Chapter 37: A Collaborative Proposal

The sudden realization of a long-held suspicion didn't cause Simon any distress or frustration. On the contrary, he felt that "Run Lola Run" was indeed the perfect film to showcase his abilities. Moreover, had he not misremembered the production cost, he might have overlooked this film altogether.

Now, having established himself in Hollywood in less than two months, Simon was confident in pushing the project forward, despite the added complications.

Simon's experience of over a decade in the entertainment industry taught him that no major figure's path to fame was smooth. Armed with this knowledge, and experiences from two lifetimes, he was well-prepared to face any setbacks.

Determined, Simon looked directly at David Giller and asked, "So, David, what do you think would be the necessary budget to shoot this film with proper 35MM film standards?"

After pondering for a moment, David Giller responded, "Given the shooting ideas you've described, you would need at least $500,000 to start. A more detailed budget would depend on a more specific shooting plan. But that's not really the issue here. Simon, the real question is, do you have any experience producing films, even student films? By the way, which university did you graduate from?"

Up until now, not many in Hollywood knew that Simon was only 18 years old.

Jonathan Friedman had casually mentioned Simon's age to WMA President Norman Broca, but given Broca's subsequent dislike for Simon, he hadn't spread that information.

Given Simon's apparent talent, David Giller assumed he was probably in his mid-twenties, mistaking him for a promising recent graduate.

Hearing Giller's question, Simon realized what was being implied but chose to respond honestly, "David, I studied Computer Science at Stanford for a while but dropped out. I don't have any formal experience in film production. However, I also had no experience in scriptwriting before."

"Directing and scriptwriting are not the same," David Giller shook his head, "If you could show us something like a student film to convince potential investors, I might be able to help you secure funding. Unfortunately, you don't have anything of the sort. Simon, even though it's a small amount, I still need to be responsible with my connections."

Brian De Palma, who had been engrossed in Simon's storyboards, also interjected, "Being a director isn't easy, Simon. But these storyboards alone demonstrate your talent. How about this: you join as my assistant director for 'The Butterfly Effect.' Once you've gained that experience, if David won't help, I could find a company willing to fund 'Run Lola Run.'"

"I didn't say I wouldn't help, did I?" David Giller protested lightly, yet also suggested, "Simon, Brian's idea is good. If you agree, we can settle it right now."

David Giller, as the producer of "The Butterfly Effect," and Brian De Palma, who also held roles as both director and producer, could easily hire an assistant director within their authority.

For Simon, who was new to Hollywood, working as an assistant to a renowned director like Brian De Palma would be an invaluable experience.

However, Simon, with his vast and varied memories, lacked neither the experience nor the knowledge in all aspects of film production. The only thing he could gain from working as an assistant director was a formal credential.

After thinking it over, Simon shook his head, "David, Brian, I appreciate your offer. However, I'm confident in my ability to direct a film myself. So, David, how about this? I have enough funds to start 'Run Lola Run.' You just need to introduce me to an investor who could sign a letter of intent. If they're satisfied with the initial results, they can invest further; if not, they can withdraw at any time."

Simon's decisive attitude was something both Giller and De Palma had come to respect from their interactions with him.

Not surprised by Simon's refusal of De Palma's offer, they listened to his proposal. David Giller couldn't help but inwardly commend the young man's confidence.

"Using your own money to finance a movie is always a bad decision in Hollywood," Giller mused, then smiled, "But since you've proposed such a confident plan, I'll help you out. Of course, I can't guarantee success; everything will depend on you."

"I just need a chance," Simon stated earnestly.

"If that's the case," David Giller nodded thoughtfully, "besides what we've discussed, do you have any other requests?"

Simon thought for a moment, "The contract with Fox could be used as collateral to secure a loan from the bank. Along with the final payment from Fox, I should be able to raise about $250,000. I'd suggest budgeting $500,000 for 'Run Lola Run,' with the investor and I

 each contributing half, and sharing the profits equally. My fees for writing and directing would be nominal, just $1, but I insist on complete creative control."

"Simon, $500,000 is just my initial conservative estimate. I'd actually like to see you use more professional actors, and perhaps more detailed set and music work, which would likely bring the total closer to $1 million," Giller explained.

"David, I was outlining a general approach. If the budget overruns, and the investor is willing to follow through, the profit share could be higher. My only demand is for complete creative control. I don't want interference in my work."

"I'll find some time to contact a potential investor for you," Giller nodded, then added, "But your focus should still be on revising the script for 'The Butterfly Effect.'"

"Of course, that's my job," Simon smiled.

"If that's settled," Giller tapped the "Run Lola Run" script in front of him, "I'll make a copy of this to help convince the investors."

Though his suggestion had been declined, De Palma wasn't too bothered and handed over the storyboard sketches to Giller, "Make a copy of these too. I think they might be even more persuasive than the script."

Giller was somewhat surprised as he flipped through the storyboards De Palma had been holding. He nodded in agreement, "Indeed."

After discussing these matters, the trio realized that the once-busy restaurant had nearly emptied. Their lunch had gone cold, prompting them to order anew. Satisfied after eating, they returned to the meeting room to continue discussing script modifications for "The Butterfly Effect" until the end of the workday.

Simon left Fox Studios with a copy of the "Run Lola Run" script and storyboard sketches, as well as a lengthy memo from the day's meetings about script changes. Taking a taxi, he returned to his recently rented home in the Montana area of Santa Monica.

Caught in rush hour traffic, it took about half an hour for Simon to reach his residence.

Standing in front of the villa on the northern edge of Montana, near St. Vincent Drive, Simon dismissed the taxi driver and looked at the sprawling 800-square-meter mansion, muttering for the umpteenth time since Saturday afternoon: "What a waste of money!"

Simon had scheduled a viewing for Thursday to rent an apartment. After being unexpectedly admitted to UCLA Medical Center, he planned to cancel the viewing, but Jeanette Johnston took over the task with enthusiasm and had the lease in Simon's hands by Friday.

Upon seeing the lease for a three-bedroom, four-bathroom detached villa, Simon nearly leaped out of his hospital bed.

"Are you kidding me? A bachelor like me doesn't need such a large place."

Moreover, at $2,700 per month, the rent seemed unusually low for a luxury home in 1986 Los Angeles, where most people didn't make that much in a month.

Naturally, Simon was reluctant to rent such a property, but after he argued briefly, Jeanette, who had been perfectly fine, suddenly started crying in front of the doctor and real estate agent, accusing Simon of being a miser who disregarded her day-long efforts and wouldn't even rent a decent house despite his wealth.

What else could he do?

He signed the lease.

"Besides being unlucky, I can't think of a better description," Simon thought bitterly.

The final straw was discovering after discharge that the mansion he had rented was completely empty, as if it had been plundered—apart from the basic fixtures, there were no furnishings.

Oh, to be exact, there was furniture.

There was a bed in the master bedroom.

But seriously, what good is a bed without a mattress?