Amy Pascal was already accustomed to Simon's frequent and sudden ideas. After thinking for a moment, she said, "I remember three years ago, due to poor operating conditions, Warner proposed selling DC to Marvel, but it was rejected. I'm not entirely clear about the current situation, but after the stock market crash, large companies are generally restructuring assets and compressing debt. The comic industry began to decline in the 1970s, so if you offer a sufficient price, Warner might agree".
Simon tapped his fingers on the table, imagining the magnificent scene of a Marvel-DC superhero universe convergence in his mind, and asked again, "You said Semel would call me this afternoon?"
Amy nodded and said, "It's probably about the awards push for 'Run Lola Run'. Orion should have mentioned it to you, right? If 'Run Lola Run' can win some awards in the upcoming awards season, it will be very beneficial for both their rights operations".
'Run Lola Run' finished its theatrical run in North America in August and has now passed the three-month window, making it ready for video release. After Simon packaged and sold the overseas rights to Warner Bros., with Warner's extensive international distribution network, 'Run Lola Run' also successfully surpassed $200 million at the overseas box office over the past six months and will now enter its post-release operation phase.
In my memory, 'Run Lola Run' didn't receive many honours in North America, but the current situation is different.
With a global box office of $400 million as a base, the collaboration between Warner Bros. Pictures, one of the Big Seven, and Orion Pictures, which is adept at awards campaigning, coupled with the film's undeniable excellent quality, 'Run Lola Run' will definitely be a strong contender in the upcoming awards season.
Perhaps Simon's only weakness is his age.
Before this, the youngest Oscar winner for Best Director was already 32 years old. If Simon were 30, he might have broken that record. But now, the possibility is almost zero; the only thing Simon can hope for is perhaps just a nomination.
He raised his wrist and checked his watch; it was already three o'clock in the afternoon.
Having not yet received a call, Terry Semel might call him before he leaves work, perhaps with an invitation to a dinner party or something similar. However, Simon already had plans for the evening, and there was other work to do, so the matter of buying DC could only be discussed on the weekend or next week.
As he was pondering, there was a knock on the conference room door. Amy's assistant, Vanessa, poked her head in and said, "Mr. Westeros, Ms. Pascal, Mr. Craven has arrived".
Simon and Amy both stood up. Wes Craven walked in with a middle-aged Caucasian man in his forties wearing glasses.
Simon had brought out the story outline for the planned 'Scream' yesterday. After Amy and Craven met, although he hadn't agreed to direct yet, Wes Craven suggested hiring a screenwriter to write the script first to see the effect.
The middle-aged man with glasses should be the screenwriter recommended by Wes Craven.
After a brief greeting, Wes Craven introduced "Simon, Amy, this is Bruce Joel Rubin. He was the screenwriter for my film 'Deadly Friend' last year. I think we can let him try 'Scream'".
When Simon heard the name Bruce Joel Rubin, he almost couldn't hide his surprised expression.
Before collaborating with Wes Craven on 'Final Destination', Simon knew that Craven had directed a not-so-successful film for Warner Bros. last year called 'Deadly Friend', but he hadn't expected the screenwriter of that film to be Bruce Joel Rubin.
Perhaps not many people know Bruce Joel Rubin, but almost everyone knows 'Ghost'.
Bruce Joel Rubin is the screenwriter of 'Ghost'.
'Ghost', released in 1990 in the original timeline, not only became one of the most tear-jerking romance films of all time but also grossed $500 million worldwide on a production budget of $22 million. Coupled with its Academy Award nominations for Best Picture and other awards, the film was an absolute success in terms of critical acclaim, box office, and awards.
Simon had previously tried to find Bruce Joel Rubin's whereabouts but had no results. Now, he hadn't expected to encounter him under such coincidental circumstances.
Perhaps this couldn't even be considered a coincidence.
Ultimately, the Hollywood circle is simply too small. Many people he was interested in might have been close by, but he just hadn't noticed them yet.
Pondering whether he should attend more social parties in the future, Simon completely suppressed his surprise after sitting down, discussing 'Scream' with everyone as usual, and subtly guiding the conversation in the direction he wanted.
The group chatted for a while. Hearing Simon's doubts about his abilities, Bruce Joel Rubin defended himself, "Simon, the box office performance of 'Deadly Friend' was indeed unsatisfactory, but the script was adapted from a novel, and I believe Wes and I both did our best within the creative framework provided by the studio".
"So," Simon looked at Bruce Joel Rubin and said, "Bruce, do you have any other scripts, or even just ideas? Although I've already provided the story outline for 'Scream,' I still hope the screenwriter himself has sufficient creativity".
Bruce Joel Rubin nodded and said, "Of course".
Simon raised a hand and said, "Tell me about it".
Bruce Joel Rubin pondered for a moment and said, "A few years ago, while watching 'Hamlet,' I had an idea when I saw the scene where Hamlet's father's spirit leaves his body and instructs his son to avenge him. The story concept is now very complete, but I haven't started writing it yet. Sam and Molly are a couple about to get married. One night, on their way home after watching a play, they are robbed. Sam is stabbed to death by the assailant and becomes a ghost unable to communicate with normal people. He hovers around Molly, only to discover that his death was not an accident… "
Inside the conference room.
