Chapter 55: You Guessed Right

"As the casting was delayed too long, the original actors withdrew, and we are currently re-casting. I'm planning to head to Arizona around the 20th," Catherine explained to Simon as the three walked side by side on the neatly paved asphalt path within Fox Studios. She glanced at Janet, who was affectionately hanging on Simon's arm, and added, "I've spoken with Mr. Feldman; Simon, you could help as my director's assistant if you come. But if you're too busy with other things, that's also fine. The promotion for 'Run Lola Run' is likely to be quite demanding."

Now that Simon had confirmed his relationship with Janet, he had no special feelings towards Catherine and understood why she would say this. He shook his head and replied with a smile, "I don't plan to handle the promotion for 'Run Lola Run' personally; finalizing the distribution deal with the movie studios will be enough. Once that's settled, I won't be too busy for the next few months. So, I can definitely join your crew before the end of the month."

Catherine had felt a surge of emotion when she initially spoke, but hearing Simon's reply, she merely nodded lightly and looked away, saying, "Okay, then."

As the workday was drawing to a close, Catherine and Janet were heading back to Malibu together.

Simon escorted the two women to the fork leading to the parking lot, where they parted ways, and he turned alone towards the administrative building where Peter Sanders was located.

Walking towards the parking lot, Catherine noticed Janet still affectionately holding onto her arm after separating from Simon. Casually, she asked, "Aren't you planning to move in with Simon?"

Janet shook her head: "No way, I prefer to stay in my own big house by the beach. His place isn't comfortable at all."

Catherine couldn't help but tease, "You're high maintenance, Simon's in for a tough time."

"Heh, that's men for you."

Catherine laughed and then suggested, "After I finish 'Night of the Living Dead', I'm thinking of finding a place in Los Angeles. Then, you could ask Simon to move to Malibu."

"I've already mentioned that to Simon. There's plenty of room in my Malibu house for all three of us, but he doesn't want to," Janet replied, a hint of frustration in her voice before she huffed, "Such a male ego."

"You don't want to move there, and he doesn't want to move in with you. So what's your plan?"

"Wait till he can afford a big house," Janet said, cuddling against Catherine and then giggling, "But actually, living apart isn't too bad. If we moved in together too soon, I think he'd drive me crazy. The beast."

Catherine, feeling her cheeks warm up as Janet began to share too much again, tapped her on the head without holding back, "Shut it. I don't want to hear all your messy details."

"Ow, that hurts! Hehe."

Meanwhile, Simon arrived at the entrance to Peter Sanders' office. After a brief wait post-notification by the secretary, he was allowed in.

While the secretary was opening the door, Simon briefly saw Peter Sanders ending a phone call. By the time he entered, Sanders had set down the phone, stood to shake hands across the desk, and then sat back down.

After the pleasantries, Simon placed the briefcase containing the copy of "Run Lola Run" at his feet and took a seat opposite Sanders.

"Simon, we're about to finish up for the day, so let's get straight to the point," Sanders began once Simon was settled. "It's quite remarkable for someone as young as you to produce something like 'Run Lola Run.' However, the film's niche genre and three-part structure, reminiscent of a video game, though innovative, will likely limit its audience. It's unlikely to be picked up for theatrical distribution and may go straight to the video market."

Business discussions were inevitable.

Despite Sanders' skeptical tone, Simon listened quietly, waiting patiently for the offer to be presented.

Sanders, gauging the young man across from him and seeing an attentive yet unflustered demeanor, decided not to mince words any longer, "I've just spoken with Mr. Goldberg on the phone. Because of the association with Brian and the others, and because this film could indeed help promote the concept of 'The Butterfly Effect,' Fox is willing to purchase it for $800,000. What do you think?"

Hearing the offer of $800,000, Simon asked seriously, "Mr. Sanders, does that $800,000 cover all rights?"

