Chapter 196: Negotiation

"I've had several phone calls with John Hughes regarding 'Uncle Buck,' and he's expressed great interest in collaborating with us. However, Hughes's offer includes a base salary of $6 million plus a 10% share of the North American box office revenue."

Inside the meeting room.

Simon noticed the smile on Amy's face as she presented the proposal, saying, "If he were willing to accept a base salary of $1 plus a share of the box office and video cassette revenues, I might have agreed immediately."

John Hughes, indeed, was the screenwriter and producer of 'Home Alone' in the original timeline.

Ever since 'Springtime Not for Reading' two years ago, Simon had been keeping an eye on his movements.

This Hollywood filmmaker, who created the standard 'Hughes model,' typically features a 'bear' attribute of a rebellious protagonist causing various troubles. Kevin's method of using recorded videos to deter two burglars in 'Home Alone' closely mirrors Philis's tactic of using electronic voice modulation to fake illness and take a day off in 'Springtime Not for Reading.'

After 'Springtime Not for Reading,' John Hughes's recent movies over the last two years had mediocre box office performances. If not for 'Uncle Buck,' Simon wouldn't have been much interested in collaborating with him. However, Simon remembered that it was during the filming of 'Uncle Buck' that John Hughes was inspired to create 'Home Alone.'

Listening to Simon's joking tone, Amy explained, "Hughes's previous films all demanded a 10% share of the profits across all channels on top of a base salary. However, he probably doubts our distribution capability, which is why he's mimicking the box office share model you have with Fox and Orion. In reality, the compensation he would receive from either method wouldn't differ much; it's just that direct box office shares would yield returns a few years earlier."

Although Hughes's films often follow a single pattern, they rarely lose money. Plus, as a filmmaker who personally writes and produces every project, sometimes even directing, demanding a 10% share of the total channel profits isn't excessive.

Simon browsed through the data on John Hughes's recent works.

After 'Springtime Not for Reading,' Hughes had written four screenplays in the last two years, with two grossing over $40 million and two just over $10 million, a break-even situation. Of course, this was already considered very good in Hollywood.

As for 'Uncle Buck,' with an initial budget of $15 million, John Hughes personally took on the roles of writer, director, and producer.

Simon was unaware of this movie's box office performance. Optimistically, if it reached a North American box office of $40 million, with a production cost of $15 million and Hughes taking $10 million, including marketing and distribution costs, Daenerys Entertainment would definitely face a loss of several million dollars on the box office alone, only able to recoup costs through later video cassette and TV broadcasting rights sales.

Since the ultimate goal was 'Home Alone,' Simon quickly made a decision, "A base salary of $6 million is too high, at most $5 million, and the budget of $15 million must be strictly adhered to. If it exceeds, it must be deducted from Hughes's share. Additionally, Daenerys Entertainment needs an option for the same contract on one of Hughes's future scripts. Amy, negotiate with Hughes based on this framework."

In fact, Simon was more looking forward to the script of 'Home Alone' being butterfly-effected away.

This possibility was significant. Unlike some screenwriters who ponder over an idea for many years, John Hughes was a typical pattern-based mass-producing screenwriter. With a fixed schedule of writing two scripts and then producing and releasing them annually, perhaps just a moment's difference could mean a brilliant script never materializes.

If the script for 'Home Alone' gets discarded, the rest would be much easier.

Many in Hollywood have imitated the Hughes model, including the Weinstein brothers. It wouldn't be too odd for Simon to come up with a Hughes-style script in the future; he could even claim it was inspired by 'Uncle Buck.'

"Since that's the case, I'll take some time to fly to Chicago and meet with Hughes in person in the next few days. Securing this project shouldn't be a problem," Amy noted down the details, glanced at her watch, and realized it was nearly six o'clock, well past closing time. She closed her notebook and asked about the afternoon's meeting, "How did it go with Semel?"

Simon briefly described the terms agreed upon with Semel, instructing, "While I'm in Australia, finalize the contract with Warner as soon as possible."

Amy reopened her notebook to jot down these tasks and then inquired, "So, which project do you plan to choose for the collaboration with Warner?"

"Amy Heckerling's 'Look Who's Talking.'"

Amy paused in her writing, saying, "Simon, I think 'The Sixth Sense' would be better. It's your own screenplay, and the idea is fantastic. A box office of over $100 million shouldn't be a problem. As for 'Look Who's Talking,' if it doesn't break $100 million, we'll owe Warner another movie."

The original 'The Sixth Sense' grossed over $290 million in North America and nearly $700 million worldwide. Offering this project to Warner, even if the new film's global box office dropped to only $500 million, Simon would be reluctant.

Between 'The Bodyguard' and 'Look Who's Talking,' Simon chose the latter mainly because the domestically styled comedy 'Look Who's Talking' likely wouldn't have as much overseas box office potential compared to 'The Bodyguard.'

Without further explanation to Amy, Simon decided, "I don't want to give my screenplay to someone else. It's going to be 'Look Who's Talking.' Since it's a collaboration with Warner, we can increase the budget a bit and invite some bigger stars. I'm quite confident about this project."

Amy nodded, continuing to write, then asked, "Simon, when I discussed 'The Bodyguard' script with Costner last Friday, he asked about 'Dances with Wolves.' We bought a lot of rights at the beginning of the year. When do you plan to start on it?"

"These are all projects I'm very optimistic about. Let's wait until the company is more solid in a year or two. I don't want to mess up any of them," Simon said, closing the file in front of him, "And you mentioned flying to Chicago?"

Amy explained, "John Hughes lives in Chicago, and most of his movies are filmed there. He doesn't like Los Angeles."

"In that case," Simon tapped his fingers lightly on the table, "let's add another private jet to the company. Aigle has to travel between the East and West Coasts weekly for TV business, and you and Rem need to travel frequently, too. Plus, other executives and James's side, one jet definitely isn't enough."

Amy looked up, "Lease or buy?"

Simon smiled, "Lease. I don't want to add so many small planes. I don't even want that Gulfstream anymore."

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