Back to 17, My Brother is the Cult Leader

Across the negotiating table, Mark Friedman placed his pen on the document, crossed his arms, and scrutinized Fang Yuan.

The Vice President of Project Development at 20th Century Fox, who had been in this position for six years and had signed at least two hundred screenwriting contracts, still found the demands of this young man quite novel.

"Mr. Fang, let me confirm your proposal one more time."

Mark's voice was calm and unhurried: "Three films, each with a 20% production rights share. This is not a share of net revenue, but a package deal of total revenue share plus an advance payment."

If I understand correctly, you're asking us to treat you as a co-producer, not a screenwriter.

"Yes," Fang Yuan said.

The conference room was brightly and evenly lit, casting a calm glow on the dark walnut wood table.

Fang Yuan sat opposite Mark, with Ellie to his right.

Also in the room were Linda Huang, Fox's Director of Business Affairs, and Jeffrey Keane from the Legal Department.

The Los Angeles skyline outside the window swayed slightly in the July heat, like a photograph ruffled by the wind.

Do you know what production rights mean?

Linda opened the folder in front of her, her tone not accusatory, but more like a dutiful confirmation.

"This means you are responsible for the project's profits and losses. If the film loses money, your share may be zero."

"If you only take the screenwriting fee, regardless of the box office performance, the 1.2 million is already in your account."

"I know," Fang Yuan said.

"Then why did you choose the former?" Linda pressed.

Fang Yuan did not answer immediately.

He picked up the water glass in front of him, took a sip, let the question linger in the air for a few seconds, and then spoke:

"Because my assessment of these three scripts is that none of them will lose money."

If my judgment is correct, then a 20% share of the total revenue would be an order of magnitude higher than any screenwriter's fee.

If my judgment is wrong, it's not just me who will suffer losses—the production company will lose even more.

Under these circumstances, I believe there is no reason for a production company to refuse a collaborator willing to share the risks.

Mark and Linda exchanged a glance.

"Moreover," Fang Yuan continued.

"Among the projects that 20th Century Fox currently has in its pipeline for the first half of the year, there is a significant gap in mid-budget genre films."

To the best of my knowledge, of the seven films your company initiated in the first quarter, five had budgets exceeding 60 million and two had budgets below 8 million.

The middle area is empty.

The production budget for "Phone Booth" could be kept under 15 million, which perfectly filled this gap.

"It wouldn't be a good deal for your company to have such a project shelved because of a disagreement over screenwriter fees."

What did Linda write in her notebook?

Mark's expression didn't change, but he leaned back in his chair, a body language signal that he was starting to think things through.

"Mr. Fang, we can calculate the numerical aspects you mentioned," Mark said.

"But there's one more thing I want to confirm—your writers' guild registration record shows that you've been with the guild for less than a year."

Although your three films won awards in Europe, those were in the realm of art films.

Within the realm of commercial genre films, you haven't yet produced any work that has proven your market value.

Why should we treat you like a producer?

That's a blunt statement.

Ellie frowned slightly, but Fang Yuan's expression remained unchanged.

He had anticipated this question would be asked before he arrived.

"Mr. Friedman, let's look at it from a different angle."

Fang Yuan said, speaking at a steady pace, "You've been in this industry for so many years, have you ever encountered a situation like this—"

You get a script, and after reading it, you know it will definitely be a box office hit?

It's not because of its high budget, but because its structure and pacing are so precise that you can almost see the finished product with your eyes closed.

Mark didn't speak, but he didn't deny it either.

"That's the kind of script 'Phone Booth' is," Fang Yuan said.

"If you don't believe me, you can believe the script itself."

The feeling it evokes is exactly how it will ultimately appear.

With $15 million, a director who knows how to control the pace, and an actor who can hold his own for 90 minutes, its North American box office would be at least $50 million.

This is my confidence in the script itself.

"Furthermore, the combined cost of my three films was less than $4 million, yet they not only won awards but also earned me nearly $100 million. Can you say that these aren't top-tier commercial films?"

The meeting room was silent for about five seconds.

Linda broke the silence first.

"Mr. Fang, we have listened to your proposal."

Now we'll give you a counter-solution. An advance payment of 1.2 million, 8% of the net profits, and the right to advise on casting.

This is the highest compensation we've ever offered in similar screenwriting projects; you can go and inquire about it.

Fang Yuan said, "I had already asked before I came."

Last year, Paramount gave Andrew Niccol, the screenwriter of "The Truman Show," a 10% share of the net revenue, even though he wrote and directed the show himself.

Fox offering 8% is indeed a very generous figure.

He paused.

"But I still stick to my plan."

Two options: First, an advance payment of 800,000, with a 20% share of the total revenue.

Second, an advance payment of 1.2 million, and a 15% share of the total revenue.

Third, it's a choice between two options; there's no net profit plan.

Mark leaned forward. "Why are you so averse to net income?"

"Because your company has only had one film with positive net revenue in the past three years."

Fang Yuan spoke these words in a flat tone, as if he were reading a report.

"I have checked Fox's public financial reports."

From fiscal year 1996 to 1998, your company released a total of 41 films. Only one of them had a positive net income according to Hollywood accounting standards—Titanic. That film was jointly distributed by Paramount and Fox, and the net income that Fox received was less than 20 million.

The remaining forty films, including projects like "Speed" which grossed over 100 million yuan, all showed losses after deducting distribution fees, publicity fees, third-party revenue sharing, and various miscellaneous expenses.

This is your standard operating procedure, which I fully understand, but I will not accept a share of the net profits.

Linda paused for a moment as she flipped through the documents.

Mark's eyes narrowed slightly.

"You did your homework," Mark said.

"So, can we now go back to the revenue-sharing plan?"

Mark paused for a moment, then glanced at Linda.

Linda nodded slightly.

"An advance payment of 1.2 million, and a 12% cut of the total revenue," Mark announced.

"fifteen."

"Thirteen. That's the maximum we can offer."

Fang Yuan glanced at Ellie.

Ellie wrote a number in her notebook and pushed it toward him to show him.

Fang Yuan glanced at it, then said to Mark, "The advance payment of 1.2 million remains unchanged, and the total revenue share is 15%. Add one clause—if the North American box office exceeds 50 million, your distribution fee will be reduced by two percentage points, and this concession will be directly converted into my increased share."

It's like an automatic adjustment mechanism that's fair to both parties.

Mark and Linda lowered their heads and calculated for a few seconds.

"We need to discuss this internally," Mark finally said.

"Okay." Fang Yuan stood up.

"I'll wait for your news. If there's no reply within three days, I'll assume the proposal has been rejected and I'll open up the distribution rights for 'Phone Booth' to other studios."

Mark didn't stand up to see him off, but he nodded.

Linda stood up, extended her hand, and shook hands with Fang Yuan.

"Mr. Fang, you are very good at negotiating."

"Thank you," Fang Yuan said.