both were extremely busy; they didn't sit back down, and Michael Ovitz soon bid farewell. After seeing Michael Ovitz out of the company headquarters, Simon returned to his office, where Susan told him Amy Pascal was on the line.
Simon had originally wanted Amy to handle this meeting—so even if talks failed, with an agent in between, neither side would be too awkward. But Michael Ovitz wanted to talk to Simon personally, so he and Amy had swapped schedules temporarily.
Last Saturday, after a secret drug test confirming Meg Ryan hadn't touched anything too irredeemable, Simon signed her on. $300,000 salary, with an option contract attached—after When Harry Met Sally, Meg Ryan must star in another Daenerys Films movie.
Billy Crystal was Jonathan's client; his contract had been set even earlier. As a household TV name, Billy Crystal's first big-screen lead last year, Throw Momma from the Train, had solid box office, so his salary was set at $3 million.
Next was the director.
Rob Reiner.
This was When Harry Met Sally's original director. The original film's details were perfect in every way; Simon had no plans to change. The script had long been passed to him, and after several contacts, Rob Reiner was interested in directing. Amy was meeting his agent today to discuss the contract.
Simon took Amy's call, chatted for over ten minutes, then hung up and leaned back in his leather chair behind the desk.
Rob Reiner was also a CAA client; his quoted directing fee didn't surprise Simon.
$5 million.
Additionally, he demanded to serve as producer and insisted on some final cut rights.
After negotiations, the fee stayed the same; Amy successfully vetoed the final cut demand, but whether to agree to him as producer needed Simon's final say.
Rob Reiner's recent films had all been very successful. Last year's Stand by Me grossed over $50 million domestically; Simon had no objection to the fee. After discussing with Amy, he also agreed to the producer role.
Now, Rob Reiner and Billy Crystal's fees alone were $8 million. Though Meg Ryan took a newcomer rate, inviting the original "Princess Leia" Carrie Fisher as the female support would require at least one or two million.
Just the main creatives' above-the-line costs reached $10 million level; under this star power, below-the-line costs must be at least $5 million.
Thus, When Harry MetSally's budget scale jumped straight to $15 million.
In his memory, When Harry Met Sally grossed over $90 million domestically—relative to production costs, it could bring hefty profits to a studio.
Before today, Simon had been hesitating whether to self-fund When Harry Met Sally.
Simon had definite plans for When Harry Met Sally now.
With The Butterfly Effect's second-weekend box office out, the previously stalled situation instantly came alive.