Hollywood Road

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"Is it over there?"

Seeing James Franco hang up the phone, Murphy quickly asked, "How did it turn out?"

Seth Rogen at the back also moved closer.

James Franco put away his phone, "Morris Entertainment is very interested in the film, and they offered a buyout price of 4 million US dollars during the negotiation, no matter how high it is..."

He shook his head.

Murphy patted the steering wheel, not only to remind his two companions, but also to warn himself, "Calm down, there are still Lionsgate and Fox Searchlight behind."

Back at the Stanton studio, Murphy had a detailed discussion with Bill Rossis who rushed back later. Morris Entertainment can basically give up. It is impossible for this small distribution company to charge a higher price. The distribution of copyright is also not of interest.

Early the next morning, Murphy rushed to Lionsgate Films again. Milton Johnson and his team also had a very high evaluation of the film's market potential.

Large distribution companies in Hollywood have a mature evaluation system. There may be many factors that can affect the success or failure of a film, and they cannot make a completely accurate evaluation, but whether a film really has market value The ability is still there.

The selling point of "Chain Saw" is here. It is impossible for a typical horror film production and distribution company like Lionsgate to fail to see its advantages.

But they will not give much good conditions.

"Director Stanton..." Mitton Johnson sat behind the desk and looked at Murphy, "Lionsgate has also signed distribution contracts with other companies. This is not without precedent."

He tapped the table lightly, "The 30% distribution commission is our bottom line."

Just as Murphy was about to say something, Milton Johnson raised his hand to indicate that he hadn't finished. "According to the company's practice, Lionsgate must also own 50% of the copyright of the film."

This has completely exceeded Murphy's acceptable limit, even harsher than Miramax's conditions.

Bill Rosses on the other side couldn't help it, and said, "Mr. Johnson, if you've seen this movie, you should be able to see that it's the best kind of horror movie..."

"Bill, you are from CAA, and you are well-informed." Milton Johnson sat back in the chair, crossed his arms, and said with a hint of sarcasm, "Please tell me that movies with wonderful content will definitely Is it successful? Lionsgate really has no risk in distributing the film? Can you guarantee a profit?"

No matter how thick-skinned he was, Bill Rossis didn't dare to say such a thing.

Milton Johnson continued, "Lionsgate has to bear the high risk of publicity, and of course there must be an expected high share! Otherwise, how can I convince other people in the company?"

Murphy shook his head at Bill Rossis, indicating that there was no need to talk.

He didn't speak at all. Milton Johnson didn't give them a chance to bargain at all. This kind of negotiation is completely exploitative and squeezed by one party against the other. Milton Johnson is simply tougher than Harvey Weinstein, so there is no need to waste saliva .

It is impossible for the two sides to negotiate such a condition. He and Bill Rossis quickly walked out of Lionsgate's headquarters in Santa Monica.

In the office, Milton Johnson made a call, "Jamie, the backup plan is activated."

Murphy and Bill Rosses got into the same car, and Murphy, who was in the passenger seat, asked the more experienced Bill Rosses, "Will they lower the terms?"

Bill Rosses shook his head, "Unless you are willing to sell out the rights."

Murphy said without hesitation, "Lionsgate is temporarily listed as the last choice."

Hearing the conditions offered by Milton Johnson, he was not even interested in bargaining.

Although it is normal for small production companies downstream of the industry chain to be squeezed by upstream distribution companies,

But I felt uncomfortable when I was replaced by myself as the weaker party in the negotiation.

"Thirty percent distribution fee." Murphy pressed the window glass to let the outside air blow away some of the boredom in the car, "This is not a distribution contract for a film produced by a large distribution company ?"

According to the usual practice, Hollywood's distribution fee is generally 5% to 20%.

"It's very simple, your Stanton studio..." Bill Rosses put two fingers together and made a small gesture, "And it's impossible for other distribution companies to offer you too good conditions It is a common phenomenon in this circle that upstream companies squeeze downstream companies. Even if someone offers better conditions, they still have room for adjustment. Also, other companies offer 30% of the issuance commission, which often includes publicity The payment fee, but Lionsgate Films does not take it!"

Murphy buckled up, and the idea of ​​distributing the film himself had never been stronger.

Issues such as issuance cannot be successfully established in a short period of time, and a relatively complete issuance mechanism also requires a large amount of funds.

How can we break this dilemma? Murphy couldn't think of a good solution for a while. The publishing company's almost dominant advantage in the industry, let alone now, would not change even in another ten years.

He can't sneak into the top of these companies and threaten them with a knife to release, right?

In fact, during the negotiation of "Hard Candy", he thought about finding some inside information about Harvey Weinstein in exchange for better conditions.

But now it’s not like before. Freelance journalists can do this, but directors can’t. This will only be rejected by everyone, and it is possible to find no partner in the future.

Think about your goals. If you want to achieve them, doing so is simply killing yourself.

Just like what Bill Rosses said, Murphy was contacted by Dreamworks and other distribution companies who had seen the trial screening. Murphy kept coming in and out of these companies like a hardworking ant. There seems to be an unwritten practice among most distribution companies in Hollywood, and they basically treat small production companies with similar faces.

The outright prices offered by these companies are similar. Murphy has a film with a box office of over one million dollars as a basis, and they can also contract for distribution, but the distribution conditions are basically similar.

In contrast, the buyout price offered by Miramax and the terms of an intentional film contract are relatively favorable.

"We are still dealing with some second-tier distribution companies, and the first-tier distribution companies are taking a tougher approach."

After starting the car and merging into the traffic, Bill Rossis said, "After decades of growth, giants not only monopolize the distribution rights of their own films, but also 'deter' theaters by virtue of their control over blockbuster films—same period In the competition, the films released by the giants will get more theater support and publicity support, which can squeeze out independent producers."

He shook his head, "Under such a market structure, independent producers also have to try their best to choose giants as distributors—unless they don't want to achieve large-scale opening, which is a prerequisite for a film to gain a huge box office."

Murphy also knew that the position of the traditional six Hollywood companies in the distribution field could not be shaken in a short period of time.

Suddenly thinking of the rumors he had seen on the Internet, Murphy couldn't help asking, "I heard that the six major companies often use distribution commissions to manipulate some movie data?"

"Yes, this is also a common phenomenon."

I haven't talked about this topic before, but now that I've talked about it, Bill Rossis simply said, "Their methods are very clever. Many times they know that there is a problem, but there is nothing they can do about it." To be continued.