Chapter 159: Overturning the Setting

Before heading overseas, Michael had two important matters to handle. The first was the preparation of The Bourne Identity, which involved several critical tasks directly related to the upcoming trip to India.

The second was to continue collecting and analyzing information about India. As the home of Bollywood, Mumbai was the primary target for the trip.

Michael had previously had Robert contact some people in Mumbai, particularly two private Indian investment institutions keen to invest in major DreamWorks productions but had not succeeded. Robert would soon be heading to Mumbai. PolyGram Filmed Entertainment's Mumbai office was now part of Embassy Pictures and would assist Robert in further preparations.

Additionally, The Bourne Identity needed thorough preparation.

The stronger the production team, the more attractive the investment would be.

This time, Michael intended to seek investment openly and transparently.

Michael, George Clint, Paul Greengrass, and screenwriter Tony Gilroy formed the core decision-making team for the production.

"The script is generally good and more suited to modern times than the original."

In a small conference room at Warner Bros., Michael flipped through the script and said to the others, "There's no denying that Robert Ludlum, hailed as the father of modern thriller novels, wrote an exciting story. But it's an early '80s novel, and I'm very pleased with Tony's substantial revisions."

Strictly speaking, the script differed significantly from the original.

For instance, the original Jason Bourne was much older, whereas the script featured a much younger character, and the setting had been updated to fit the modern era.

After all, it was an old novel that needed to align closely with contemporary society, making it crucial to adapt to the times.

Tony Gilroy smiled and said, "Paul also contributed significantly to the script revisions, offering many excellent suggestions."

Paul Greengrass added from a director's perspective, "I mainly merged the old spy movie style with action scenes to ensure the script felt like a cohesive whole rather than disjointed parts."

Michael nodded, "The script needs one more improvement. We're not filming a standalone piece; there will be adaptations of The Bourne Supremacy and The Bourne Ultimatum in the future. Can the script incorporate some scenes or segments that connect to these future films? It doesn't need to be a lot—just enough for the audience to understand that Bourne's story isn't over by the end."

Tony Gilroy thought for a moment, "Sure, I'll work on that."

Perhaps because of his experience writing scripts based on others' ideas, Tony Gilroy understood his role well, knowing that screenwriters often execute the producer's vision.

"And the female lead," Michael asked, "That part seems to have changed a lot from my original outline, right?"

Michael had initially envisioned a typical Hollywood "flower vase" female lead, a common trope in commercial films where the main role was to look good and add glamour.

However, the script gave the female lead a much more significant role than Michael had initially planned.

Paul Greengrass responded, "That was my suggestion."

Michael was open to suggestions and, having seen many films, knew it was normal to have some memory bias or even mix up scenes from different movies.

"Tell me about it," Michael said.

Paul Greengrass explained, "We initially agreed that the film should have a bullet-like pace and intense action scenes, but it can't maintain that state throughout. There needs to be a balance. I believe the female lead should play a crucial role in this balance."

As Michael listened and considered, he realized Paul Greengrass had a very valid point.

A film that keeps the audience constantly on edge could lead to emotional and aesthetic fatigue.

Seeing Michael wasn't opposed, Paul Greengrass continued, "I want the female lead to be a very natural partner. From the moment Jason Bourne and she meet outside the American Embassy in Zurich, her character should make the relationship with Bourne feel easy and natural. Just as Bourne is a key figure in the plot, Marie should also be important. Her relationship with Bourne should contrast sharply with the cold assassin and the CIA operatives, giving the film a lively energy."

This essentially overturned Michael's initial concept for the female lead, enhancing her role in easing the tension of the plot.

Michael wasn't blindly stubborn. After careful thought, he asked George Clint, "What do you think?"

George Clint candidly replied, "I think Paul makes a very good point. It should benefit the film."

"Alright then," Michael decided after some deliberation, "Paul, let's shape this character as you described."

He added, "However, the shooting must follow the film's overall style. Paul, you're good with realistic styles, so let's give the film a documentary-like feel. Use handheld cameras in some scenes and avoid any CG effects. All stunts should be done practically."

Paul Greengrass agreed, "Got it."

The four continued discussing various details, including the shooting locations. Given the film's style, it would need to be shot on location in Europe.

Michael also had George Clint contact Bryan, the location manager from Final Destination, to bring him onto The Bourne Identity as the location manager.

This role needed to be filled quickly to ensure ample communication with director Paul Greengrass, allowing the team to scout and select primary and backup locations before shooting began.

Then there was the casting.

"I've already invited Matt Damon for the male lead," Michael said. "He responded recently and wants to meet before making a decision. I'll discuss it with him and his agent first."

Paul Greengrass considered Matt Damon's look and said, "He has a distinctive yet not overly prominent appearance, fitting Bourne's character well."

Michael added, "His age is also suitable."

Paul Greengrass had initially suggested Russell Crowe or Sylvester Stallone for Jason Bourne, but Michael had vetoed both due to their age and higher salaries.

"And the female lead?" Paul Greengrass asked.

Michael thought for a moment, "Let's solve that through auditions."

The success of this series had little to do with the actress playing the female lead, whose importance paled compared to Matt Damon's.

After the meeting, George Clint accompanied Michael to Embassy Pictures, where he signed a distribution agreement for The Bourne Identity with Embassy Pictures on behalf of Sandsea Entertainment. Embassy Pictures would handle the North American and overseas distribution for The Bourne Identity.

This included theatrical releases as well as home entertainment, television, and all derivative distribution.

Embassy Pictures then announced a tentative release date for The Bourne Identity, aiming for mid-May of the following year, aligning with the start of the traditional summer blockbuster season.

Initially, Embassy Pictures wanted to avoid the intense competition of the summer and release the film in October or November. Michael vetoed this, knowing that the North American market typically hit a significant low during those months. By then, audiences might not be in the mood for a film with a critical view of their government.

Delaying too long could even risk the film flopping.

The farther from September, the better. Paul Greengrass assured that the film would be completed on schedule, so May seemed ideal.

Naturally, the sequels to The Purge and Final Destination would also be distributed by Embassy Pictures.

Once Embassy Pictures successfully released a film overseas, the distribution channels would be secure.

Michael also planned to scout for suitable films at the Cannes Film Festival in May, hoping to acquire some for Embassy Pictures to distribute as practice.

Embassy Pictures was crucial, even more so than Sandsea Entertainment. Recently, it had been improving its various regulations. Most Hollywood distribution companies followed similar standard procedures. Michael wouldn't introduce chaotic changes but would build on successful models, incorporating elements that suited his company. This was sufficient for now.

Michael knew himself well enough to understand he wasn't destined to be a great innovator.

On another front, Robert, now in Mumbai, sent over a wealth of information, especially about two Indian foundations previously in talks with DreamWorks.

These foundations, the Falchi Foundation and the Mountain Foundation, operated similarly to Western ones.

They weren't solely focused on film investments but included it as a significant part of their portfolio, having invested in over twenty Bollywood films.

However, Indian films often struggled to find international markets, limiting their profits. Thus, these foundations turned their attention to Hollywood, the global hub of commercial cinema.

Previously, both foundations had approached DreamWorks, seeking to invest in major productions like Gladiator. However, DreamWorks, following the lead of the Big Six studios, rarely accepted outside investment for potentially profitable projects, mostly offering television series instead.

This reluctance to offer film investments was the main reason DreamWorks hadn't secured investment from these Indian entities.

Michael called Robert, instructing him to stay in Mumbai and closely monitor these two foundations interested in Hollywood.

Later, Michael met with Matt Damon and his agent.