Hollywood What If Chapter 247
The problem with Spider-Man rofit sharing. hat Marvel ics had a share because they were the rightful owners of the chts. Marvel ily leased it to Sony-bia. If Salvatore Barlowe was fighting for such a rge share of the profits, it would be bad for Sony-bia.
But the Spider-Man project was already behind schedule, and more money would be wasted if Frank didn't make a decision.
"...27+27 trad 7% profit share on peripherals."
In the end, Frank Price decided to raise the sary and the box office share and lower the peripheral profit share.
Frank Price kept a straight face. The two of them stared at each other. After a few seds, Salvatore Barlowe nodded.
"Alright."
"Gd to hear it."
Frank Price sighed privately.
Salvatore Barlowe k would be hard for Sony-bia to give up their peripheral profits, and Kazir agreed to the 7%.
In fact, the two sides had fought hard to reach that amount.
Now that the two sides have agreed. They would have to finalize the trad Kazir would sign it.
Sony bia was in a desperate situation. In this case, they might as well choose the best director out there who could give them a lot of money. After all, they couldn't iionally screw up Spider-Man, that was written into the tract between Sony-bia and Marvel ibsp;
All they were hoping for was that Spider-Man would be at least half as good as Wanted. Oh boy, they were wrong, it was more than half. The Spider-Man trilogy was the beginning of the superhero movie era.
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"So you're tellihat both sides have e to an agreement?"
Michael Eisner asked his secretary, looking rather disheveled. He thought Walt Disney had the opportunity to work with Kazir Grey.
'I don't uand, I thought we had an initial agreement.'
At that time, four of the Big Six had an initial agreement with Kazir Grey. But of course Kazir could only promise one project at a time. He could not work with all of them.
The old man sat down and sighed i. He did his best. He promised Kazir a tract that only a few directors had the privilege of receiving. But it seemed that the guy was more ied in w with a washed up superhero from a bankrupt ipany...
"Anyway, the project is still going on. We hire other directors... Try tag Fremont Smith and see if he is ied. As long as the ditions be met, we work with him."
Most of Kazir's films were inal spys, except for The Bourne Identity. Sihat was the case, they might as well look for others.
Fremont Smith was associated with the tial ematiiverse, and he had an idea of how ematiiverse worked. He fit the criteria.
"Yes, sir."
The secretary left, quite tense because the chairman was clearly in a bad mood.
"Kazir, are you still upset about what happened?"
Walt Disney and Universal Pictures joined hands to defame Kazir, and behind them was the WMA.
"Or maybe you didn't like that we didn't kick Harvey Weinstein out of the pany?"
Holy, he should have. Now Harvey Weinstein was like a rat in a wooden wall, slowly destroying the house he built. The fat guy was still sug up to Roy Disney.
Harvey was still trying to hide from the public after the Bir Witch Projet. But he was active in corporate politibsp;
Now, Chairman Michael Eisner felt that his days in his position were ing to an end... Maybe it was time to retire.
"No, I love the authority I have. It's impossible to leave this job, this drug that keeps me and my ego high."
This John Carter, this movie should be successful.
"I should also talk to Steve Jobs. Walt Disney needs Pixar."
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Having a tract like the one he has now was the highest and most absurd tract he had in his life.
What?
A 27+27 deal with a 7% profit share on videotapes/DVDs/merdise/peripherals?
Kazir would receive half of the 27 million at the start of produ, and the other half would be transferred to his bank at when the project was pleted.
Half of the 27 million was 13.5 million. This meant that Kazir had that amount of money on his first day on the job.
But that didn't matter.
At that moment, Kazir was simply the most in-demand director, and Sony-bia was crazy enough to go for it.
Here was the thing: over the wo decades, James Cameron made at least 95 million for direg Avatar 2. So yeah, the Big Six was crazy enough to hire people for that amount of money.
Anyway, Kazir's side and Sony-bia's side finalized the deal.
Sony-bia wanted Kazir to sign a trilogy deal, but Kazir could only promise 2 movies. The two sides promised and the profit sharing on peripherals and such was lowered to 6.8%.
So yeah, it was now 27+27 and 6.8% profit share on peripherals. Was it a loss? In my opinion, no, it was not... The amount was so damn huge.
The two sides signed a trad the project officially began.
However, Kazir realized that the job was not so easy. He realized that the project was in shambles.
First, the produ crew. Kazir had to hire his crew members from Grey Pictures. So now the produ crew responsible for the project was Grey Pictures. But this was the first time these crew members had worked for the Big Six after The Hangover, and they were adjusting.
The sed was the Marvel creative team. Of course there would be people from Marvel ivolved. Especially Stahe man himself.
Because it was an adaptation and Kazir didn't have absolute authority, it was hard to get his opinion on some things.
Another problem was the producer. The producer, who was mostly in charge of the finances and managing the crew, was from Sony-bia and Kazir had no experience w with her.
Let's just say she had a thing about women. No, not that thing, she hated women. Especially beautiful and sexy women, she hated them for some reason and it affected the projebsp;
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[Author's Note: Just to be clear, the Producer is an inal character and has no e with the real-life Spider-Man Producer.]