Chapter 87: Pure

After outlining his overall vision, Simon spent a few minutes explaining the details of "Pulp Fiction" and its interwoven narrative structure to Mike Meadow.

However, after listening to Simon's explanation, Mike's brows were tightly furrowed.

Despite Simon's detailed explanation, Mike felt the story seemed utterly chaotic, and he couldn't grasp the selling point of the film.

Was it the non-linear narrative?

Or, more bluntly, a sense of madness?

"Run Lola Run" with its tripartite parallel structure was indeed intriguing, but what exactly was this so-called multiple looped plot structure? If audiences couldn't understand the story, how could they possibly be interested in the film?

With this in mind, Mike spoke with considerable gravity, "Simon, it's fine to use non-linear narratives occasionally, but films need to tell a story in a conventional manner. Moreover, this script seems too chaotic. I don't think audiences will have the patience to unravel so many threads."

Many classic films faced various doubts during their development stages, so Mike's skepticism didn't surprise Simon.

Simon earnestly explained, "Mike, I understand your concern, and I'm aware that I'm not falling into the trap of pursuing a more complex cinematic narrative just for the sake of it. This is another experiment for me; I just want to use a new plot structure to tell a really fun story. As for the audience, with proper marketing, I believe they will love this movie."

Mike's expression still did not relax as he continued, "Even so, Simon, based on your description, this film obviously involves violence, gunfights, drugs, and other R-rated elements. Do you think it's appropriate for someone not yet 20 years old to direct such a film?"

Simon, suddenly reminded of Catherine, shrugged and said, "Mike, I know what kind of person I am, and that's enough. I have other ideas, but either they can't be realized right now or they require too high a budget. Compared to those, this film is more than suitable. If managed properly, the production cost should stay under 8 million dollars."

Hearing Simon's budget estimate, Mike relaxed slightly.

Hollywood's film production budgets had skyrocketed in recent years.

Even last year, half of the top ten films at the North American box office had budgets under 10 million dollars, and the box office champion "Top Gun" had a production cost of only 15 million dollars. This year, just in the first three months, films like "Lethal Weapon" and "Angel Heart," each with budgets reaching 15 million dollars, had been released in what's typically a less popular season in March.

Yet, Mike wasn't fully convinced and suggested, "Simon, why not make a horror thriller? Like 'The Butterfly Effect' and 'Final Destination,' both scripts are excellent, and I think you could easily create another similar screenplay."

Mike had always been fond of "The Butterfly Effect" and "Final Destination."

Although "The Butterfly Effect" had not been well received by critics, Mike had no doubts about the project's profitability. As for "Final Destination," just looking at the terms offered by Fox revealed how much they valued the project.

Rather than the unclear appeal of "Pulp Fiction," he preferred Simon to create and direct another horror thriller.

"I've explained this many times," Simon replied with some frustration, "Mike, I don't like making horror movies because they lack challenge; writing those scripts is purely for the money."

Hearing Simon talk about 'side jobs' in such a tone, Mike felt a twinge of envy remembering the hefty profit share the young man would receive from the "Final Destination" project.

Purely for the money.

What a good reason.

Only, you want to be 'pure,' and so do we!

Mike almost blurted out: Simon, can we just discuss projects that can 'purely' make money? Let your convoluted "Pulp Fiction" go to hell!

Of course, Mike only thought this.

For years, no matter how much they cursed behind closed doors, Hollywood film studio executives always treated hot filmmakers with as much flattery and support as possible, and Mike was accustomed to doing so.

Riding on the popularity of "Run Lola Run," Simon's next film, as long as it wasn't too terrible, was sure to make money easily. However, Mike still hoped for a slightly more conventional project, like "The Butterfly Effect" or "Final Destination."

As the waiter brought their dinner, the conversation paused.

After eating a few bites and reorganizing his arguments, Mike spoke again, "Simon, don't you have other ideas? Let's hear them. As long as the script is good enough, even a higher production cost wouldn't be a problem."

Simon shook his head firmly, "Sorry, Mike, I can only say that my next film will be 'Pulp Fiction.' If Orion can't accept that, perhaps you can

 wait for my third film."

Mike was momentarily speechless.

Simon's second film was definitely a safe bet, but after this inexplicable "Pulp Fiction," who knew if anyone would still be interested in Simon Westeros.

After a moment of consideration, Mike said, "Simon, you mentioned the film only needs 8 million dollars, right?"

After "Run Lola Run," even if Simon had proposed a budget of 20 million dollars for his second film, it wouldn't have seemed excessive. Now, if only 8 million dollars were needed, even if the box office prospects were dim, it might still be acceptable in a pinch.

