Chapter 1139： High-quality literary film

The one who greeted warmly was Jill Nate, a well-known producer in the circle, who was responsible for "The White-Headed Detective", "Walking in the Clouds", "Sniper Phone Booth", "Marley and Me", "Personal Items", "Weak Points", etc. Works, from the content of these works, we can also see that he is a person who is good at choosing themes for awards, and is also an expert.

He didn't need to be too polite to Ryman at first - there was only one reason for being too polite, and he asked others for help.

For a producer like him, who has his own career and connections, no Hollywood studio with high grades would refuse to chat with him about projects, proposals, etc. He has so many places to go, and he can still sit on the ground and raise prices.

However, it is a pity that Jill-Nate is a little embarrassed in the circle now. The production is like this. If you can't grasp it for a while, the capital will be strict with you. It's strange. In 2007, he was full of confidence with Stephen. -Van Meer partnered and persuaded Fox to shoot a fantasy film. Everyone knows that few people who followed the trend and played fantasy themes during that time succeeded.

And his failure is also the masterpiece "Dragon Knight", which can compete with "Golden Compass".

This is a category A work that must have exceeded 150 million in marketing costs, with an IMDB score of 5.6 and a domestic revenue (30%) of 75.03 million. If it weren't for the fact that some overseas people were hungry for this kind of money-burning visual effects film The problem, the international (70%) got 175 million, and the global total accumulated 250.4 million. In addition, Fox’s ability to recover losses is still outstanding, so it only lost more than 43 million.

This number is also a pain for Fox, and it is even more devastating for a veteran producer like Jill Nate. If nothing else, he has to see how many award-winning projects to earn. to the money?

More importantly, this is the collapse of the capital's reputation for him. Independent producers rely on their vision. If someone doesn't trust this aspect, how much room can they be manipulated. I'm afraid that even if you let your mouth shine like a lotus flower, there is always a slight hesitation in others.

"Haha, it's a bit presumptuous, we came here without an appointment."

Elevator entrance.

Gil-Nate, who is 58 years old this year, has no qualifications or arrogance in her age. Seeing that the Lord is coming, she quickly wants to come over and shake hands.

"Lyman."

The visitor walked out of the elevator with his trademark sullen smile. It was directed by Li Press.

This one finished filming "The Incredible Hulk", but because of "Lust and Caution" in the mainland, he hid for a long time. In the past two years, I couldn't stand the loneliness and held the guide tube, and only made a memoir film like "Making Woodstock Music Festival" - a **** writer inadvertently contributed to the 1969 music event. story.

"You are this?"

After the social etiquette, Lyman looked at a few people and asked.

"This is David Margo, the gold medal screenwriter who wrote "Finding Neverland"." Jill Nett first introduced the last member of the trio, and then said: "I have a project idea and I am very particular about it. Emotional portrayal, so I hired director Li Press to shoot."

Just as Lehman raised his arm to shake David's hand, Li Zhao also heard the words and responded, "The novel "The Fantastic Drifting of Pi" written by Jan-Matt, I read this book 7 or 8 years ago, I thought it was not There will be people who want to make it to the big screen, but when Mr. Nate finds me, I'm still very excited."

Li Press still won't hide it, "Using first-class visual effects technology to tell a very bland main line: the day and night of an Indian boy named Pai and a Bengal tiger at sea, there are no superfluous characters and nothing. Entertainment elements, but it's also very much like a painting, a very delicate painting, the sea scroll that Jan-Matt gave it, and I still remember it deeply."

......

"I can't think of a better way to spread the faith. No thunder from the pulpit, no condemnation of a bad church, no peer pressure, just a scripture waiting quietly to say hello, like a little girl kissing your cheek Gentle and powerful.

??Despair is a heavy black. I thank God it always passes.

A school of fish appears around the net, or a knot shouts to be repressed. Or I thought about my family and how they were spared this terrible pain. Black will stir and eventually fade away, God will stay, a shining point of light in my heart. I will love. "

?? "The reason death is so intimately bound up with life is not biological necessity - but envy. Life is so beautiful that death has fallen in love with it, a jealous, possessive love. But Life leaps lightly over oblivion, losing only one or two unimportant things, and gloom is just the shadow of a cloud."

......

Knowing that everyone was looking for investment, the group quickly went upstairs and went to Lehman's office.

With outsiders around, Lyman didn't catch up with Li too much.

However, when talking about the original novel of "The Fantastic Drifting of the Youth Pie", a few young men seemed to be very topical.

Li Press is still the same, no matter the low point, being questioned, or the scenery, or the invitation from all parties, there is not much impetuousness all over his body.

