Chapter 036 Missing a Zero

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Simon looked at the situation in front of him and wondered why the first production meeting of "The Butterfly Effect" fell into such a tit-for-tat embarrassing situation.

However, considering the attitudes of David Giller and Brian de Palma, Simon is not too worried about the progress of the matter. These two Hollywood celebrities who also have no shortage of voice obviously have the same position.

After confirming this, Simon felt relieved, and secretly began to analyze the situation in front of him.

Hollywood also has a very complex power structure. But usually, it is very simple to determine the authority of a person in Hollywood. It only needs to look at his affiliation, that is, to which class in Hollywood the person is responsible.

From the words of David Giller just now, Simon realized that the other party should be directly accountable to Ronald Goldberg, president of Fox Films, and not under the control of Peter Sanders, the vice president of Fox in front of him. It can be said to be equal.

Even, from the momentum when the two communicated, Simon also noticed that David Gilles obviously had the upper hand.

Since he wants to cooperate on the "Butterfly Effect" project, Simon has naturally done some homework in advance.

David Giller, now in his fifties, is the producer of Fox's upcoming "Alien 2," and Simon knows that. Then, combined with the deliberate contrast in David Giller's words just now, Simon realized that Peter Sanders is likely to be related to Fox's "Space Station" project, which failed at the box office this summer.

With a budget of 18 million US dollars, the highest quality schedule in early June, the box office was only in the early 9 million. This somersault was not a big one.

Things turned out as Simon expected.

Following David Giller's last words, Peter Sanders' face suddenly became a little ugly, and the corner of his mouth twitched slightly, and then he said: "David, I'm doing this just for the company's 10 million U.S. dollar investments are responsible and not meant to target anyone.”

David Giller felt that Peter Sanders' momentum softened, and he stopped chasing after him, saying: "Of course, this is your responsibility. However, Peter, all you need to ensure is that the film investment is used in It's my job and Brian's job to be in the right place, not to dictate what the movie is about."

Peter Sanders felt the non-negotiable strength in David Giller's tone, hesitated for a moment, then shrugged: "Okay, I hope you don't screw up this movie."

Failed to seize power.

Simon secretly came to such a conclusion in his heart, glanced at Peter Sanders again, and realized at the same time that this is a guy who is very good at bullying the soft and fearing the wind.

Peter Sanders' attempt to seize the creative leadership of "The Butterfly Effect" was blocked by David Gilles, and the next meeting was obviously much more normal.

However, even so, David Gilles and Brian De Palma still made a lot of comments on the script revision.

David Giller's comments focused on the title and ending of the movie, which is similar to what was just written on the memo.

As a producer who needs to consider the future commercial prospects of the film, David Giller also hopes that the film can have a more popular name. At the same time, David also wants Simon to rewrite a more gentle ending, rather than ending with the hero strangling himself in the womb of his mother.

This undoubtedly goes back to the original ending.

Brian De Palma's opinion is that he hopes to compress the protagonist's childhood scenes to less than 20 minutes, so as to avoid this part of the foreshadowing being too lengthy.

Compared with the original memo that was almost random, the opinions of the two were very professional at this time. Although Simon could not fully agree, he also dealt with it very seriously.

The three main creators discussed without anyone else, but Peter Sanders, who was left to the side, did not leave, and remained in the conference room, occasionally interjecting. So it was not until lunchtime that Peter Sanders got up to leave, and said that he had other work in the afternoon and would not come over again.

In the in-house restaurant of Fox Studios, after several contacts, both David Giller and Brian De Palma were very fond of Simon, a promising young man. After ordering lunch, David Giller also took the initiative. Revealed some not-so-secret insider stories to Simon.

It turned out that "Space Station", which was a fiasco at the summer box office, was the matchmaking project of Peter Sanders. Fox not only gave the film a high-standard production budget of 18 million US dollars, but also the best movie schedule, Fox Pictures President Ronald Goldberg also personally named the executive producer.

All of this is because of the heroine of "Space Station" named Kate Capshaw, Steven Spielberg's fiancee.

Hearing this, Simon immediately understood what Fox was doing.

In the original time and space, it is no exaggeration to say that in the last three decades of the twentieth century, Hollywood was almost the world of Spielberg.

With the great success of films such as "Jaws", "Alien et", "Raiders of the Lost Ark", and "Jurassic Park", Spielberg is completely the existence of Hollywood stars. Although Spielberg belongs to the direct line directors of Warner, Universal and Paramount, other than these three, any other company is trying every means to have a relationship with Spielberg.

In addition to the "Space Station" just now, Simon also recently saw on "The Hollywood Reporter" that Disney has just approved an animated live-action film in cooperation with Spielberg's Amberlin Films, called "Who Framed It" Roger Rabbit

".

To be part of the 'Spielberg camp', Disney budgeted a whopping $45 million for the film. You know, in the 1980s, the budget cost of big Hollywood movies was generally controlled within 20 million US dollars. Only movies related to Spielberg can easily break through this heavy budget limit, and even double the average budget cost several times.

In the restaurant, noticing the faint envy and fascination on Simon's face, the two middle-aged men, both in their forties and fifties, smiled at each other.

Every year, countless young people in Hollywood dream of becoming a second Spielberg, but very few of them are able to achieve it.

But the young man in front of him, less than two months after entering Hollywood, has already attracted a lot of attention, coupled with the undoubted talent shown by Simon, David Gilles and Brian De Palma All realize that Simon will definitely be able to make a breakthrough in Hollywood in the future.

