Upon hearing Simon's request, Peter Sanders almost blurted out: Do you even know what a producer does?
The general public's impression of Hollywood filmmakers is often of some big star or big director. But in reality, since the rise of the American film industry in the early 20th century, Hollywood has always been a producer-centric system.
Except for a very small number of sufficiently powerful directors and stars, in most cases, the most powerful person in a film crew is usually the producer; they are the ultimate decision-makers who control the creative direction of a film.
Even those powerful directors and stars often need to be credited as producers to exert their influence on a film, which means they still haven't broken the producer-centric system.
Simon watched Peter Sanders' changing expression, waited patiently for a moment, then said, "Peter, I know what you're thinking. However, since I've already completed 'Run Lola Run,' I can naturally do a good job with 'Final Destination.' Moreover, there's definitely no one else in Hollywood who knows better than me what kind of movie 'Final Destination' should be".
Peter Sanders composed himself slightly and said, "In that case, Simon, why don't you direct it yourself? Orion should be amenable to that".
"Because it's not worth it; I want to focus my main energy on films I'm more interested in. However, 'Final Destination' is my script, and I also hope to personally control the production of this film".
Peter Sanders thought for a moment, then still shook his head and said, "Simon, you should know the situation in Hollywood. Fox won't hand over control of a film to a young man like you".
Simon shrugged indifferently: "In that case, perhaps other film companies would agree to do so."
Peter Sanders was momentarily speechless.
The contract Simon signed with Fox was, in the final analysis, merely a right of first refusal. With the massive box office success of 'Run Lola Run,' Simon's reputation was soaring, and there would definitely be film companies in Hollywood willing to break the unspoken agreement regarding option contracts for the sake of profit.
If other studios agreed to let Simon personally control the film, but Fox was unwilling to follow suit, then they would simply have to give up.
Fox had already given up on 'Run Lola Run' previously. If they were to abandon 'Final Destination' now, and if this film were to be very successful in the future, then Fox would definitely become the laughingstock of Hollywood.
After a moment of hesitation, Peter Sanders finally said, "Simon, what are your terms?"
"Including producer, screenwriter, and other work, I only need a base salary of $1," Simon said, and before Peter Sanders could react, he continued, "However, after the film is released, I need to take 10% of the North American box office revenue and 5% of video tape revenue. The operating cycle for TV broadcast rights is too long, so I won't ask for that".
When Peter Sanders heard Simon propose a $1 base salary, he already showed a surprised expression. When Simon finished stating the subsequent conditions, Peter Sanders' expression had already turned to one of bewilderment.
This young man truly dared to ask for the moon.
Peter Sanders heard very clearly that what Simon was asking for was not profit sharing, which has a lot of room for manipulation, but direct box office revenue sharing and video sales royalties.
In all of Hollywood, probably only Spielberg dared to make such demands at the moment.
After being stunned for several tens of seconds, Peter Sanders finally said, "Simon, that's impossible".
Simon looked at Peter Sanders, whose eyes were almost popping out, and made a calming gesture, saying, "Peter, actually, I've already had someone do a simple budget assessment based on my ideas for this project. If you give 'Final Destination' to me, it can be done for $8 million. As for the marketing and distribution costs, that's, of course, whatever you say it is. And I don't have the energy to calculate the breakeven point for 'Final Destination.' So, let's keep it simple: the future North American domestic box office will be calculated as twice the production cost, $16 million. Provided that Fox secures the release date, screen count, and marketing investment, if the film's North American box office is below $16 million, I only take a $1 base salary. If it's above $16 million, my compensation will be paid according to the conditions I just stated."
Peter Sanders calmed down a bit after hearing Simon's words.
However, thinking about the expected North American box office for 'Run Lola Run,' which could easily exceed $160 million, he quickly shook his head again: "Simon, if you want to get the sharing terms you just mentioned, $16 million is absolutely not enough; it needs to be at least $50 million."
Based on the information in his memory and the popularity accumulated from 'Run Lola Run,' Simon's expected North American box office for 'Final Destination' was indeed $50 million. However, in this world, film is always the most difficult business to predict success or failure, so he naturally wouldn't set such a high bar for himself.
