Director of Photography Department of Huayu

Chapter 164 Warner and Universal

The afternoon sun in Los Angeles was scorching, and the shadows of the palm trees outside the airport slanted across the ground.

Wu Chen, wearing sunglasses, walked out of the Los Angeles International Terminal, followed by Jason Blum and others. His face showed fatigue from the journey, but he couldn't hide his faint excitement.

That night, Wu Chen rested for a night at a historic hotel in Beverly Hills.

The next morning, a black Lincoln took the two to Warner Bros. headquarters.

"The hype in Cannes is very good. Four companies have contacted me, including Paramount." In the car, Jason Blum talked about the current prospects of "Get Out" with a smile.

Now everyone in Hollywood knows the movie "Get Out". At least its artistic quality is fine, and it also has great commercial value.

This is worth the gamble.

Wu Chen leaned against the back of the car and asked slowly, "How much PR fees does it usually cost for a low-budget movie like ours to compete for an Oscar?"

"Based on the cost of last year's Crash, it's probably around $300 million," Jason Blum responded immediately.

"In fact, the main expenses are advertising and professional public relations company fees. Other expenses such as DVD screener production and mailing, media interviews and visits are all small expenses.

The only problem is how to spend the money. Therefore, the resource network is very important. To make the money worthwhile, effective interpersonal lobbying is required.
Of course, this amount of money is insignificant compared to the subsequent profits."

Wu Chen nodded helplessly when he heard this.

Of course, the insignificant thing Jason Blum said is based on the premise that he can win the award.

After winning the award, even if the film has been released before, the distributor will arrange for theaters to reschedule the screening and extend the release date.

Because the box office value of the Oscar award is at least tens of millions of dollars, and at most hundreds of millions of dollars, this has been proven by decades of film examples.

Moreover, the awards will also affect the popularity in overseas markets.

The second is the improvement of long-term business value:
Television copyright and international distribution prices have skyrocketed, and some Oscar-winning films can be re-edited and made into literary and artistic season albums even after 10 years and continue to make profits.

The above is just profit.

The fame lies in the fact that the value of the director and the leading actor has leaped and entered the mainstream of Hollywood.

Many directors have obtained the right to lead the development of projects through the Oscars, and are eligible to negotiate the final editing rights even if they do not take the lead.

Secondly, the reputation assets of producers and investors will skyrocket. Even if the box office is mediocre, as long as they win awards, the production company will become a brand with "artistic vision", which can serve as a resume endorsement and hedge the risk of investment failure.

Finally, the film itself will enter the ranks of the "Classic Film Treasury" and will be repeatedly cited in academic film festivals, university textbooks, and film critic circles. It is eligible to be permanently preserved in the "National Film Archives".

This fame is too tempting for filmmakers, even more tempting than Billy.

Who doesn’t want their name to be passed down and become a classic textbook?

"Warner will focus on three key points later. The most critical one is the commission rate for distribution, including North America and non-North America. The latter will be higher. This is our main point of discussion.

The second is the "core project for the Oscar". Even the seven major Hollywood projects will only push two projects a year to compete for the Oscar. If they have more resources, it will not be enough. We must get the first priority. With the first priority, we can give up some of the benefits.
The third key point is the additional box office incentive clause."

Jason Blum said this and then asked Wu Chen to relax.

"We have many options now. If one company doesn't work out, we'll try another. Our films can help them make money, so there's always a company we can negotiate with. We're not at a disadvantage."

"The world is in turmoil, all for the sake of profit." Wu Chen responded with a smile.

"Bingo!"

Upon hearing this, Wu Chen closed his eyes and prepared for the upcoming negotiations.

At Warner Bros., Wu Chen and Jason Blum sat on the beige sofa in the reception area, with two unfinished cups of black coffee on the table.

Across from them were Alan Stone, vice president of international distribution at Warner Bros., and Jeff Robinov, president of worldwide distribution.

The other party smiled, opened his briefcase, and pulled out a thick paper agreement:

“Wu, we are really optimistic about your film.

