Chapter 149

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This is the actual situation. What Murphy said is no exaggeration. Compared with the investment in making a film, Stanton studio does not have much money.

"Chainsaw thriller" is not a one-off sale like "fruit candy". It takes time to recover the funds. The box office in North America alone will not be paid off until February next year. The follow-up TV copyright fees and DVD videos are long-term revenue. Even if the overseas distribution rights are sold out, according to Hollywood practice, the funds will not be in place in one step.

Even the most optimistic estimate is that it will be a year or even a year after the film is released overseas.

As we all know, the film industry's capital recovery speed is not fast, most of the films need a long time to achieve profitability.

Murphy himself is not in a hurry. In the past two investments, it can be said that he is creating opportunities for himself in a difficult situation. Otherwise, how many companies are willing to invest in directors without qualifications like him?

The box office sales in North America of electric saw thriller have fundamentally reversed all this. The $60 million box office in North America is enough to make many companies willing to invest in Murphy's next project.

Business performance is always the best qualification and evidence in this circle, and also the biggest source of confidence for investors.

"Leave it to me." Bill rossis is confident, "this is what CAA is good at."

Although he did not actually operate the one-stop packaging service, he has the support of the company. These are not problems.

Murphy nodded, too. That's what he meant.

He is a director, not a full-time producer. He has been unable to take charge of these two aspects when shooting "the electric saw", and an excellent director needs to focus instead of being distracted by the mess. CAA's packaging service can just help him solve these problems.

It's true that the one-stop service commission of CAA is a headache, but Murphy is short of funds and is not ready to invest in himself. There is no direct conflict between CAA's Commission and his interests.

The most important thing is that this kind of service can effectively help the director in his initial stage.

Since bill rosis provided a wide range of services for the crew in the last film, Murphy has studied this kind of business strategy of CAA, and found that as long as the conditions are suitable, its disadvantages are far less than the profits he can get.

As we all know, a lot of star production companies need to explore good projects.

Since the early 1980s, CAA and New York literature brokers have formed a cooperation to help find good stories. Later, CAA hired famous writers to write the stories into scripts, so as to find stars and directors. Then, CAA used this combination package to negotiate with the studio.

Hollywood studios, especially the medium-sized production companies, like this time-saving and labor-saving operation mode very much, so they pay a lot of money to buy this combination package.

CAA thus represents all the stars, actors and behind the scenes staff in this bag, rather than a single person.

In addition, the old habit of entertainment brokerage circle is individual to individual. CAA's approach is to serve one person as a team, just like the service for Murphy.

In this regard, the core logic of CAA is that when there are enough customers, the identity can be reversed, from the buyer to the seller.

For example, the entry threshold of the original media industry is very high. If it doesn't matter, you can't do anything at all. When you have enough customers, you can package them in different forms to force those who control the threshold node.

After studying these, Murphy has to admit that this is a very clever and talented business strategy, which has changed the entire entertainment brokerage industry.

Of course, the development of anything is not plain sailing, even CAA is no exception.

In the first five years, CAA could only focus on the field of television, without movies and music. Later, it changed from television to movies, starting from scratch.

They bring ideas and information together, introduce customers to each other, and introduce customers to people who are not customers. [literature building] originally, artists who belong to the same attribute should not be signed, such as Robert De Niro and Al Pacino of CAA, but CAA thinks that it is better for these people to get together and know what they are doing with each other.

In addition, CAA has created a department dedicated to finding ideas, such as digging stories from news headlines.

In addition, every agent of CAA has to do things outside the company, such as finding inspiration in the school community and creating products for customers all the time.

It's no accident that this company can develop into a hegemony in the entertainment brokerage industry. Many of its strategies are in line with the needs of the market.

For example, now Murphy, if he fights alone, even if he has the box office number of "electric saw" as his qualification, if he wants to attract enough investment, he still needs to go from company to company, to elaborate his creative ideas, to explain the possible market potential, and even to make efforts to establish a good relationship with the investorsThese will consume a lot of energy and affect his directing work.

