Chapter 99: Destined

Upon hearing Michael Ovitz's terms, Simon responded, "Michael, Bob certainly deserves a million dollars. However, 'Pulp Fiction' is a mid-budget film, so I can only offer $500,000 as a fee plus 5% of the net profit from North American box office. As for the profit-sharing model, I suppose there's no need for me to explain it further."

Everyone in Hollywood knew that Michael Ovitz was a detail-oriented, almost terrifyingly meticulous individual. Given his intimate knowledge of CAA clients recently contacted by Daenerys Studios, it was certain he was well aware of the net profit sharing arrangement for 'Pulp Fiction'.

Ovitz did not inquire further but commented, "Simon, if it were before today, Orion might have capped the budget for 'Pulp Fiction' at eight million dollars. But now, they probably wouldn't mind adding more, would they?"

Clearly, Ovitz was not yet privy to the exact details of Simon's contract with Orion.

Simon's offer of $500,000 was still based on the original $8 million budget, leaving him with only $1.5 million for other casting choices.

The additional 5% of North American net box office profits was a last-minute concession Simon had managed to negotiate with Orion that morning.

Hollywood traditionally revered its stars, and having Robert Redford in 'Pulp Fiction' was certainly a coup for Orion. The impressive second weekend box office of 'The Butterfly Effect' had restored Orion's faith in Simon.

Thus, Simon didn't need to argue much; Mike Medavoy agreed with a nod.

Facing Ovitz's puzzled look, Simon clarified without evasion, "Michael, this is a matter of contractual terms."

While the specifics of Simon's profit-sharing arrangement with Orion were confidential, the contract for 'Final Destination' was public knowledge; Fox had even used the profit-sharing details as a promotional point.

Upon hearing Simon's reply, Ovitz showed understanding but then pressed, "Simon, you want Bob to act, yet aren't willing to offer sufficient pay, which obviously won't work."

Robert Redford had been a significant benefactor to Simon, from his executive producer role on 'Run Lola Run' to his involvement in the Sundance Film Festival.

Listening to Ovitz's somewhat pressing tone, Simon responded without embarrassment, "Five hundred thousand dollars plus 5% of the profits—this contract could very well exceed a million dollars in value. I've made the best offer I can, which shows my sincerity. If Bob isn't satisfied, that's regrettable. However, filmmaking is the riskiest business in the world; we can't be capricious."

Ovitz weighed Simon's words carefully, his expression one of hesitation but he eventually said, "Simon, I'll relay your terms to Bob. Now, let's discuss 'When Harry Met Sally'. Nora Ephron is also a client of CAA, it's a pity you scooped up the script first. How about CAA handles this project entirely? You set your terms, and we handle the studio contacts."

Simon shook his head, "Unfortunately, Michael, I've already received several calls about 'When Harry Met Sally' today, so Daenerys Studios isn't in need of CAA's assistance at the moment."

"That's truly unfortunate," Ovitz also shook his head slightly, then stood up, saying, "In that case, Simon, perhaps it's time for me to leave."

Simon rose too, extending his hand, "Regardless, it's been a pleasure to meet you, Michael. You're a legend in Hollywood."

Ovitz shook Simon's hand firmly but didn't immediately turn to leave, instead pausing to say, "Simon, honestly, to get you to join CAA, I did a very thorough investigation before coming here, even prepared enough topics for an entire afternoon of discussion."

Simon smiled, "Then why leave so soon?"

Ovitz didn't hide his reasoning, "Simon, I realized before coming that we might be quite similar, but that didn't deter me. However, just now, I suddenly understood that we are destined to be competitors."

Simon's smile did not wane, "Honestly, Michael, I had the same feeling, and it was very strong."

Ovitz chuckled, intrigued, "When was that?"

"When you said, 'We always try to meet all our clients' requests'," Simon replied, then turned the question around, "And you?"

"We can't be capricious in filmmaking," Ovitz repeated Simon's earlier words but quickly added, "However, Simon, achieving your expectations might be difficult; filmmakers are inherently capricious."

"Not in the studio era," Simon countered.

"The studio era is history now."

"History always repeats itself. That's why people like to talk about the 'wheels of history'."

"An interesting viewpoint," Ovitz nodded with a smile,

 "Perhaps we could be friends privately."

"Of course, and competitors as well."

"You must understand, Simon, in front of CAA, you're still quite small."

"If a lion wants to change history, it needs a bigger target, not an ant."

"Speaking of changing history, Ron and I thought the same when we founded CAA. Just after starting, the mere name of our small company brought us a lawsuit. It was a profound lesson."

"This isn't a threat, is it?"

"Of course not. When it comes to positions, we are the salesmen, you are the consumer. It would be incredibly foolish for a salesman to threaten a consumer."

As Simon and Ovitz chatted, a rapport seemed to form unwittingly.

However, both were very busy; the conversation did not continue sitting down, and Ovitz soon took his leave. After seeing Ovitz out, Simon returned to his office where Susan informed him that Amy Pascal was online.

Initially, Simon intended for Amy to handle this meeting, which would have lessened any awkwardness had the discussion failed. However, Ovitz had expressed a desire to speak with Simon directly, prompting a last-minute schedule change.

Last Saturday, a discreet drug test confirmed that Meg Ryan hadn't touched anything irredeemable, and Simon had signed her to the film. A $300,000 salary plus an option contract stipulated that after 'When Harry Met Sally,' Meg must star in another Daenerys Studios film.

Billy Crystal, a client of Jonathan's, had his contract finalized earlier. As a well-known American TV actor who had successfully transitioned to the big screen with last year's 'Throw Momma from the Train,' his fee was set at $3 million.

Next was the director.

Rob Reiner.

He was the director of the original 'When Harry Met Sally,' and Simon had no intention of changing directors as the original film's details were near perfect. The script had already been sent to him, and after several discussions, Reiner was interested in directing. Amy was meeting with his agent today to discuss the contract.

After a fifteen-minute call with Amy, Simon leaned back in his office chair.

Rob Reiner, also a CAA client, had a director's fee that didn't surprise Simon.

$5 million.

In addition, Reiner requested to be a producer and insisted on some final cut rights.

After negotiations, the fee remained unchanged, Amy successfully contested the final cut rights, but Simon personally needed to approve the production role.

Reiner's recent films had been very successful. Last year's 'Stand by Me' grossed over $50 million in North America. Simon had no issue with the directorial fee and had agreed to the production role after discussing it with Amy.

Now, the fees for Reiner and Crystal alone were $8 million, Meg Ryan was getting a newcomer's rate, but securing Carrie Fisher from the original cast as the female lead would undoubtedly cost at least one to two million.

With just the principal costs reaching ten million dollars, ensuring a comparable backend budget meant the total budget for 'When Harry Met Sally' would be around $15 million.

Historically, 'When Harry Met Sally' had grossed over $90 million in North America. Compared to the production costs, this was definitely a lucrative project for any film studio.

Before today, Simon had hesitated over whether to personally finance 'When Harry Met Sally'.

Simon's funds wouldn't be available until November.

By November, New York would be in winter.

The original film's series of romantic autumn scenes were breathtaking highlights. If they waited until November, New York's first snowfall might have already occurred, making it impossible to replicate those beautiful scenes. Without them, 'When Harry Met Sally' would lose much of its charm.

Simon couldn't wait until next year.

Not to mention his contract with Nora Ephron, next year would undoubtedly bring its own challenges.

Now.

With the second weekend box office results for 'The Butterfly Effect' released, the previously stagnant situation had suddenly shifted.

Simon now had a very clear plan for 'When Harry Met Sally'.