Right after Christmas, Kazir hurried back to Los Angeles and immediately began handling the copyright-related matters for napoleon dynamite.
At this time, the actors were busy promoting the film overseas, but he chose to stay in the country to prepare for a new project.
Kazir had already contacted Ed Helms and Pedro Pascal, inviting them to star in his new film.
Of course, they still needed to go through auditions as per the process.
However, compared to other actors, these two had more ample preparation time because Kazir had given them the script early and they had signed non-disclosure agreements.
"Kazir, long time no see."
"Enrico." Kazir nodded slightly at the approaching man.
As soon as he walked out of the airport, Enrico, a producer from Warner Bros., greeted him and directly proposed a collaboration.
"Enrico, I have to make it clear first that I have a contract with Fox Searchlight Pictures, and they have the first right of refusal for the copyright of napoleon dynamite," Kazir said frankly.
"Understood. But if your negotiations with them fall through, you might consider Warner Bros.. As long as the conditions are suitable, we would be very happy to cooperate," Enrico responded.
Kazir readily agreed; after all, in Hollywood, it's always good to be overprepared.
In his opinion, Fox Searchlight Pictures would likely try to drive down the price, as napoleon dynamite was a cash cow, and they would want to extract every last bit of its value.
"You're looking for me for more than just this, aren't you?" Kazir keenly sensed that Enrico had other intentions for this visit.
"Actually, it's about your new script. Warner Bros. is willing to take it on, but there are a few conditions," Enrico said.
It turned out that Salvatore Barlo had first submitted the new script to 20th Century Fox and Warner Bros. respectively.
Kazir had a very good impression of both companies, especially since their CEOs had personally attended the film's test screening, showing great sincerity.
Based on seniority, these two companies undoubtedly had a head start in the competition for the new film.
After receiving the script, Warner Bros. carefully studied it and believed the film had the potential to replicate the success of napoleon dynamite. Terry Semel even directly approved it.
Kazir was in the early stages of his career, with inspiration flowing like a spring. Directors on the rise like him often manage to create several blockbuster works in a row.
His new project had a budget of 35 million, which was indeed much higher than napoleon dynamite, but still within a reasonable range, and Warner Bros. was fully capable of handling it.
"Go ahead, Enrico, what are Warner Bros.' conditions?" Kazir asked.
"First, given that 35 million is no small sum, we hope to have an insurance company supervise the filming process," Enrico said.
"Understandable." Kazir was mentally prepared for such a request.
"Second, we hope you can appropriately reduce your box office share. To be honest, given your current standing, you shouldn't even be discussing a share, but we are willing to give you this opportunity: if the North America box office exceeds 100 million, you get 3%; at 150 million, you get 5%; 200 million, you get 7%; 250 million, you get 10%."
Enrico gritted his teeth as he spoke.
In his opinion, this condition was already quite generous, after all, Kazir was not a top director like Spielberg or Cameron.
However, compared to the potential earnings, this small percentage of the share was nothing.
In fact, Kazir's original asking price was higher.
"Discuss these with my agent!" Kazir said with a smile.
...Enrico's eyelid twitched slightly, and he thought to himself: This kid is really greedy.
But he still kept a smile on his face, as the initial negotiation had gone smoothly, and both parties had an intention for further cooperation.
Negotiation matters, of course, were to be handled by his agent, Salvatore; this was his job.
Kazir's first hour after returning to Los Angeles was spent in negotiations, and the time that followed would likely continue to be dedicated to negotiations.
At the entrance of 20th Century Fox headquarters, Kazir met Salvatore and the lawyer Terrence Downey.
By intuition, he vaguely felt that the copyright negotiation for napoleon dynamite might be both the first and possibly the last round.
What surprised him a little was that the negotiation location was chosen to be the 20th Century Fox building, not Fox Searchlight Pictures. It seemed Tom Rothman intended to negotiate in person.
Indeed, upon entering the conference room, Kazir saw Tom.
"Tom."
"Kazir."
The two shook hands firmly; their first collaboration had been very successful.
However, in business, even close relatives must settle accounts clearly, as everyone hopes to earn more.
"As of December 26th, napoleon dynamite's North America box office has reached 120 million. To be honest, this result far exceeded my expectations. I have never regretted working with you, I just regret not buying out the full copyright back then... Damn it, and you even got a share of the box office... Kazir, name your price, as long as it's not outrageous, Fox Searchlight Pictures is willing to accept."
Tom Rothman led the negotiation.
"30 million, full copyright." Kazir stated the price clearly and concisely.
"20 million, plus a sequel." Tom did not back down, directly counter-offering.
"29 million."
"21 million."
The two went back and forth, refusing to budge, and the price eventually settled at 27 million.
"27 million, Fox Searchlight Pictures wants the filming rights for a sequel, and also your new project," Tom proposed new conditions.
"Excluding the new project, let's settle on this price!" Kazir said.
"Alright, but you have to direct the sequel yourself," Tom further demanded.
"Tom, to be honest, I can't guarantee that I will direct a sequel to napoleon dynamite," Kazir said with a very serious attitude.
"Pfft, are you like those other directors who don't like making sequels?" Tom said with a hint of teasing.
"Pretty much!" Kazir responded.
"Then 25 million." Tom tapped the table lightly with his finger.
...
Kazir ultimately compromised; actually, 25 million was already a considerable amount for him.
In just one year, he had truly become a millionaire.
Thus, Kazir sold all the overseas distribution rights, video distribution rights, and sequel rights for napoleon dynamite to Fox Searchlight Pictures.