The Best Entertainment Era

In the next few days, Ronan went to work during the day and spent most of his nights with Carmen Kath until Carmen Kath finished her trip to Los Angeles and rushed to Paris.

Maybe the hardware is fine-tuned, and the software installation will be easier. When Ronan bid farewell to Carmen-Case, the two actually felt a little inseparable.

But nothing bad happened. Carmen Kath rushed to Paris to continue her modeling career that could completely change the life of an Estonian woman. Ronan returned to the company and continued to work hard for his career and future.

Ronan's mood was somewhat affected, and it must be a lie to say that he didn't feel uncomfortable at all.

However, he could tell that between a man and a career, Carmen Kath chose the latter.

If it were him, he would make the same choice.

Ronan's career had just started, and he didn't dare to relax. After Bob Cohen of the Fireman's Fund sent the plan, he immediately asked George Clint to organize the staff and prepare to hire a third party to guarantee the completion of the film.

For a large company that has been cooperating with the Firefighters Fund all the year round, this is a very simple job, but for a small company with no reputation like Shahai Entertainment, it must first win the trust of the guarantor.

A lot of things are the hardest at the beginning.

If you want to pass the insurance audit of the fireman's fund, you need at least a script.

Ronan didn't plan to write it himself. The script of The Bourne Shadow was much more troublesome than The Purge, and it also involved some political and intelligence departments. A lot of information was searched in the middle, and the screenwriter needed to spend too much time and energy.

Hiring an external screenwriter is the best choice. Ronan spent a period of time finalizing the outline and main plot, and then asked Shahai Entertainment to openly recruit screenwriters.

In terms of director, the first choice is definitely Paul Greengrass.

But Paul Greengrass was busy finishing the post-production of Kingsman, and Ronan didn't mention it to him for the time being.

The Bourne Shadow also started the preliminary copywriting planning.

In addition, there is good news from George Clint that Robert Ludlum's condition has improved. After unremitting efforts in public relations, Robert Ludlum finally agreed to talk about Bourne's Hegemony and Bourne's Ultimatum. The film and television copyright of this book.

Ronan personally met with Robert Ludlum. Robert Ludlum is in very poor physical condition and looks like he will go to see God at any time. No wonder he hasn't seen anyone before.

Compared with the negotiation of Bourne's Identity, the negotiation between Ronan and Robert Ludlum's agent was much smoother. One sincerely wanted to buy, and the other sincerely wanted to sell, but the terms were negotiated in one afternoon.

Shahai Entertainment bought out the film and television copyrights of Bourne's Hegemony and Bourne's Ultimatum, and has the right to use the follow-up film and television.

In other words, you can continue to shoot sequel movies based on the Bourne Trilogy.

To get these, of course Ronan offered a high price.

The four million dollars is the basic buyout payment. There is not much difference between the two parties on this point. Most of the negotiation time was spent on the share.

Ronan has enough confidence in the Bourne Trilogy, so he naturally doesn't want to add post-production share to the copyright transaction.

But there is no later share, and Robert Ludlum refuses to negotiate.

The condition offered by Robert Ludlum is 3% of the total box office revenue. If the industry adapts well-known literary works, if the box office share option is added, the general ratio is 1.5% to 3% of the box office.

Of course Ronan would not agree to such a condition, 3% of the global box office revenue, this is tantamount to cutting the meat of Shahai entertainment.

After some back-and-forth, the two sides made compromises. Robert Ludlum's share ratio increased to 5%, but the share option was changed from the total box office revenue of the film to the net profit of all income.

At the same time, Ronan also agreed to another condition of the other party. If Shahai Entertainment cannot adapt two novels to the big or small screen within ten years from the signing of the copyright transfer agreement, Robert Ludlum's copyright agent has the right to Take back all copyrights to these two novels.

The basic transfer fee of 4 million US dollars, plus 5% of the net profit share, won the film and television copyrights of Bourne's Hegemony and Bourne's Ultimatum, and Ronan basically achieved his goal.

Of course, the copyright fee is still settled by Shahai Entertainment borrowing money from Theory of Relativity.

In fact, he wanted to further reduce the basic transfer fee and increase the net profit sharing ratio, but Robert Ludlum did not agree.

With the acquisition of the film and television copyrights of these two novels, the future Bourne Shadow will be able to build a complete trilogy and world view. After the film is finished in the future, it will continue to shoot sequels based on the plot of the characters.

If the opportunity is right, it can even be adapted into a TV series.

Ronan returned to Los Angeles and found a suitable candidate among the many screenwriters who applied for it, a screenwriter named Tony Gilroy.

