Chapter 155: Leading A Project

After reviewing all the script outlines, Martin decided to pass on all of them. Original scripts often didn't receive much attention in Hollywood. Among the piles of submissions from ordinary screenwriters, the chances of finding one that had the potential for success were naturally low.

After all, it wasn't the ordinary scripts that left an impression on him.

Martin turned his attention to the project plans submitted to Pacific Pictures.

Most of these projects were adaptations. Screenwriters or small producers would find literary works or real-life stories worth adapting and recommend them to production companies, often attracting investment and buying the rights.

Martin soon came across a familiar story outline. It was an adaptation of a story about a black stockbroker, which, if he remembered correctly, was "The Pursuit of Happyness."

However, he knew the project wasn't suitable for him. It was a role for a black actor, and the film's success hinged on Will Smith's personal appeal.

In this era, even a mediocre film could make money as long as it had star power. One film that particularly struck Martin was "Hancock." With a less charismatic male lead, that mediocre movie might have struggled to succeed.

Still, Martin decided to call and inquire since this was Louise's project library.

He might not have much of a conscience, but he retained a shred of it.

However, his call ended in disappointment as Relativity Media had acquired the rights in the first half of the year.

Later, Martin came across Frank Miller's "Sin City" and discovered that Weinstein's Dimension Pictures had acquired the adaptation rights to the graphic novel as early as last year.

There was no hope of getting anything from that fat man.

Martin realized it had been a rough day. Perhaps Robert's ritual was only effective during auditions for roles?

He thought for a moment and called Bruce, saying, "Bruce, get me a bottle of Coke. It has to be from 2003."

Bruce was puzzled, "It's less than two months until 2005. You want me to find 2003 Coke?"

Martin nodded, insisting, "Remember, it has to be from 2003."

Bruce agreed, and Martin decided to take a break from searching the project library for now.

Nearly half an hour later, Bruce returned with a box of Coke cans. He opened one and handed it to Martin, saying, "It was hard to find. I got it from a discount store."

Martin gestured for Bruce to keep quiet and placed the Coke in front of his keyboard, mouse, and monitor. He waited for a while, then opened it and drank it all in one breath.

Afterward, he continued to search through the project library.

As he reached the last page of the database, Martin finally came across a project that caught his attention. It was a comic book adaptation.

The submitter was a screenwriter named Michael Bradt, who had previously worked on scripts for "Catch the kid" and "Fast and Furious 2." He wanted to adapt a niche and unpopular comic from Top Cow Comics into a screenplay.

The comic was called "Wanted."

Martin had just met Julie, which reminded him of the similarly titled movie adaptation.

According to the project description, the comic was a short story published by Dingniu Comics the previous year, consisting of six episodes, authored by Mark Millar.

The name Mark Millar sounded vaguely familiar, but Martin couldn't place it. In his previous life, he had watched many movies adapted from American comics but had never delved into the comics themselves, except for the notable Stan Lee, known for his Marvel movie cameos.

Martin quickly looked up Mark Millar on the internet and found that he had written for DC Comics numerous times.

As for "Wanted," among Millar's works, it had a rather average reputation and response.

Perhaps that's why, when Martin called Top Cow Comics, they confirmed that the adaptation rights were still available.

Recalling carefully, Martin remembered that the film had been a success. James McAvoy later played the role of Professor X.

After a brief browse through the remaining items in the database, Martin turned off the computer and said, "Let's go, Bruce."

Bruce followed him, tossed the empty Coke can into the trash, and wondered, "The taste of 2003 Coke isn't anything special."

Martin and the custodian exchanged greetings, then left Pacific Pictures to find a comic book store nearby.

One was located near Warner Studios.

Inside, Martin asked the store owner if they had "Wanted." The unpopular niche store didn't carry it, but the owner made some inquiries among colleagues and eventually located all six issues of Top Cow Comics' "Wanted."

"Wanted" had yet to be published as a standalone volume.

Martin went to a nearby coffee shop and carefully perused "Wanted." It met his expectations. Comics and movies were entirely different mediums.

The comic was a carnival of self-deprecation, devoid of moral integrity, and filled with obscene humor. The protagonist, Wesley, evolved from an ordinary person into a super-villain, reaching the zenith of life, highlighting the absurdity of a world where evil triumphed over good.

In the comic, the male lead was the antagonist, not the hero.

Another significant character, Fox, was portrayed as black.

If it had been adapted faithfully to the comics, with the villainous protagonist and dark humor, the movie might have become a cult favorite among certain groups, but it wouldn't have been a mainstream hit.

Martin is acutely aware of his limitations. As a highly educated but inexperienced individual in the film industry, he lacks the skills to adapt scripts effectively. However, he has some strengths—he's a decent actor, can come up with creative promotional ideas, and has a dependable support group that places a high level of trust in him.

But he also recognizes that others in the industry are far more experienced and skilled.