Strictly speaking, he was the invited party. When Lyman read the script adapted by David, Jill Nate was the most nervous person. Compared with the two around him, they were all immersed in the author's story, discussing it. Although he also likes the kind of speculation on belief, life and fear revealed in the article, and also has his own set of understandings, he is more or less the most utilitarian.

While chatting with Li Zhao, David and others about the direction of creation, he focused on every emotional change on Lehman's face, trying to analyze whether the trip yielded a satisfactory result.

After all, he has no more chips to lose. The battle of "Dragon Knight" has lost most of the foundation of his career, and the mockery of some "friends" around him inadvertently made him angry and sighed.

He was silent for a long time, and even went to supervise a comedy in the middle, but in the end, he read various books and scripts, and chose the in-depth works that he is most familiar with and best at.

"So, Fox has been hesitant about this adaptation project, and then you found Firefly?"

After a while, Perlman came and brought some information.

Jill-Nate asked back: "Everyone has a lot of consideration for the script, Mr. Rust, what did you think after reading the script?"

"It's picturesque. But it's not cheap to get that kind of effect." What Lehmann was most impressed by the script was the scenery of a boat drifting on the sea. As for those speculations, it was only the part that heightened the connotation of the landscape painting.

"That's right, anyone who reads the original will feel that the picture is full. And it's not that Fox doesn't approve of this project. It's just that some people suggest that the budget of this work should be controlled at around 40 million, so as not to have too much risk of loss, but I deny it." Jill-Nate is more or less stubborn, or the independent producers who can make their debut are all stubborn guys, otherwise they will not be looking for subjective irreplaceability between the market and individuals , "40 million can't make a picture of the sea. This is the most exciting and most dramatic scene in the whole script. I don't think it can be achieved by saving energy."

"But you still want to shoot with the 3D visual effect system of "Avatar". To be honest, it is too expensive. The technical fee paid to Weta Digital and their processing fee in the later stage are at least about 30 million. I I don't think a literary-oriented film needs so much budget to spend on such expensive things, plus other simple visual effects, adaptation costs, labor, equipment, props, etc., as well as your salary. It is unheard of for a literary film to spend hundreds of millions of dollars, and I don’t know how to pay for it.” Perlman said, “It is also a rental of Weta’s visual effects system, which Firefly set up and filmed some time ago. "Rise of the Planet of the Apes", the total budget is maintained at 95 million."

Li Zhang is also a little embarrassed, which is why he didn't think someone would adapt the article after reading the article: If you want to take pictures of the wind and waves at sea, you have to learn "Titanic" on the lake and get a wave maker to make it. The effect of the rolling waves, just the set problem, is very troublesome and expensive, not to mention the magnificent picture created by Jan-Matt with his exquisite words, which is not something that ordinary visual effects can achieve. In order to reflect the fantasy color, not the plastic feeling, can you do it without spending money?

It doesn’t matter if you spend money. Hollywood is not afraid to invest in blockbusters, but the most important thing is to invest in blockbusters, but they don’t want to have depth, simplicity, straightforwardness, and coolness. It takes care of the degree of communication and popularity. In other words, it is not a low-cost spend. Pin, why do you want to shoot such a theme? There are plenty of better options out there.

"The script in this context." David Margo also said, "It is difficult to reduce the cost unless the quality of the film is sacrificed."

"But the actors are all Indians?"

"You can't buy the adaptation rights of the original book, and then replace all the characters in it with white people. I'm not that shameless." David was not happy. He is also a well-rounded screenwriter after all, and he doesn't buy the so-called commercialization. In his heart, the distinction between personal pursuits and simple work compensation is very clear.

"The original book itself is the projection of the author's religious beliefs, patriarchy, social oppression, etc. in India to the dialogue and getting along with the pie and the tiger. Jan-Matt has been there for a long time." Li added, "This is actually It's not about the role, whoever plays it has to serve the theme."

"But the audience doesn't buy it. I'm sorry, boss, I'm not talking about you." Perlman continued: "Except for "Three Silly Bollywood" and "Slumdog Millionaire", I haven't seen any Indian actors so far. The films he acted in were accepted by European and American circles, and the results of these two films were only somewhat famous internationally." He looked at Li Press, "Director Li should have a deep understanding, not to mention Indian actors, and the number is even larger. No one will pay attention to the Asians in this land, and many audiences will not enter the theater if they don’t see their familiar faces no matter how publicized it is.”

In the discussion room of several people.

Lehman flipped through the script again, and couldn't help but praise David Margot and the literary thought of the original book itself, but it didn't cause too many emotional changes because of the name "The Fantastic Drift of Pi".

Market vision is very important, but knowing how to shoot is more important.

