Chapter 47 Crafting and Discussing the Script

  Two screenwriters arrived.

  One is named David Shaw, and the other is named Newton.

  "What does Assistant Hardy want from us?" the two asked.

  "I've thought of a story and want you to help me turn it into a screenplay. Take a look." Hardy pushed the manuscript over.

  Both David and Newton simultaneously had a thought: another ambitious young person who thinks being noticed by the boss and becoming an assistant means he can do anything.

  They took the manuscript with a scrutinizing eye.

  But the more they read, the more surprised they became. They found it to be quite a good story. Most western movies in the past were inseparable from gold, western settlements development, and Native Americans, but this script didn't have those fixed elements; it told the story of a lone hero.

  Just by looking at this brief synopsis of three thousand words, they had already outlined a brilliant story in their minds, including an image of a cowboy who rode the world on horseback, a valiant and unrestrained hero.

  "I hope to see the first draft of the screenplay tomorrow. Which one of you can help me with that?" Hardy said.

  Both screenwriters were stunned.

  "Tomorrow? Mr. Hardy, that's not possible. It would take at least a week," Newton retorted.

  Hardy realized that people involved in art always did things slowly. It would take them a long time to finish a screenplay of 10,000 words, and a movie often took several months.

  In the future some novel writers could write a 10 000 words in a day not because they were particularly talented, but because they were really putting in the effort.

  Hardy stared at the two and said, "I plan to invest in filming this story myself. I'm confident that if the film is made, it will win awards, and there will be a script fee. You can also keep the name of the second screenwriter. With an award winning work, your worth will also change."

  They did see potential in this story. If it really won an award, they could also become famous. Although they were the second screenwriters, they could still tell others they had award winning work, attend Hollywood parties, and find it easier to pick up girls.

  "Mr. Hardy, we'll take on this task. We'll hand in the first draft of the screenplay to you tomorrow afternoon," David said.

  After the two screenwriters left, Hardy went to the screening room again. Noah Film Company's facilities were quite complete, with its own film library and screening room.

  He asked the staff to retrieve films directed by two directors from his company and prepare to select a suitable director from them.

  The first director's style leaned towards urban genres and had a slight comedic feel, which was quite different from what Hardy wanted. The second director was named Jonathan Nolan and was good at shooting western cowboy movies. The film 'Golden Outlaw' written by the company before was a typical western cowboy film, and the original plan was for Nolan to direct it.

  Nolan wasn't in the company, since hearing about the movie's failure, he had not come to the company for two days.

  It was already past five o'clock. At this time, it wasn't appropriate to call someone to the company. Hardy found Nolan's home phone number from the company directory and dialed it.

  Ring ring ring!

  The phone was picked up.

  "May I ask who's calling?"

  "Is this Director Nolan?"

  "Yes, who is this?"

  "I'm John Hardy."

  It took Nolan a while to react. "Oh, Assistant Hardy, what can I do for you?"

  "Didn't you already hand the film over to Warner Bros?" Nolan asked, puzzled.

  "It's a new film, a Western cowboy style" Hardy replied.

  "Isn't the company out of budget this year?"

  "No, I've secured an investment," Hardy said.

  Hardy entered a bar.

  He found a quiet booth, took off his coat, and set it aside. Within a few minutes, a middle aged man entered the bar and saw Hardy approaching him.

  "Hello, Mr. Hardy."

  "Hello, Director Nolan."

  After exchanging greetings with a handshake, they sat down and ordered drinks. In the dim light of the bar, Nolan read through the synopsis and pondered for a moment. Many scenes began to form in his mind, and he increasingly found the story intriguing.

  "Is the script not ready yet?" Nolan asked.

  "The writers are working on it. We should have a first draft by tomorrow evening," Hardy replied.

  "Mr. Hardy, how much investment have you brought in?" Nolan was most concerned about the financial aspect.

  "How much do you think making this film will cost?"

  Nolan took a sip from his glass. "There's quite a difference. First, there's the cast. A top tier actor like Clark Gable wouldn't come for less than $500,000. If we go for a second- or third-tier actor, it would be just a few thousand or even less."

  "For this movie, I am pursuing movie effects, not star power. we can find second-tier or third-tier actors or even extras with acting skills. No problem." Hardy said.

  Nolan nodded.

  "Then there's the set props. After looking at this story, the content isn't complex, it's just an event happening in a small town. I remember there are a few film companies with production bases in New Mexico. We can rent one for a period of time. Then there's costume props, horse drawn carriages, explosives, and the like. These aren't too costly."

  "Then there is the film. Is Mr. Hardy going to shoot in black and white or in color?" Nolan asked.

  "Is there a big difference?"

  "A substantial one, about three times the cost. Film stock is a major expense. If shooting in black and white requires $50,000 worth of film stock, shooting in color would need $150,000," Nolan explained.

  "Black and white it is," Hardy decided.

  The classic film "Roman Holiday" was shot in 1953 and was still in black and white. Some people questioned why, unlike "Gone with the Wind," shot in 1939, "Roman Holiday" didn't use color film, which was regretted by many.

  The simplest reason here was a lack of funds.

  But that wouldn't diminish "Roman Holiday" from becoming a cinematic classic.

  Thinking about this, Hardy thought, if he ever got the chance to meet Audrey Hepburn, he would definitely invest in remaking "Roman Holiday" in color.

  Hardy and Nolan talked until dawn, and through their conversation, Hardy gained a deeper understanding of the film making process and its intricacies.

  They also discussed "The Wild Frontier," and Nolan shared some of his ideas: desolate, pure, wild, and masculine.

  Nolan's ideas aligned well with Hardy's vision.

  "Director Nolan, I formally invite you to direct and produce this film," Hardy said, extending his hand to Nolan.

  Nolan paused for a moment. "Can I ask how much investment there is?"

  From their earlier conversation, Nolan could tell that the investment in this film was likely not substantial.

  "150,000$ That's the total investment," Hardy replied.

  Nolan furrowed his brow, thinking.

  150,000$ indeed a bit low.

  After a few seconds, he firmly slapped Hardy's palm with his hand.

  "I'll take on this job."

  The next morning,

  Hardy contacted an intermediary and purchased an empty shell film company.

  These shell companies were abundant in Hollywood, with nothing except the company name. Hardy bought it to save time and the hassle of registration, for just a few hundred dollars more.

  The company name was re-registered, and just like that, Hardy added another company under his name, "HD Film Company."

  In just two months,

  Hardy now owns three companies.

  HD Talent Agency, HD Commercial Security Company, HD Film Company.

  After registering the film company, Hardy called in Sean. "Let's go to the bank."

  "Why are we going to the bank, boss?"

  "For a loan."

  Films needed money, and hiring a large number of underlings also needed funding. Hardy planned to mortgage the toy factory to the bank, securing a loan, so there would be more money to spend.

  Kevin was at work when the receptionist informed him that a Mr. Jon Hardy was looking for him. Kevin's heart skipped a beat.

  Here we go again, is this never ending?