After talking to bill rosis about this, Murphy looked at the time and was ready to leave.

"Murphy," bill rosis finally reminded, "don't forget, after you finish the script, there's a plan."

"I know." Murphy nodded.

Script and project plan are indispensable. CAA can't go to a production company and tell them that its director has a project in preparation, and then pull the investment?

It's said that CAA's agent went to the six companies and said that if I had a project, the other side would have a cramp in their head, like a treasure, and invest in it obediently Well, this kind of thing, Murphy, is just listening.

If you think about it with your toes, do you know that the executives of the six major companies have to be mentally handicapped to do such a thing?

Leaving the Death Star building where CAA is located, Murphy first goes to a car sales company in West Hollywood. A black Cadillac that he ordered some time ago has arrived.

Yes, he is ready to change the car. Although the old second-hand Ford has no major faults, there are many minor faults, and it can't continue to drive.

Murphy did not choose luxury cars, temporarily bought an ordinary black Cadillac.

In addition, after Kerry Mulligan met the requirements, she was asked to apply for an internship driver's license. This is a car kingdom, and it is necessary to be able to drive.

With the completion of the contract with CAA, the idea of other brokerage companies to dig the wall has been rejected for the time being. Without frequent interference from the brokers, Murphy has returned to the working state before the holiday. After finishing the first draft of the script, Murphy began to prepare more important project plans.

The script is the foundation of the project, and the budget is the basic condition.

Although the investment of the new project is far more than that of the movie, it is not as good as the mainstream commercial production in Hollywood. In a big way, it is still in the category of independent film.

Making a budget is not enough to list all the possible expenses. It takes some skills to impress investors.

It's not hard for Murphy.

When making independent films in Hollywood, there is never the so-called "right budget", but there is a "right way to calculate the budget".

Before using this method, Murphy needs to consider writing a movie budget independently, just like writing a script seriously. His former tutor told him the knack of judging whether a movie scene is complete: if he deleted a word from the description of the scene, the whole scene would not be shot.

This rule is also applicable to the initial framework cost budget of a movie. He needs to start with the lowest budget on the premise that he can make a movie.

Under this budget, a movie can't be made without a dollar.

But Murphy will hide this amount, and will not mention it to anyone, even bill rosis. This so-called "anemia budget" is his little secret. This amount should be hidden in the back of the closet at home, or other places that no one can find for months, rather than publicized everywhere.

Unless Murphy is really forced to have no way back, he will not easily come up with this budget to make a movie.

The actual budget quoted is several times that number. It is impossible for this kind of film investment to be as much as the plan, and the intended investor will give it. No one is so stupid. We must set aside some bargaining space.

With the budget and Murphy, we have to think about how to invest.

He has certain qualifications, but it involves millions of dollars. Who can easily throw them out? To make investors willing to pay, we should let them see the expected return.

It can be said that this is the most critical part of the project plan. Hollywood investors will not invest in a film because of art or other high goals. Their investment purpose is very simple - profit!

The estimated initial profit is also directly related to the actual cost that Murphy can get.

Murphy can assume that all resources are available, put forward the cost of film shooting in a perfect world, and then get the possible income of investors according to the market forecast.

After the intended investors get this figure, they will cut the cost as much as possible based on this figure, and then subtract the estimated income that can be obtained through overseas film market sales. Moreover, the estimation of overseas market sales should take into account the actual political and economic situation. For example, in the current market environment, the income of China, Russia and India is basically the same It's worthless.

After deducting the cost of overseas income, plus the amount of tax rebate for film shooting based on the shooting location, it is roughly the actual investment of an independent film.

This will also determine the actual location of the film.

If the budget is less than US $1 million after deducting the overseas revenue, shoot in Los Angeles, California; if the budget is less than US $5 million, shoot in New Orleans, Louisiana; if the budget is more than US $10 million, consider buying a "Romanian fool tutorial" and applying for a passport. Hurry to Bucharest. (to be continued). ）For mobile users, please visit m.wenxue6.com for better reading experience.