After some contemplation, Martin retrieved a phone number he had jotted down and dialed Michael Bradt's number. He expressed interest in Bradt's movie project and inquired about how to adapt it.

Bradt, however, hesitated to share too many details and simply stated, "If I were to write the script, I'd make significant changes. Good versus evil, with the male protagonist as the righteous one, and Sloan and his cohorts as the villains." Without the copyright, he was concerned about being replaced.

After a brief discussion, Bradt ceased discussing script adaptation.

Martin continued the conversation with Bradt, learning that Bradt submitted the project with the intention of not only being a screenwriter but also aspiring to become a producer. In Hollywood, having the title of producer is essential, as screenwriters have limited rights without it.

Martin, being unfamiliar with the Hollywood comic copyright market, learned from Bradt that the rights to relatively obscure comics like this one could be acquired for under $500,000. However, there were additional pre-development expenses, such as writing, directing, producing, and finding investors.

Having experienced working on "House Of Wax," "The Hills Has Eyes," and "Jeans," Martin harbored ambitions of starting his own venture in the film industry. Still, his abilities, experience, and funds were under significant pressure.

Since coming to Hollywood, he had earned a total salary of $1 million for the three films he had worked on. When accounting for his savings from Atlanta and excluding various expenses, he had around one million dollars at his disposal. Martin also took into account taxes, which were a significant financial factor.

Nevertheless, investments in the film and television industry could be partially tax-deductible. With this in mind, he couldn't allocate his entire fortune to a single movie project, as it wouldn't suffice.

Realizing the most secure path was to seek support from a wealthy benefactor, Martin considered Louise. Her experience and abilities made her an ideal candidate for collaboration. Furthermore, since the project originated from Pacific Pictures' inventory, it would be unethical not to involve Louise.

Martin was aware that he couldn't manage such a project independently. It made the most sense to ask Louise to join forces.

Without delay, Martin called Thomas, who helped him navigate the process of establishing a studio. In Hollywood, where every star could become a film and television production company, setting up a studio was a straightforward process with professional companies offering one-stop services.

After making some calls and enjoying a cup of coffee, Martin concluded that he needed to continue relying on a wealthy benefactor.

He had to act swiftly before Louise exhausted his resources.

Leaving the cafe, Martin headed to Pacific Pictures, where he found Louise in the president's office.

Louise, dressed professionally and wearing black-rimmed glasses, was engrossed in official business, presenting a stark contrast to her relaxed demeanor in private.

She glanced at Martin and asked, "Did you make any progress?"

Martin took a seat across from her and replied, "I found a potential project—a comic adaptation. It's project number 040717, based on Top Cow Comics' work, 'Wanted.' by Mark Millar"

Louise swiftly located the project in the database and recalled it, saying, "Comics like these tend to have a niche following with a dark and cult-like style."

She continued, "Michael Bradt contacted me, and we had a brief discussion. According to his vision, the production cost would be at least $35 million, and if we were to hire star actors, the budget would increase significantly."

Martin added, "I spoke with Bradt as well and discussed script adaptation. I believe this project has potential."

Louise shook her head, cautioning, "Martin, you've been in Los Angeles for less than a year."

Knowing he lacked the power of persuasion, Martin didn't argue about the project's prospects. Instead, he simply stated, "I plan to establish a studio, acquire the copyright for this work, and engage in detailed discussions with Bradt. If all goes well, he'll write the script."

Louise understood his intentions. "You're investing up front, and the rest of the funds will be settled in a lump sum?"

Martin nodded, explaining, "This project will be released after 'The Hills Has Eyes.' If 'The Hills Has Eyes' succeeds, I'm 90% confident I can persuade Vincent and Sofia to continue investing. Their support could cover half or even more of the required funds. As for the rest of the investment funds, we'll need to figure that out."

Louise asked pointedly, "How does Pacific Pictures fit into all of this?"

Martin realized that Louise was cautious and quickly replied, "Pacific Pictures can help organize the Funda, but I understand there will be fees involved. In case of failure, Pacific Pictures' funds will be the first to be reimbursed, and the same applies if the project is profitable."

Louise was astute and asked, "What exactly are you planning, Martin?"

Martin put on a knowing smile. "I'm planning to become a superstar sooner so I can earn more money. How much do you need to support me?"

Louise couldn't help but scoff. "You're as cunning as they come."

In Los Angeles and Hollywood, Louise wasn't afraid of Martin's antics. After some contemplation, she shifted back to business mode. "Pacific Pictures can assist you in organizing the Film, but I'll need a substantial fee. If the film fails, our funds will be recouped first, and the same applies if it succeeds."

Martin had no illusions about his lack of experience. He knew he needed someone with Louise's expertise to navigate the process. He readily agreed, saying, "No problem."

Their collaboration was set in motion. However, there was still much work to be done.