Moreover, if 'Final Destination' is calculated with a production cost of $8 million, as long as its North American box office reaches $10 million, Fox can easily make a profit through subsequent overseas distribution, video sales, and TV broadcast rights revenue.
The $16 million guarantee Simon offered was already very high.
"Peter, if I'm not mistaken, out of the 16 films Fox released last year, only five grossed over $10 million at the box office. Others, like Kate Capshaw's 'SpaceCamp,' with a $20 million budget, and Connery's 'The Name of the Rose,' also with a $20 million budget, had a North American box office of $7.15 million. 'The Manhattan Project,' with an $18 million budget, had a North American box office of $3.9 million. Look, you've spent a lot of money investing in so many garbage projects, so why aren't you willing to spend a little less money to invest in a very guaranteed film?"
Peter Sanders' mouth twitched when he heard Simon suddenly mention "SpaceCamp." He didn't know if the young man was doing it on purpose, but he immediately retorted, "Simon, no one can guarantee a film's success before it's released".
Simon nodded and said, "Of course, Peter. But I can guarantee that if the film isn't successful, I only want $1, not $5 million."
Peter Sanders insisted, "Simon, there are actually many people in Hollywood who would take $1 for an opportunity".
"Based on the box office performance of 'Run Lola Run,' let's look back three years: 'Top Gun' in '86, 'Back to the Future' in '85, 'Beverly Hills Cop' in '84. So, do you think Tom Cruise would take $1, or Robert Zemeckis would take $1, or Eddie Murphy would take $1?" Simon stared at Peter Sanders, finished speaking, then stood up and said, "Peter, these are my terms. You can discuss it with Mr. Goldberg, and it would be best to give me an answer by next week. Oh, and the hotel has been booked by the crew, so if you're staying overnight, I can have someone prepare a room for you".
Simon finished speaking, motioned to the waiter to settle the bill, and then stood up and left.
Peter Sanders, however, did not get up; he remained seated in the cafe, frowning in thought. He had rushed over on a Saturday afternoon, not only to discuss the 'Final Destination' contract with Simon but also with the intention of building a relationship with this rising Hollywood newcomer. He had originally planned to stay in Coolidge for two days.
However, recalling Simon's assertive tone during their conversation, Peter Sanders realized that there was not much point in him staying there any longer.
As for the conditions Simon proposed, now that he had calmed down, Peter Sanders realized that, strictly speaking, the contract was not entirely unreasonable.
Although he was still too young, and had only just produced one film, and the success of that film still had some element of luck. But the expected box office for 'Run Lola Run' was truly astonishing. Even if the film ultimately didn't become this year's North American box office champion, as long as it broke a hundred million, Simon would have enough qualifications to demand the price he just quoted.
Peter Sanders also understood that with the popularity accumulated from 'Run Lola Run,' 'Final Destination,' an innovative and commercially strong horror film, would easily achieve a North American box office of $16 million.
Moreover, even with higher expectations, if 'Final Destination' reached $50 million at the North American box office, Simon's share from the box office would only be $5 million. Sean Connery's salary for starring in 'The Name of the Rose' was $5 million, and that film's North American domestic box office of just over $7 million caused Fox to lose heavily.
Of course, there was also the 5% video sales share, which was also a not insignificant asking price. In the Writers Guild's 'Basic Agreement,' a film screenwriter could only receive 0.3% of video sales revenue from a film's post-release income.
In the past year, 1986, Hollywood film video sales revenue had successfully surpassed North American box office revenue. Coupled with the fact that popular horror films are generally more popular in the video market than other genres, Simon's 5% offer could potentially yield a share comparable to 10% of the box office revenue in the future.
But...
One point Peter Sanders could not ignore was that Simon's offer was made entirely on the premise of guaranteeing Fox's profitability.
To be honest, it was very fair.
Peter Sanders was now simply finding it very difficult to accept that an eighteen-year-old boy was so quickly about to enter the pinnacle of the Hollywood pyramid, becoming a peer.
This was what was truly difficult to accept.