You know, our strategy is to have no more than two Oscar-winning films a year. Get Out will be Warner’s second Oscar-winning film, and we will invest a lot of resources.”

Jason Blum and Wu Chen listened quietly until the other party finished speaking. Then Jason Blum spoke:
"We'd like to know which movie is your core Oscar contender, or which movie is ahead of Get Out in the rankings?"

Allen Stone was a little embarrassed, but still tried to convince the two: "There is no ranking issue in Warner, we will all give 100% effort." "He's bullshit!" Jason Blum said in a low voice to Wu Chen without changing his expression.

Wu Chen almost laughed out loud, but if he remembered correctly, Warner's Oscar winner next year seemed to be Leonardo DiCaprio's "The Departed".

Sure enough, seeing that the two refused to back down, Allen Stone finally spoke out: "Warner's main promotion this year is The Departed, directed by Martin Scorsese.

But "Get Out" does not conflict with it. You should know that there is a clear difference between large-scale and small and medium-scale films in competing for Oscars.

Warner Bros. is confident that we can bring your "social thriller" to the Oscar stage, and we have the strength to do so."

Jason Blum and Wu Chen obviously didn't want to talk anymore.

After hastily asking about the distribution fees, public relations fees, and additional box office incentive clauses, 30%, $300 million, and 5%, he didn't even bargain or discuss the details. He just took the contract sample and hurried out.

On the way down the stairs, Jason Blum glanced at the building behind him and said, "With Martin Scorsese's movie, we can't be the first choice for Warner's Oscar bid.

Leonardo DiCaprio is in it."

"Let's go to Universal Studios tomorrow." Wu Chen said with a faint smile.

"Ok!"

The next day, Wu Chen and Jason drove to the Universal Pictures headquarters - the Universal Building in Universal City.

The globe fountain at the building's entrance sparkles in the sunlight.

The Universal Pictures headquarters building is simple and modern. In the conference room, Mary Parent, vice president of global distribution, and David Linden, executive vice president, stood up to greet them.

“Wu, you may not have noticed me in Cannes, but I saw Get Out, it was really great.” David Linden shook Wu Chen’s hand and seemed very interested in the movie.

"Thank you!"

David Linden then handed over a preliminary issuance framework plan, one each to Wu Chen and Jason Blum.

Universal's offer is not low——

Provide global theatrical distribution rights and complete marketing team support, with distribution fees of 25% of North American gross revenue and 30% in other parts of the world;

As for Oscar public relations, they said they could contact well-known Oscar consulting agencies, organize industry screenings, hold Q&A events, and contact mainstream media such as Variety and The Hollywood Reporter for long-term promotion.

But the conditions are also very clear: the film must be released between the end of October and mid-November of the same year, so as to catch the "Oscar golden window";
If the film has not been withdrawn by the time it is nominated, theaters can adjust the screening accordingly. This will not increase global distribution costs and will also help maintain popularity.

As for overseas, it is recommended that all launches be in February or March next year, so that the Oscar popularity can be used to directly reap box office revenue.

"If it wins the Oscar, it will be the second wave of explosion for this film. For this purpose, we will organize screenings at academy level across the United States and recommend senior public relations consultants," David Linden said bluntly.

"Which movie is Universal currently promoting?" Wu Chen asked with a chuckle.

David Linden and Mary Parent looked at each other and seemed to be determined: "Before you came, it was American Gangster, but we all agree that your film has more prospects."

American gangster?

Wu Chen thought about it and felt that this movie didn't seem to do much at the Oscars.

No wonder Universal changed the order without hesitation, it really is profit first.

"It has to be in the contract," added Jason Blum.

What's the point of talking about prospects? Without contract protection, you can just do whatever you want.

"No problem!" David Linden responded immediately, "But we need to discuss the additional box office incentive clause."

Generally, one of the three options is to choose from: box office dividend upgrade, success incentives, or expanded market participation rights.

"If we win Best Picture and Best Director, we can give up 5% of the box office share."

Wu Chen decided to strike first, and his words left both David Linden and Mary Parent stunned.

"Wu, are you sure it's not Best Picture or Best Director?"

(End of this chapter)