Therefore, at this time, the two Hollywood celebrities, who have already reached middle age and become famous, don't mind pushing this young man at all.

David Gilles slightly inspired Simon's ambition, and Brian de Palma, who was also sitting opposite Simon, also asked: "Simon, listen to Jonathan, you plan to make an experimental film, can you Talk? Maybe David and I can give you some advice."

Simon didn't realize that the two middle-aged people in front of him were supporting each other intentionally or unintentionally. Even if he knew, he would only appreciate the kindness of each other. Having spent more than ten years in a similar circle in his previous life, Simon knew the importance of connections in such a circle.

"Actually, I was going to talk about this in the morning meeting," Simon heard Brian De Palma's question, and took out the "Lola Run" script and scenes from the backpack on the chair next to him The sketches were handed to David Giller and Brian de Palma respectively, saying: "David, and Brian, I don't think we need to change the movie title of "The Butterfly Effect". In the incident, due to many media reports, many people have actually noticed the term 'butterfly effect'. Moreover, the experimental film I plan to make called "Lola Run" can also be explained very vividly' The concept of the "butterfly effect". At that time, if Fox can provide some media resources to support, through this film, the concept of the "butterfly effect" will spread more widely. In the end, even if some people still do not understand the meaning of this term, As long as the overall popularity of the movie is worked out, this set of words can also become a suspense that attracts audiences to the theater."

Although he realized Simon's intention to use Fox to help promote his movie, Simon's rhetoric with unique personal opinions on movie marketing made David Giller, who had just opened the script of "Lola Run", nodded slightly. . Next to David Giller, Brian de Palma was attracted by Simon's highly professional split-shot drawings.

Seeing that both of them were interested, Simon naturally shifted the topic to "Lola Run" and continued: "About "Lola Run", this is an experimental film with a parallel three-stage structure. The story is very simple , Lola's boyfriend Manny accidentally lost $100,000. In order to prevent her boyfriend from being killed by her boss, Lola must raise $100,000 within 20 minutes and rush to Manny's location. However, I want to use video games The breakout mode of the video game shows the story. According to the video game's rollback setting, Lola makes three different attempts at the same scene to raise $100,000 and rush to her boyfriend. The results of these three attempts vary. At the same time, every time Lola runs, it also has a very subtle impact on the lives of some people she encounters on the road, and these effects continue to magnify, eventually leading to completely different life trends for these people, which is the butterfly effect."

The script of "Lola Run" is not long. David Giller, listening to Simon's explanation, has quickly read the plot of Lola bumping into the woman with the stroller at the first intersection. Brian de Palma was attracted by Simon's split-shot draft, and he also did not ignore Simon's elaboration. At this time, he raised his head and asked, "Simon, how do you plan to express this 'butterfly effect'?"

"Photo montage," Simon replied succinctly. "Every time Lola meets a clue character, she can insert a quick photo montage to show the subsequent life of these people."

Hearing Simon's explanation, Brian de Palma thought for a moment, an expression of admiration gradually appeared on his face, and he couldn't help but raised his hand and tapped lightly on the table, saying, "It's an amazing idea."

Although he had seen this form of expression in the script in advance, David Giller still nodded in agreement and praised without hesitation: "It's great."

David Gilles and Brian De Palma have both been in Hollywood for decades, and the longer they've been around, the more they've come to appreciate how difficult it is to be innovative in this world .

As Simon continued to explain, the two even faintly felt that Simon's film, if done well, would definitely become a learning and imitation object for many Hollywood filmmakers in the future.

The waiter in the restaurant had already brought up the lunch, but none of the three of them wanted to eat.

After talking carefully for more than half an hour, David Giller said: "So, Simon, you mean, you plan to use your "Butterfly Effect" payment to complete this movie?"

Simon nodded and said, "Yes."

David Giller thought about it and said: "Your contract fee is $200,000 in total, and after deducting the broker's commission and reserved taxes, the maximum is only $150,000. If you shoot with a 16mm camera, maybe Enough, but it's a waste of your script, why not make a standard 35mm film

Woolen cloth? "

Simon paused and said, "David, I originally planned to shoot with 35mm film."

David Giller's tone also paused this time, and said: "You mean, $150,000, shot on 35mm film? Simon, you have to understand that although it seems to be just two shooting modes with different specifications, 16mm film and 35mm film is definitely two completely different production specifications. Your film also involves a large number of location scenes. Without the support of a complete professional crew, it is very difficult to carry out shooting. So, 150,000 US dollars, There's simply no way to finish the film."

Hearing that from David Giller, a well-known Hollywood producer with decades of production experience, Simon finally confirmed a doubt that had been haunting his mind for a while.

The original "Lola Run", the production level of all aspects, whether it is picture, soundtrack, lighting, scenery and even editing, there is absolutely no sign of too many low-budget movies. Simon had always thought that this might be due to the genius of director Tom Tykwer. The production cost of the film industry has always been very flexible.

Also, Simon doesn't know much about the general specifications of German filmmaking.

The 350,000 Deutsche Marks in memory, converted into US dollars, are about 180,000. Converted to RMB, that is about 1.5 million. 1.5 million RMB, in 1998, was definitely more than enough to make a movie.

However, with the in-depth preparations for "Lola Run" in person these days, Simon also felt more and more that the funds he had were a little stretched to complete the film, and Simon even began to subconsciously simplify the shooting specifications of some scenes.

Now, with David Giller's point of view, Simon has finally confirmed that he may have misremembered the budget size of "Lola Run".

Perhaps, in the original time and space, the production cost of "Lola Run" was not 350,000 Deutsche Marks at all.

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