After Bruce Joel Rubin finished speaking, before Simon could even open his mouth, Amy couldn't help but say, "Simon, this is a great idea. We should buy it, shouldn't we?"
Wes Craven also nodded in agreement, "It's really good. It's a shame I'm not good at this type of genre, otherwise I would definitely direct it myself".
Simon pondered for a moment, then said, "Actually, I also happen to have a similar idea about ghosts." After saying this, he noticed Bruce Joel Rubin's tense expression, and Simon smiled at him, saying, "It's just that the idea of a ghost is similar to yours; the story is completely different. Your story is about love, but the core of my story is family affection. However, I think this story is also very suitable for you to write. So, Bruce, Daenerys Pictures can sign a three-script contract with you. What do you think? Two commissioned scripts, one original script".
Bruce Joel Rubin was surprised and excited that he could get three contracts so quickly, but he still cautiously said, "Simon, are you sure all three of these scripts can be put into production?"
"Actually, you want to ask if your script can be put into production, right?" Simon smiled and said, "The answer is yes. Of course, you'll also need some patience. Haha, I know that sounds like a cliché all film executives say. If you're not at ease, you can add some restrictive clauses to the contract. You'll need to discuss that with Amy".
Bruce Joel Rubin nodded, but still probed again, "What about the credit?"
"The credit for 'Scream' goes to you, and the credit for the ghost film goes to me. Oh, I mean my ghost film. For your ghost film, the credit is naturally still yours," Simon explained, then asked, "Are there any other questions?"
Bruce Joel Rubin shook his head.
"Then, for the specific compensation contract, you can have your agent contact Amy. Let's talk about 'Scream' first".
In Simon's plan, 'Scream' would be the first film solely produced and distributed by Daenerys Pictures for next year's Halloween season, so he attached great importance to it.
The scriptwriting meeting continued until closing time. During the meeting, Simon also took a call from Terry Semel, CEO of Warner Bros. Pictures, who indeed invited him to a reception that evening. Due to prior arrangements, the two could only reschedule their meeting for tomorrow evening.
Additionally, Terry Semel mysteriously hinted to Simon over the phone that there would be a surprise next Monday.
Although the other party didn't explicitly say it, Simon naturally knew that next Monday was the day the Golden Globe Awards for film and television would announce their new nominations. As one of the most important indicators for the Oscars, the Golden Globes held a relatively high value compared to other guild awards.
Since he had already sold off 'Run Lola Run', Simon naturally wouldn't spend any more money on awards campaigning. Due to his age disadvantage, he was unlikely to win anyway, and he was even somewhat indifferent to it.
However, Orion and Warner were both making every effort for their own interests.
Five o'clock in the afternoon.
After seeing off Wes Craven and Bruce Joel Rubin, Amy called her assistant to clear the conference table while saying to Simon, who was looking through the meeting minutes beside her, "Why didn't I see Jenny this afternoon?"
Simon didn't lift his head, turning a page in the memo he held, and explained, "Her parents came from New York, and they're taking me to dinner tonight, so I sent her home early at noon".
Amy remembered the gossip from yesterday's newspaper about 'Simon Westeros escorting his female assistant home, their intimate gestures suggesting a close relationship,' and smiled, "Are they already here to demand an explanation?"
Simon looked puzzled: "Huh?"
Amy's tone was teasing: "You ran off with their daughter".
Simon directly avoided answering.
Amy didn't joke much longer and turned serious: "Simon, 'When Harry Met Sally', 'Pulp Fiction', and 'Basic Instinct' have all secured distributors. We plan to distribute 'Scream' ourselves, which is fine, but what about 'Dead Poets Society' and 'Steel Magnolias'?
And all these copyrights you've recently acquired? I think we should first sign a fixed distribution contract with one of the Big Seven before investing in specific productions, otherwise we'll be very passive in the future".
Simon, hearing Amy talk about serious matters, finally looked up and said, "Signing a distribution contract isn't difficult, but we won't be able to get very favourable terms. The distribution of 'Dead Poets Society' and 'Steel Magnolias' will depend on the situation. I still prefer Daenerys Pictures to do it ourselves. The production budgets for both films won't be too high, so a loss wouldn't be a big deal".
Amy nodded helplessly and said "But we have $100 million now. If you're unwilling to sign a fixed distribution contract with the Big Seven, we simply won't be able to make too many films according to your ideas, otherwise they'll all be stuck with us. The major film companies would certainly be very happy to see us lose all $100 million".
Simon shook his head and said "I never said all this money could only be invested in Daenerys Pictures' own films. With so many projects in Hollywood, we can absolutely participate in investments. You can start spreading the word now. $100 million can probably invest in seven or eight films. Besides 'Scream,' 'Dead Poets Society,' and 'Steel Magnolias,' I'll select another project for the company soon, and the remaining funds will be spread out. Many film companies should be starting to run short on money now".
Amy couldn't help but say "That seems like an even greater risk".
Simon smiled and said "So, it will depend on your negotiation skills. Don't forget, if you make money, you get 5%, but if you lose, you get nothing".