Chapter 291: Fifty Million Dollars

After a brief introduction, Bill Ross found an excuse to take George R.R. Martin's agent out of the reception room, leaving only Murphy and Martin behind. Although an agent is needed for formal negotiations, this private meeting did not require one. Moreover, Martin's agent wasn't a fool; leaving meant he likely had something to discuss with Bill Ross alone.

Negotiating copyright deals, as Murphy experienced with "Sin City," is never easy. No author or agent would simply hand over their rights after a few flattering words, as if eagerly giving away their rights for nothing.

It's well known that Hollywood isn't known for originality and has increasingly relied on adaptations over time.

Having spent time in Hollywood, Martin was no stranger to this industry.

This being their first meeting, Murphy focused on building a relationship and gauging Martin's attitude.

"I just finished 'A Storm of Swords' yesterday. The trilogy, 'A Game of Thrones,' 'A Clash of Kings,' and 'A Storm of Swords,' left a deep impression on me."

Putting down his coffee cup, Murphy didn't hold back his praise, "I believe they will become milestones in the history of fantasy literature, standing alongside 'The Lord of the Rings' trilogy."

"Too kind, too kind..." Martin hadn't expected Murphy to compare his work to Tolkien's great trilogy. He was modest but excited to be appreciated by such a prominent Hollywood director. However, he modestly added, "How could I compare to Tolkien?"

Murphy shifted the topic, "After reading your books, I've had a lot of thoughts, especially about how they would look on screen."

Most authors dream of seeing their work adapted, especially someone like Martin with a background as a Hollywood screenwriter.

Murphy had done his homework on most of the talking points.

He knew he needed to be well-prepared for such negotiations; approaching Martin unprepared, hoping to impress him with mere flattery, would be foolish.

Martin perked up at the mention of adaptation, "Director Stanton..."

"Murphy!" Murphy interjected, "My friends call me Murphy."

Martin quickly corrected himself, "Murphy, may I know your specific thoughts on the book?"

This was a fundamental issue of vision. If their visions didn't align, Martin would need to reconsider this deal.

"I believe 'A Song of Ice and Fire' emphasizes the struggle of humanity. The series creates countless characters, not to isolate heroism or conspiracy but to depict from a realistic perspective the varied fates and choices of characters in that era's vortex, including both heroes and the vulnerable."

Murphy had spent the past few days immersed in the novels, "Martin, you've consistently used a third-person narrative, allowing readers to experience the story through the thoughts and motives of specific characters, immersing them in their world."

Before Martin could respond, Murphy continued, "I think 'A Song of Ice and Fire' is a 'counter-traditional vanguard' in fantasy literature, not just a fictional fantasy but a realistic world with significance."

Martin was nodding continuously, clearly agreeing with Murphy's insights.

Though "A Song of Ice and Fire" was created as a fantasy epic, Martin acknowledged the importance of embedding real elements to make the "secondary world" feel tangible, lending the epic its real-world significance.

Murphy's words struck a chord, showing a deep understanding of the series.

Gradually, Martin found himself agreeing with Murphy's perspective.

"I believe this series should be seen by more people," Murphy continued, "It should be spread wider, not just among a small group of fantasy literature readers."

Martin's face showed clear agreement, evident even to a child.

From his previous negotiation with Frank Miller, Murphy had learned that creators often need recognition and enjoy showcasing their pride and expertise.

So, Murphy timely asked, "George, after reading the first three books, I've been curious about how you conceived such a vast world and storyline. Where did your initial inspiration come from?"

He added with a smile, "I'm not just a director but also a writer. Sometimes, when inspiration runs dry, I feel like cracking open my head."

"Inspiration drought is indeed troubling," Martin began, visibly excited by the topic. He described a scene that sparked his imagination—a direwolf killed by a stag's antlers, leaving behind pups taken in by children—which fueled his creative passion, leading to "Game of Thrones."

"Indeed fascinating," Murphy commented.

Martin nodded, "Sometimes it feels incredible to me."

Murphy then steered the conversation towards adaptation.

"For the TV series adaptation, we should aim for a production level akin to 'Band of Brothers.'" Murphy sensed Martin's desire for his work to reach a wider audience, "My vision involves a significant investment to faithfully recreate the novel's scenes."

"Yes," Martin sighed heavily, recalling past contacts who didn't offer sufficient investment.

"George, we could plan 'Game of Thrones' as a ten-episode series," Murphy aligned himself with Martin, "with a total investment of no less than fifty million dollars, produced in the style of mainstream Hollywood films..."

Martin was momentarily distracted by the figure of fifty million dollars.

He was aware of the challenges in adapting fantasy for TV in North America, with no successful precedents, which explained the reluctance of previous contacts to invest heavily. Without substantial investment, coupled with the genre's lack of popularity, the adaptation's failure was a high possibility.

Though far less than "Band of Brothers," the idea of investing fifty million dollars in an untested TV series was staggering.

For a moment, Martin was tempted to agree immediately.

But he knew better than to make any commitments without his agent present.

Afterwards, Murphy shifted the conversation to lighter topics, showing enough interest without appearing too eager, which could work against him.

About fifteen minutes later, Murphy concluded the meeting, inviting Martin to a party at his home to celebrate "Deadpool's" success, asking if he was available that weekend.

Martin initially wanted to accept but realized he had prior commitments in New York, expressing his regret.

Murphy appeared genuinely disappointed.

Bill Ross and Martin's agent returned from another room, exchanged a few words, and then Martin and his agent left.

Standing at the entrance of the Death Star building, Murphy asked Ross, "How did it go?"

Ross shrugged, "Pretty well. His agent's been eager to sell the adaptation rights to get a cut."

Murphy checked his watch, "That's it for today. I've got plans with Grace for the party company this weekend. Don't forget to come on time."

"I'll be the earliest," Ross assured with a smile.

As Murphy had told Robert Downey Jr., James Franco, and others, he planned to host a party at Gal Gadot's return, not as a typical Hollywood revelry but a formal dinner party, in gratitude to friends and collaborators. Murphy's invitations extended to families and girlfriends, following CAA's advice to strengthen relationships through such gatherings.

Murphy trusted CAA's expertise, leaving the party's preparations to Grace, with the event scheduled for Saturday evening.

___________________

(Support with power stones, comments or reviews)

If you guys enjoy this story, In support me on Patreon and get access to +200 advance Chapters

Read Ahead

Patreon.com/INNIT