America achieves both fame and fortune

Chapter 158 Project Prototype (Seeking Monthly Tickets)

What's the most important thing for a film project? It's not the script, nor the director, but the funding.

At a critical moment, Martin once again called on the Georgia support team.

He revealed the existence of the project to Vincent and Sofia over the phone.

He then called Kelly Gray.

"If 'The Hills Have Eyes' is a box office success, I'll definitely participate in your new project." Kelly then added two new conditions: "However, I have two requests."

Martin asked what it was about first: "Just tell me."

Kelly's first request was perfectly normal: "Since it's a project led by you and that slovenly drunkard, filming in Atlanta isn't a problem, right? And signing a location rental contract with Atlanta's number one film studio is perfectly normal, isn't it?"

Martin, thinking of Georgia's tax breaks, immediately replied, "That's exactly what I was thinking, which is why I called you."

Kelly suddenly lowered her voice: "Another condition: bring Louise to Atlanta. I want revenge on her. That slut dared to let me listen to her all night! I want you to tie her up, not only making her listen, but also making sure she can see her but not touch her!"

Martin thought to himself, "As expected, they still have to resort to underhanded tactics."

If he were to write an autobiography in the future, the title would definitely be: "The gigolo who climbed the social ladder by using women."

For the sake of his future, Martin accepted these unspoken rules! He forced a smile and said, "No problem."

Kelly seemed extremely resentful: "We made a deal. If you can't do it, don't blame me for turning against you and throwing you into the Atlantic Ocean to feed the fish."

After hanging up the phone, Martin recalled his bloody history of using Kelly and Louise to rise to power.

It can be described as a history of blood and tears.

As for getting Louise to Atlanta, that's not urgent; the project has plenty of time.

…………

Wild Beasts Club.

Upon receiving Vincent's call, Sofia rushed over.

When she reached the stairs, Scott, who was carrying her bag, slowly and leisurely entered the club, his legs swaying.

Hart was drinking at the bar when he saw Scott and pulled out a high stool: "Hey buddy, have a seat."

Scott waved his hands repeatedly: "No need, there's no room for me right now."

"We've always wanted to go to Thailand," Hart said, finishing his beer. "You don't even need to go."

Scott said with great flair: "You wouldn't understand the happiness in it; it's a sacrifice for true love."

Hart couldn't stand it and was afraid he would vomit on the spot, so he quickly went backstage.

In the office on the second floor, Vincent described in detail what Martin had said.

Sofia rubbed the fat on her face and said, "I watched the filming of 'The Hills Have Eyes,' and the situation is exactly as Martin told us. The crew is putting a lot of effort into making the film."

Vincent adjusted his cowboy hat and said, "House of Wax has grossed over $8000 million worldwide, and Martin is getting a lot of attention." He picked up some newspapers and handed them to Sophia: "The Californian entertainment magazines are raving about him a lot, calling him a Hollywood superstar, a Hollywood new force, Hollywood's number one hunk, and there are plenty of similar reports."

"It seems like Martin is very popular," Sofia intuitively observed. She then asked, "Has The Hills Have Eyes confirmed the release date?"

Vincent handed her a routine report: "Warner Bros., the distributor, is really keen on the weekend after the Super Bowl; they'll be losing during the Super Bowl."

Sofia quickly glanced at it: "Martin is still trustworthy."

Vincent asked, "Continue investing?"

"Why not? Our funds need somewhere to go." Sophia maintained her previous stance: "You reply to Martin; as long as there are no problems, we will continue to invest in him."

Vincent thought this was the safest approach, saying, "Then let's wait for The Hills to be shown."

"I'm going on vacation soon, so don't bother me unless it's important." Sofia prepared to leave.

Vincent cautioned, "Let's find another one, don't cripple someone."

Sofia didn't care at all: "You don't understand how good Scott is."

She said no more and went straight downstairs.

Vincent replied to Martin that same day.

The two sides have established a certain level of trust through several collaborations.

Martin sought Louise's help to expedite the initial planning stages.

For example, a screenplay.

In Hollywood, screenwriters have a low social status, yet the script is one of the foundations of a film project.

After acquiring the rights to "Wanted," Martin immediately contacted Michael Bradett, the original project planner who had worked on two films.

That day, the two arranged to meet at Pacific Film Studio.

"Hi Michael, I watched Fast & Furious 2 and The Little Thief, they were great movies." Martin watched the movies specifically to understand the screenwriter.

Bradett, in his early thirties, looked more like an actor than a screenwriter. He was very confident, promoting himself: "Both of the projects I was involved in were commercial successes."

Martin specifically looked up relevant data. Fast & Furious 2 goes without saying. The box office of The Devil May Cry wasn't very high, but it was very well received in the family entertainment market.

Commercially, both films are successful.

This is also one of the reasons why Martin took the initiative to approach Bradley.

Successful people are more likely to succeed.

Martin then introduced Louise, who was standing next to him: "This is Louise Mayer, the president of Pacific Pictures."

