After briefly outlining his overall vision, Simon spent a few more minutes explaining the various stories and the intertwining narrative structure of 'Pulp Fiction' to Mike Medavoy in detail.
However, after listening to Simon's narration, Mike Medavoy frowned deeply.
Although Simon had just explained it very thoroughly, Mike Medavoy still felt that the entire story was confusing. Moreover, he couldn't grasp what the selling point of this film was.
Was it a non-linear narrative?
Or, to put it more bluntly, mental disorder.
The three-segment parallel structure of 'Run Lola Run' was indeed very interesting, but what exactly was this so-called multi-loop narrative structure? If the audience couldn't even understand the story, how could they possibly be interested in this film?
Thinking this, Mike Medavoy couldn't help but say earnestly, "Simon, non-linear narration is fine for occasional use, but films should still tell a story in a very traditional way. Moreover, this script seems overly chaotic. I don't think the audience will have the patience to untangle so many threads".
Many classic films that have gone down in history faced various doubts during their development, so Mike Medavoy's rejection didn't surprise Simon too much.
Simon explained earnestly, "Mike, I understand what you mean, and I'm very clear that I haven't fallen into the trap of deliberately pursuing more complex film narrative structures. In fact, this is more like another experiment of mine. I just want to use a brand new plot framework to tell a very fun story. As for the audience, as long as there is appropriate promotional guidance, I believe they will really like this film".
Mike Medavoy's expression remained tense, and he continued, "Even so, Simon, according to your description, this film clearly involves R-rated elements like violence, gun violence, and drugs. Do you think it's suitable for a young man under 20 like you to direct?"
Simon suddenly thought of Kathryn, shrugged, and said, "Mike, I know what kind of person I am, and that's enough. Actually, I don't lack other ideas, but these ideas are either impossible to realize right now, or the production budget is too expensive. Compared to those, this current film seems perfectly suitable. If operated properly, the budget should be controllable within $8 million".
Mike Medavoy relaxed a little when he heard the budget figure Simon gave.
Hollywood film production budgets have grown rapidly in the past two years.
Even last year, among the top ten films at the North American box office, half had production budgets under $10 million, and the box office champion 'Top Gun' only had a production budget of $15 million. But this year, in just the first three months, two films with budgets of 15 million US dollars, 'Lethal Weapon' and 'Angel Heart', have already been released, and these two expensive films were even released in a slow season like March.
However, Mike Medavoy was still a bit reluctant and continued, "Simon, why not make a horror film? Like 'The Butterfly Effect' and 'Final Destination', both scripts are excellent, and I think it would be easy for you to create a similar script".
Mike Medavoy had always liked the scripts for 'The Butterfly Effect' and 'Final Destination' very much.
Although 'The Butterfly Effect' received a poor response from critics, Mike Medavoy did not doubt the project's profitability. As for 'Final Destination', just look at the revenue-sharing terms Fox offered, and you'll know how much they favoured the project.
Compared to the incomprehensible 'Pulp Fiction', he preferred Simon to create and direct another horror-thriller film of a similar type.
"I've explained this many times," Simon said, also a bit helpless. "Mike, I don't like making horror films because they lack challenge. Writing those scripts was purely for money".
Mike Medavoy heard Simon dismissing those scripts as 'side projects' and, recalling the astonishing share this young man would get from the 'Final Destination' project, he inexplicably felt a bit hurt.
Purely for money.
What a good reason.
Mike Medavoy almost blurted out: Simon, let's just talk about projects that can purely make money, okay? To hell with your messy 'Pulp Fiction'!
Of course, Mike Medavoy only thought about it.
For many years, no matter how much they cursed behind the scenes, Hollywood studio executives on the surface always tried their best to flatter, cater to, and humour hotshot filmmakers, and Mike Medavoy was accustomed to doing so.
With the popularity of 'Run Lola Run' as a foundation, Simon's next film, as long as it wasn't too bad, would be easy to make money from. However, no matter what, Mike Medavoy still hoped to see a slightly more normal project, like 'The Butterfly Effect' and 'Final Destination'.
The waiter brought dinner at this point, and everyone paused the conversation for a moment.
After a few bites of food, and having considered his words, Mike Medavoy spoke again, "Simon, don't you have other ideas? Tell me about them. As long as the script is good enough, even if the production cost is higher, it doesn't matter".
Simon shook his head decisively and said, "Sorry, Mike, I can only say that my next film is 'Pulp Fiction'. If Orion can't accept it, perhaps you can wait for my third film".
Mike Medavoy was speechless for a moment.
Simon's second film was definitely very promising, but for the third film, especially after the release of this inexplicable 'Pulp Fiction', who knew if anyone would still be interested in anything created by Simon Westeros.
After a moment of hesitation, Mike Medavoy could only say, "Simon, you just said this film only needs $8 million, right?"
After 'Run Lola Run', it wouldn't be excessive for Simon to propose a $20 million production budget for his second film. Now, if it only needed $8 million, even if the box office prospects were a bit dim, it might be acceptable in a situation with no other choices.