This person is not a first-line screenwriter, but he can be steadily classified as a second-line screenwriter. He has a small team of screenwriters under him.

Because it is an adaptation of the script, the price is not too high. Tony Gilroy plus his four-person screenwriting team, a total of 300,000 US dollars in remuneration.

Of course, whether it is screenwriter remuneration or copyright fees, all expenses will be included in the cost of the film in the future.

Ronan chose Tony Gilroy, on the one hand, because he participated in the writing of many action films.

The screenwriter broke into Hollywood with the sports romance Pocahontas and has since co-written the crime thriller Scarred and The Devil's Advocate.

Last year, Tony Gilroy was one of the screenwriters for Michael Bay's film about oil workers flying into space to drill meteorites.

This resume is worthy of the reward Ronan pays.

On the other hand, apart from Frozen, Tony Gilroy has participated in none of the other projects that came from him.

This is also an important reason why Ronan chose Tony Gilroy.

Many screenwriters who like to be original, just like directors who are addicted to their own world, like to be unconstrained.

These will become serious unstable factors in commercial movies.

The three projects that Tony Gilroy participated in later were all involved in the form of hiring screenwriters, that is, others came up with ideas and a general framework, and he and his team wrote the plot on this basis.

Ronan valued such a resume very much.

Because he also needs Tony Gilroy to write the script within the established framework.

After Ronan signed the contract with Tony Gilroy in Sandsea Entertainment, he had an in-depth talk with the screenwriter, especially about the plot trend and character.

Tony, this is a commercial movie. Ronan's outline has been handed over to Tony Gilroy: Tell me about your adaptation idea.

After a moment of contemplation, Tony Gilroy said: The story line of the outline is very clear, and script writing should pay attention to the narrative rhythm. Now audiences are demanding faster and faster narrative rhythms for commercial films. I think the story rhythm must be compact and the plot should not be too negative. It’s complicated, not to mention the setting of Bourne’s amnesia before and after the trance, so that the audience will realize the character’s amnesia the next minute after seeing the character, thinking that this is not an ordinary person.”

Ronan agreed with him and said, Don't burn your brain with the plot.

Yes! Tony Gilroy is worthy of being the screenwriter who has worked with Michael Bay: The story must be concise, and it must be easy for most audiences to understand.

He also said: In terms of characters, the role of the heroine in the novel is too complicated, the role of the heroine is reduced, and the script is completely centered on Bourne.

Perhaps Tony Gilroy was influenced by Michael Bay: The heroine is vase-like and exists more as a symbol around Bourne.

Ronan nodded slightly, the screenwriter was closer to him in concept.

Tony Gilroy added: Bourne is an agent. Currently, the most influential agents in Hollywood are James Bond and Ethan Hunt. If our movie wants to be successful, Bourne needs to work with these two. There is a clear difference between the successful roles.

Continue, Ronan said.

Encouraged by Ronan, Tony Gilroy continued: Bourne's appearance should not be too outstanding, it is better to be an ordinary person who can be remembered. Bourne has no money, and his head is not particularly good. Without high-tech equipment, it is good luck to be able to use a pistol. You can use whatever you catch as a weapon, such as pencils, ropes, toothbrushes, etc. These are the most obvious characteristics of Bourne, an agent, completely different from James. - Bond and Ethan Hunt.

It makes sense. Ronan said again: If Bourne becomes Bond and Hunter, this movie is very likely to fail.

With Meiyu in the lead, those who follow suit will most likely be unlucky.

Ronan thought for a while and said, Tony, take a sample out to see the effect first. Also, the first draft of the script must be completed before the New Year.

No problem, Tony Gilroy assured.

Ronan is quite satisfied with the screenwriter. With a clear-headed and experienced screenwriter, and the director Paul Greengrass, the film adaptation of Bourne's Identity should have a relatively high chance of success.

A completely different agent from James Bond and Ethan Hunt.

Maybe the latter two will learn from Byrne in the future.

It's hard to say whether the 007 series changed its style later, and Daniel Craig, who chose a hard bridge and a hard horse, as the actor of James Bond, was influenced by The Bourne.

The screenwriter has been finalized, the director has candidate targets, and Ronan has also considered the actor candidates. He has a preconceived impression that Matt Damon is the first choice.

Other actors can wait for the director and most of the behind-the-scenes staff to be in place before auditioning.

Hollywood has no shortage of actors.

Amidst the busy schedule, the end of October is gradually approaching, and before Halloween, The Blair Witch is officially released from North America after 17 weeks of screening.