Sanders nodded, "Yes, for $800,000, Fox would acquire all rights to 'Run Lola Run' for a period of 20 years. After that, the rights will revert back to you

."

Hollywood rarely deals in perpetual rights transactions, but decades-long contracts were sufficient for studios to fully capitalize on a film's profitability.

Simon shook his head, "That won't work, Mr. Sanders. The price is too low."

Sanders was not surprised by Simon's refusal, replying patiently, "Simon, $800,000 is a very reasonable price. You spent about $650,000 to produce this film, right? A profit of $150,000, roughly a 20% return, is already far above the average return level for Hollywood movies."

In fact, "Run Lola Run" had cost $597,000 to make, leaving about $53,000 unspent in Daenerys Productions' accounts.

However, Simon did not argue these details with Sanders, instead countering, "Mr. Sanders, I think your calculation is off. A 20% profit margin on a $10 million budget film and a $650,000 budget film are completely different concepts."

With a slight smile, Sanders replied, "Of course, you're clearly aware that a film with a $10 million budget and one with a $650,000 budget are indeed two different concepts."

"Well," Simon shrugged, "Mr. Sanders, I was thinking, perhaps we could sign a revenue-sharing deal."

Sanders dismissed the idea outright, "Impossible, Simon. This is Fox, and we don't have the resources to manage a revenue-sharing deal for a low-budget B-movie."

"Mr. Sanders, 'Run Lola Run' may have the budget of a B-movie, but it's certainly not a slapdash one."

"Perhaps, but you must understand, Simon, the promotional costs for us are very high. Even a modest campaign could exceed the production budget of 'Run Lola Run.' Therefore, we can only offer you a buyout deal."

Simon thought for a moment then said, "Then, Mr. Sanders, we can go with a buyout. However, I'd like to sell only the North American theatrical rights for now."

"I've already mentioned, Simon, this film is unlikely to enter cinemas."

"That's a precondition for our cooperation," Simon asserted more strongly, "If Fox is not willing to distribute 'Run Lola Run' theatrically, then no matter what you offer, I won't accept."

"Fox will not give you that guarantee," Sanders stated firmly, "Simon, you don't have the leverage to demand such a commitment from Fox or any of the other major studios."

"Then," Simon said with a look of regret as he stood, "regardless, Mr. Sanders, I appreciate you taking the time this afternoon."

Seeing Simon pick up the briefcase, Sanders showed a moment of difficulty on his face before hesitating and then gesturing for Simon to sit back down.

Simon complied and sat again.

Sanders continued, "Simon, I know you're heading to Sundance soon, but compared to the Oscars or major international festivals, Sundance has little impact. Even if you win an award there, it won't significantly boost 'Run Lola Run's' profile. So, $1 million is the highest offer I can give you."

Simon was still keen on partnering with a major film company, and Peter Sanders was the only high-level executive he could negotiate with at the moment.

After a moment of consideration, without accepting Sanders' new offer, Simon said, "Mr. Sanders, Sundance might not have much impact. But the headline of Hollywood's youngest director should generate some attention, right?"

Sanders looked at Simon for a moment before laughing, "Simon, if we're talking about being young, Spielberg started making films at 13. Do you think you were younger than him?"

"Too bad I didn't have access to a Super 8 camera at 13; otherwise, I might have made a film too," Simon replied nonchalantly, smiling. "But if I'm not mistaken, Spielberg's first mainstream theatrical film, 'The Sugarland Express,' debuted in 1974 when he was 28."

Sanders still teased, "So what about you, Simon? Surely you're not 18?"

Those less familiar with Simon often assumed he was older based on his accomplishments.

Sanders, having just seen "Run Lola Run," thought Simon might have graduated from a top-tier film school like USC and be at least 22 years old.

A top graduate making a film at 22 was still unusual in Hollywood but not particularly newsworthy.

Facing Sanders' jest, Simon simply and methodically pulled out his driver's license and handed it over, saying, "You guessed right, Mr. Sanders, I am indeed 18."