From this aspect, he somewhat admires the judgment of Jill Nate - this literary film, even a film that many people watch ignorantly and needs to be interpreted frame by frame, really wins on the screen... .Although the intended audience of the film is a group that has received higher education and has a better understanding of the nature of literature and art, but in essence, the audience who mainly contributed to the box office of "Pai", the top quality control of each picture, and the kind of performance shown in the film. The picture is full of praise, even if the dialogue is long-winded, I endure it.

As for Perlman, his judgment can't be wrong. "Pi" really didn't make any money, but it was a good project. Sometimes, the influence of a good work is not calculated by the box office alone. He did it like this, but it was a bit of a black face.

"Okay, we Firefly Pictures have a big gap in projects next year."

As soon as these words came out, Jill-Nate's morale immediately lifted.

I just heard Leiman say: "So I don't care about your arguments anymore. The market doesn't let the market aside, I just ask what is the funding gap for this project?"

"My own studio can invest some money, and Director Li seems to have a need to share, right? What about you, David?" As the project sponsor, Jill-Nate also considers the distribution of benefits as a partnership. people. Arouse positivity.

"I asked James Shams, he and I invested 10 million as the studio." - James Shams, the current CEO of Focus Pictures, also served as the screenwriter of Li Zhao, two The projects that people have collaborated on include "Diet Men and Women", "Ice Storm", "Crouching Tiger, Hidden Dragon", "Brokeback Mountain", "Lust and Caution"... So, don't think that Li Press has no connections in Hollywood, It's just that the West's grasp of human relationships and business is more open than the East's. Li is out of luck. Everyone doesn't get emotional, but he has really reached the point of asking for help. He can win the Oscar for "Crouching Tiger, Hidden Dragon". energy in the circle.

"I'll invest 2 million personally." David hesitated for a while, but he really had great expectations for this project, gritted his teeth, and invested a sum.

"According to my pre-estimation, the production cost of the project is about 100 million to 120 million yuan. If there is a gap, the preparation process is still between 68 million and 88 million yuan."

"It's a big deal." This figure made Perlman, who was used to seeing large investments in the circle, feel that it exceeded the psychological bottom line of literary films.

"You write a plan, and I'll let the finance department review it. If there's nothing else to do, pull up the crew first."

Perlman was still muttering, "I can guess what those newspapers will write about this investment."

"Well..." The three of them looked at each other a few times, and unconsciously felt much better physically and mentally. Especially Jill Nate, this project was stuck for several weeks at the stage of Fox project approval. The executives he knew were also sighed and said that they were fighting for it, but they were actually busy with other things. Fortunately, it was pulled. After Li pressed, he suggested that finding Firefly Lala would be more likely to invest.

According to Li Zhao, "Lehmann is also an excellent director, and he can also read his emotional side from his works."

Sure enough, such a work was passed without any hesitation.

Thinking about it, it might also be rich. Jill-Nett remembered some newspaper reports from somewhere, saying that Firefly’s profit and return ratio in recent years was very high, and a lot of floating money had been accumulated in the capital chain. A conservative estimate of 2 billion (Firefly is not a listed company, there is no need to disclose financial reports, the editor can only speculate how much money it has earned from box office data and some other information.)

Woohoo, is this the waywardness of rich people? I’m really envious. I don’t need complicated meetings and discussions I don’t need all kinds of nitpicking, all kinds of hesitation, all kinds of risk of commenting on stories, and I vote for category A. Movies are just a matter of words.

After the three of them left happily, Perlman continued: "Will it be a bit too big? Of course, investing in literary films is a good thing. It can increase the audience's goodwill towards the label, build a better impression and international prestige, but so High investment, will Alejandro's group be clamoring for high budgets?"

"You know, for people with artistic thinking, they never want to control the cost, they just think about how to spend money to shoot what they want. If the quality can be improved infinitely, who can resist not spending more Money. This is definitely a bad start, the concept of 100 to 20 million and 100 million is completely different.”

"They're smart enough not to. Not every movie adapts to 3D, adapts to higher specifications, and some movies serve the plot." Lehman still didn't say a word: Mexico's three jerry can do it with tops , he's very particular about the picture, but he's working on the Monster Universe right now.

Lehman flipped through the documents on the table, "By the way, has Universal ever sent a proposal for the filming of the Hulk?"

The Hulk is very important to the MCU, and there is no way to bypass it now, especially the "Reunion" miracle has gained a high reputation, and it is impossible to communicate with Universal that there are problems with project characters that cannot be communicated.

"It's just profitable." Perlman also sat down.

​​

Please remember this book's first domain name: . Mobile version reading website: