Chapter 77: Selling Off The Copyright

As the crowd in front of the Festival Theater gradually dispersed, most of the interested film buyers scheduled appointments for discussions the following day.

Samantha, an executive from Focus Features, walked towards the exit with Kelly Gray accompanying her.

Samantha, an approaching fifty-year-old woman in good health, engaged in a conversation about the film with Kelly. "The three scenes featuring the male protagonist at the beginning, middle, and end were very impressive. You have excellent taste, and you chose a remarkable actor."

Kelly was pleased to hear this and responded, "He possesses outstanding looks, top-notch acting skills, and remarkable spirit."

Samantha's gaze shifted to the entrance of the theater, where the male protagonist, dressed in formal attire, stood under the streetlights, resembling a beacon in the darkness, commanding attention.

Coming from Hollywood, she spoke directly, "Kelly, I'll recommend this film to our company."

Kelly, aware that there were likely conditions attached, waited patiently for Samantha to continue.

Samantha added, "An actor of such caliber, I'd really like to get to know him."

Kelly had experience working in Hollywood and could decipher the implied meaning behind these words. Without hesitation, she politely declined, "I'm sorry, Samantha, but he's accompanying me back to Atlanta."

Samantha nodded in understanding and said, "I apologize for overstepping, Kelly. If the opportunity arises, we should collaborate again."

Kelly offered a warm smile and replied, "Certainly, goodbye."

Samantha didn't bring up the film again and simply got into her car, leaving the scene.

Focus Pictures, her employer, had a production and distribution style that leaned towards the arts, and her presence at the festival was more a favor to the company's partner, Louise Meyer.

Samantha had initially entertained the idea of trying to see if the male protagonist, who appeared quite remarkable in the film, was as impressive in real life. However, recognizing the situation, she chose not to push further. After all, Hollywood had no shortage of handsome men.

As the car arrived, Martin approached, and he and Kelly got into the back seat together.

Kelly couldn't help but vent her frustration, muttering, "Those troublemakers from Hollywood can cause problems anywhere, anytime!"

Martin chimed in, "Louise will give you an earful if she hears that. You won't stand a chance."

Kelly asked, "Whose side are you on, anyway?"

Martin responded calmly, "I'll just have to tear off all your clothes."

Kelly shifted the conversation, saying, "I have a beach villa."

Martin hugged her and kissed her passionately, "Rich lady, have you finally found a guilty conscience and decided to give away a house?"

Kelly playfully denied his fantasy, "You're thinking too much." She had other plans in mind, "I'm thinking of having it renovated. How about installing a hanging rope system in the grand hall?"

Martin, deciding to be truthful as it was him who had to endure the strenuous scenes, replied, "Not a great idea. I nearly exhausted myself during that scene, doing it manually. Maybe we need to use machinery. You could install a regular swing."

Kelly leaned on him and said, "I'll have someone work on the plans right away."

Ten minutes later, the two entered the same suite at the hotel.

Martin couldn't fathom why Kelly had such a strong opinion about Hollywood tonight. She went as far as to call Louise during their conversation, putting the call on speaker.

On the other end, Louise was so furious that she threw a bottle.

...

The Savannah Film Festival spanned a week, with three more screenings of "Zombie stripper". Media reporters were continually invited to attend.

The cast and crew remained in Savannah for the duration.

Martin was keen on understanding the operations and management of Hollywood films, so he collaborated with Kelly Gray and took part in negotiations between the "Zombie Stripper" studio and various distribution companies.

Most of the movie companies presented lower bids, leading to the breakdown of negotiations. The only North American distributors still in discussions with the studio were Lionsgate and Warner Bros.

Both companies had a clear stance; they were only interested in purchasing the copyright and were not considering box office and copyright-sharing agreements.

Representatives from overseas publishers in Europe, India, South Korea, Southeast Asia, and Latin America were also engaged in negotiations with the studio regarding buyout deals.

"$3.5 million for a full copyright buyout," Breitner from Warner Bros. stated firmly. "If that doesn't suit you, I can only apologize."

Major film companies had no shortage of low-budget films and were often looking to add more to their portfolios.

Dave replied, "Please give us a day to discuss."

Throughout these discussions, Martin remained a silent observer, taking it all in but refraining from speaking.

Subsequently, the studio engaged in another round of negotiations with Jeffs from Lionsgate Pictures, who raised their offer to the maximum price of $2.4 million. Given Lionsgate's focus on North America, they were only interested in acquiring the North American copyright.

Kelly Gray rushed over and convened an emergency meeting. "Our objective is clear: if the price is right, we'll sell the film rights and get it into theaters."

Dave suggested, "I recommend going with Lionsgate Pictures and selling them the North American rights. We can sell the overseas rights separately, which gives us more flexibility."

Kelly was content with $2.4 million but didn't mind earning more.

Kelly inquired, "What are the release plans proposed by Warner Bros. and Lionsgate?"

Benjamin stepped in, explaining, "Warner Bros. is initially planning a release for March or April next year. They have the resources and don't mind the time investment."

He was eager to see the film hit theaters as soon as possible but had a caveat, "Lionsgate is a smaller company with tighter finances. If they secure the rights, they intend to submit it for Motion Picture Association of America (MPAA) classification in mid-November. They had a horror film that was temporarily pulled, and it just so happens to be Zombie Stripper."

Kelly pondered, concerned about what might happen if the film's rating didn't fare well.

Benjamin proposed, "We could follow the example of 'And Your Mom Too.' Instead of going through the ratings, we can release it directly."

Kelly was aware of "And Your Mom Too," a film by Mexican director Alfonso Cuaron. The distribution company, Good Machine, was dissatisfied with the MPAA rating and opted to release it in theaters directly. The film not only earned tens of millions at the North American box office but also garnered an Oscar nomination for Cuaron.

This approach wasn't unusual in North America.

Typically, leaving out the rating was avoided if possible.

Dave added, "Lionsgate's plan is to conduct small-scale screenings in California and Georgia initially. If the results are favorable, they'll allocate more resources for promotion. If not, they'll opt for two or three rounds of screenings and then move to the DVD and video tape market."

Kelly acknowledged, "I understand that small-budget films have larger screening scales, and the costs of promotion and distribution are often higher than the production costs."

Martin attentively listened, recalling films like "The Blair Witch Project" and "The Haunting of Ghosts."

Kelly made a decision, "It's not in our best interest to sell the global copyrights as a package. We'll split the rights, selling the North American rights to Lionsgate. The Europa Company is interested in the European rights."

Gray's company urgently needed funds for studio renovations. "Other international companies will adopt a wait-and-see approach based on North American screening results. Dave, inform them, and we'll arrange meetings."

Dave, well-versed in project investment, had extensive international connections and assured, "I'll take care of it."

The Savannah Film Festival was still ongoing when the studio officially signed an agreement with Lionsgate Pictures. They sold the full North American rights to Zombie Stripper for $2.4 million.

No revenue-sharing agreements were discussed.

For small-production B-level films, distribution companies were hesitant to invest heavily in promotion and distribution if they didn't possess all the rights.

The studio engaged in negotiations for most of the morning with Europa, ultimately selling the European rights to Zombie Stripper, including Russia, for $1.2 million.

After the agreement was sealed, Blanc approached Martin, who had been rather inconspicuous throughout.

"Your outstanding performance turned this average B-level film into something quite intriguing," he commented to Martin. "If you aspire to stardom, the film market in Atlanta is rather limited."

Martin responded casually, "Once the film is released, I plan to head to Los Angeles."

Blanc smiled and said, "I look forward to seeing you in Los Angeles."

Martin mentioned a director they both knew, "Michelle mentioned that he's settled in Los Angeles, and I'll definitely pay him a visit. We can share a drink and discuss French cuisine and British dark cuisine."

Blanc's smile grew even warmer as he replied politely, "I'm eagerly anticipating that day."

The studio arranged for representatives to accompany the overseas buyers back to their respective markets.

In Latin American markets such as Brazil and Mexico, a film that performed well in North American screenings could easily fetch millions of dollars for its rights.

Including markets in Australia, New Zealand, and certain parts of Asia, the studio anticipated recouping the stated production cost of $6 million.

It was a significant victory for the film's two major investors.

As Gray Films opened doors to Hollywood, providing access to box office distribution channels for similar projects, there would be more opportunities for financial success.

The fact that the film was acquired by Lionsgate meant that Martin was on his way to becoming a lead actor in a theatrical film, a significant milestone in his career.

On the penultimate day of the festival, Martin returned to Atlanta in Kelly's car.

Kelly was in high spirits, sharing, "Benjamin spoke to me yesterday. After taking a month's break, he's gearing up for a new film."

Martin inquired, "More B-level movies?"

Kelly grinned, "He excels at them, and I trust him with other projects."

Martin casually asked, "How are the funds holding up?"

Kelly interlocked her fingers on her lap and replied, "Vincent and Sophia are willing to invest, so why should I turn down a good opportunity?"

Martin made a casual remark, "Seems like it's been quite profitable."

Kelly remembered something and offered a reminder, "With the salary you've earned and the money you received from pink water bottle last time, make sure to manage your finances so you don't end up unable to pay taxes during tax season."

Martin thought of the legendary IRS, as well as the complexities of state and federal taxes, and said, "Could you introduce me to a reliable accountant? I haven't delved into these matters, and they're rather incomprehensible to me."

Kelly retrieved a business card from her bag and handed it to Martin. "She can help you with that."

Martin accepted it gratefully.

Kelly stretched and, fueled by the success of their endeavors, felt a bit mischievous, "Let's call Louise when we get back. Will she be angry that she goes crazy and blow up the Casablanca?

Martin pinched her chin: "I think you are crazier."

Kelly thought about the last time and felt addicted: "Don't you find it exciting?"

Martin thought to himself, as expected, all artists like to indulge in sexual pleasures.