Louise shook hands briefly with Bradley and stepped aside, saying, "You two talk."

Bradett said directly, "I'm surprised by how quickly you acquired the rights."

Martin didn't mince words: "The original comics are too cult, I don't think they're suitable for a movie. The protagonist, Wesley, kills all the good people in the world in the comics, so making a movie like that would be a disaster. I think your point about the clear distinction between good and evil last time makes a lot of sense."

Since the copyright was already in the other party's hands, Bradett went on to explain in detail: "The film I envision is a very cool action-gunfight type, with some scenes similar to The Matrix, of course, the first one, not the latter two pieces of trash."

He picked up two cups and placed them on either side of the coffee table: "So, we can only extract a portion of the comic's content and setting, creating two distinct factions of good and evil, the traditional Hollywood model."

Martin has been reminiscing about the movies he's seen these past few days. Apart from Curved Bullet, the tragic male lead and Julie, and a loom, his memories of the rest are very faint.

It seems to include scenes similar to "bullet time" from The Matrix.

Bradt added, "I discovered this project in the first half of the year. Not only Pacific Pictures, but other companies also submitted applications, but unfortunately no one paid attention. The original comic book was too little known and too cult. I originally thought it might take five or ten years for the comic book readers to grow before anyone would really pay attention."

Martin then asked about his ideas for the story. Bradett's ideas were similar to what he remembered, so he simply said, "Michael, I'd like to invite you to be the screenwriter for this project, to adapt the comic book into a script suitable for a commercial film."

Bradett said confidently, "Then you've come to the right person. I've been thinking about the adaptation carefully since the first half of the year. I can produce a first draft of the script in three months at most."

Martin knew this would require patience: "I want to see the first draft of the script by March."

Brad nodded: "No problem."

Both sides have reached a cooperation agreement, and the specific contract negotiations will be handled by professionals.

Louise has a highly experienced production manager who is specifically responsible for the details of the pre-production planning.

"I suggest that if 'The Hills Have Eyes' succeeds, you continue to work with Warner Bros.," Louise said. "With me here, at least your normal income can be guaranteed."

She was experienced and had worked with Warner for many years, so Martin listened: "Bringing in Warner Bros. is also a form of security."

Without Louise, he wouldn't have dared to do that; the six major Hollywood studios are a real pain.

Louise said, "The premise is that The Hills Have Eyes can succeed. If you succeed in two films in a row, Warner Bros.' evaluation of you will naturally be on a higher level, and they will be happy to continue to work with you."

Martin said, "My initial investment in purchasing the rights is entirely included in the film's cost?"

Louise nodded slightly: "As before, we'll set up a separate film studio."

Martin thought of someone to register the studio—Menez.

If Menez is given a major supporting role, he should be fine.

Martin tidied up the materials and asked, "How much is Angelina Jolie paid these days?"

"You want her to star in Fox?" Louise had just overheard Martin and Bradley discussing the plot, so it wasn't hard to guess: "She just filmed 'Mr. & Mrs. Smith' with Jolie and Pitt, and she got $1000 million for it."

She thought for a moment and then said, "With the failure of Tomb Raider 2, Jolie's box office appeal is in question."

Martin then asked, "When will Mr. & Mrs. Smith be released?"

Louise said, "It seems like next summer, either May or June, I can't remember exactly."

Martin vaguely remembered that the turning point in Jolie's Hollywood career was not the Oscars, but the movie Mr. & Mrs. Smith, which greatly increased her appeal.

Scandals and gossip aren't always a bad thing for Hollywood stars.

Louise cautioned, "You should think more about directing. The script doesn't mean anything. In the past decade, I've seen too many good scripts turn into bad movies and bad scripts into box office hits. Why is screenwriters so lowly regarded? Because no matter how good a script is, words are still words, not images."

Martin asked, "Do you have a suitable candidate?"

Louise stated matter-of-factly, "A really cool action-packed movie, Michael Bay is the first choice, as are the Wachowski brothers, but neither of them are suitable, their salaries are too high."

Martin understands the importance of directors in filmmaking: "Make a statement in the Directors Guild... um, I'll have Thomas submit the project to the WMA, maybe there are suitable candidates within the agency. Also, release some information overseas."

Who the hell remembers who the original director was?

This is an action-packed gunfight movie, and there's another crucial position: "We need to recruit an action director or action choreographer."

Louise said, "You should have your old man Brooks go to the Directors Guild."

Martin called Bruce over, and after discussing the matter together, Bruce left with the materials.

The following day, the Directors Guild posted a recruitment notice for two positions: action gunfight director and action choreographer.

Of course, relevant experience is required.

After brief negotiations, Bradley joined the project as a screenwriter, responsible for adapting the script.

In addition, once the project is officially approved, he will be listed as the executive producer, with a total remuneration of $12.

This is delivered at midnight, please vote with monthly tickets!

(End of this chapter)