"Mike, I'm just talking about a more ideal scenario. This film has a lot of characters, and it's impossible to cast all unknowns. Actor salaries will definitely be a major part of the production budget. So, if I can successfully persuade the participants to take a pay cut and keep the above-the-line costs within $5 million, I'm confident I can compress the production budget to $8 million".
Film production budgets are mainly divided into two categories: above-the-line costs and below-the-line costs.
Above-the-line costs, simply put, are the salaries of key creatives like screenwriters, directors, and actors. Below-the-line costs include equipment rental fees, crew salaries, and technical equipment expenses such as transportation, makeup, and insurance.
Simon's previous film, 'Run Lola Run', had a very small portion of above-the-line costs. But for 'Pulp Fiction', considering the big names like John Travolta, Bruce Willis, and Samuel L. Jackson in the past, this would definitely be a film where above-the-line costs exceed 50% of the total budget.
The original 'Pulp Fiction' had a production cost of $8 million, which was clearly under circumstances where John Travolta and others took pay cuts.
Now, wanting to produce this film seven years early, some people definitely couldn't be used, some people Simon himself wanted to replace, and some people might not be willing to take pay cuts again. Under the influence of this series of uncertainties, Simon still made an estimate of $8 million, which was neither too high nor too low.
Seeing Simon's firm stance, Mike Medavoy knew it was useless to say more and could only say, "How about this, Simon, get the script out as soon as possible, and we'll discuss it then".
"Of course," Simon nodded, took a sip of red wine, put down the glass, and proactively said, "Mike, there's one more thing. Regarding the other distribution channels for 'Run Lola Run,' I hope to sell all these distribution rights outright. Is Orion willing to take them?"
Mike Medavoy immediately showed a clear expression of surprise.
The box office situation for 'Run Lola Run' was excellent. According to the practices of most film companies, they would definitely 'meticulously cultivate' the film's subsequent distribution, personally handling the distribution through various channels little by little.
Doing so could maximize subsequent profits and also build connections and expand channels in the process, which was a win-win situation.
Although they had priority for the subsequent distribution of 'Run Lola Run', Orion originally only expected to get the domestic video distribution rights, and such an agency agreement would naturally be a revenue-sharing contract.
Unexpectedly, Simon wanted to sell off the subsequent distribution rights all at once.
This was clearly not a very wise choice, akin to draining the pond to catch all the fish, quickly cutting off a long-term revenue stream for themselves. According to the operating cycle of various distribution channels, just 'Run Lola Run' alone would have been enough for Daenerys Entertainment to profit from for over three years.
Thinking this, Mike Medavoy quickly asked, "Simon, why the rush?"
Simon didn't shy away, stating directly, "I need money".
Mike Medavoy heard this, shook his head slightly, and then smiled with a hint of emotion, saying, "Actually, well everyone needs money".
Film is a type of investment where capital recovery is very slow.
In recent years, due to the booming North American economy, many second and third-tier film companies have been aggressively expanding. Then, looking back, they found that they had spread themselves too thin and had unknowingly become unsustainable.
De Laurentiis Entertainment, the investment company on the brink of bankruptcy after producing 'Near Dark', Cannon Films, which is also in trouble now, and Orion Pictures' takeover crisis last year, all boiled down to a lack of money.
Simon just smiled in agreement, patiently waiting for Mike Medavoy's response.
Mike Medavoy considered it carefully for a moment and said, "Simon, Orion definitely can't afford to buy all the rights outright. However, we can buy the North American video distribution rights".
North American domestic video sales had already surpassed total box office revenue last year, so video distribution was undoubtedly the most lucrative piece of the pie in 'Run Lola Run's subsequent distribution.
Mike Medavoy's answer was completely within Simon's expectations.
However, if Orion took the North American video distribution rights for 'Run Lola Run', it would be difficult to sell the film's subsequent television broadcast rights separately. Although television broadcast rights also generated considerable revenue, the operating cycle was much longer.
Typically, after a film leaves North American cinemas, video distribution can begin after a three-month window, but television broadcast rights sales often require waiting six months or more.
Moreover, unlike distribution channels like cinemas and video, which have intense revenue periods, television platforms belong to a typical long-tail market. Although the revenue scale is comparable to box office and video, the operating cycle often lasts for several years.
Since he had anticipated Mike Medavoy's response, Simon already had a counter-strategy. He said, "Mike, Orion can certainly take the domestic video distribution rights. However, it can't be just those. I've considered that 'Run Lola Run's' subsequent distribution will be divided into two parts: domestic video and television distribution, and overseas theatrical distribution, video distribution, and television distribution. If Orion can't take all of it, then it can only choose one of the two".
Although established for many years, Orion actually didn't have much overseas distribution capability and largely relied on the international channels of the Big Seven.
When Simon said this, Mike Medavoy understood that Orion could only choose the former, which was domestic video and television distribution, or simply give up.
After thinking for a moment, Mike Medavoy said, "Simon, what's the offer?"
Simon said straightforwardly, "$40 million".
"That's too high," Mike Medavoy immediately shook his head, then smiled and said, "And, that's not something I can decide. I need to discuss it with Arthur and the others first".