"Mike, I was just stating an ideal scenario. The film has many roles, and we can't cast only unknowns, so actor salaries will definitely be the major part of the budget. Therefore, if we can successfully persuade the actors to reduce their fees and keep the above-the-line costs under 5 million dollars, I am confident that we can keep the budget around 8 million dollars."

Film production budgets mainly divide into above-the-line and below-the-line costs.

Above-the-line costs typically include the salaries of the screenwriter, director, and actors, while below-the-line costs cover equipment rental, crew salaries, transportation, makeup, insurance, and other technical expenses.

"Run Lola Run" had very low above-the-line costs. However, for "Pulp Fiction," considering the likes of John Travolta, Bruce Willis, and Samuel L. Jackson in the original, this would definitely be a film where above-the-line costs exceeded 50% of the total budget.

The original "Pulp Fiction" had a production cost of 8 million dollars, clearly achieved by the actors reducing their fees.

Now, attempting to produce this film seven years early, some roles couldn't be filled as before, others Simon wanted to change, and some might not be willing to reduce their fees again. With these uncertainties, Simon's estimate of 8 million dollars was neither high nor low.

Seeing Simon's determination, Mike knew further discussion was pointless and said, "Alright, Simon, bring the script to us as soon as you can, and we'll discuss it then."

"Of course," Simon nodded, took a sip of his wine, then set down the glass and initiated, "Mike, there's another matter. About the other channel distributions for 'Run Lola Run,' I hope to sell all these rights in one go. Would Orion be interested?"

Mike was visibly surprised.

With "Run Lola Run's" box office performing so well, most film companies would typically take charge of the film's subsequent distributions themselves, maximizing profits while expanding their networks—a win-win scenario.

Although Orion had the first right to other channels of distribution for "Run Lola Run," they only expected to handle domestic video distribution, which would naturally be a revenue-sharing contract.

Unexpectedly, Simon wanted to sell everything outright.

This was not a very wise choice; it was like draining the pond to catch the fish, yielding neither high returns nor sustaining a long-term revenue channel. Based on the operational cycles of each distribution channel, just "Run Lola Run" alone could sustain Daenerys Productions for over three years.

Considering this, Mike asked, "Simon, why the rush?"

Simon didn't evade the question, simply stating, "I need the money."

Mike shook his head slightly, then with a somewhat reflective smile, said, "Actually, we all need money."

Film is a type of investment where returns are very slow.

In recent years, due to the continuously hot economic situation in North America, many second and third-tier film companies had aggressively expanded. Then, upon reflection, they realized they had overextended themselves, running into financial difficulties.

Investment companies on the brink of bankruptcy, such as De Laurentiis Entertainment facing trouble with "Night of the Living Dead," and Canon Films, which found itself in a similar predicament, as well as the management crisis Orion faced last year—all boiled down to a lack of funds.

Simon merely smiled in agreement, patiently waiting for Mike's response.

After a moment of serious consideration, Mike said, "Simon, Orion definitely can't afford to buy everything outright. However, we can purchase the North American video distribution rights."

Last year, domestic video sales had already surpassed total box office revenue, making video distribution undoubtedly the most lucrative part of "Run Lola Run's" subsequent distribution.

Mike's reply was exactly what Simon had anticipated.

However, if Orion took over the North American video rights, it would be difficult to sell the TV broadcasting rights separately. Although TV rights were also very lucrative, their operational cycle was much longer.

Typically, a film could be released on video three months after leaving theaters in North America, but TV rights often took more than six months to sell.

Unlike theatrical and video releases, which have dense revenue periods, TV platforms represent a typical long-tail market. Although the revenue scale is comparable to box office and video sales, the operational cycle can extend for years.

Anticipating Mike's

 response, Simon already had a strategy and said, "Mike, Orion can certainly take the domestic video rights. However, it can't just be that. I've considered dividing 'Run Lola Run's' subsequent distributions into two parts: domestic video and TV distribution, and overseas theatrical, video, and TV distribution. If Orion can't handle all, you'll have to choose one or the other."

Although established for many years, Orion didn't have much capability for overseas distribution and primarily relied on the international channels of the big seven.

Understanding this, Mike realized Orion could only choose the former, which was domestic video and TV distribution, or give it up entirely.

After thinking it over, Mike asked, "Simon, what's your price?"

Simon responded bluntly, "40 million dollars."

"That's too high," Mike immediately shook his head, then smiled and added, "And that's not something I can decide on my own. I need to discuss it with Arthur and the others."