The Best Entertainment Era

In the reception room of the Ritz-Carlton Hotel in London, Ronan met Judy Kramer, who was nearly fifty years old. After hearing what he said, the female producer agreed very happily.

Mr. Anderson, I have also always wanted to adapt Mamma Mia into a movie. Judy Kramer looked at the famous producer from Hollywood and said directly: But I have limited ability, and I still can't find it. I am very happy that you can see this project at the right entry point.”

Ronan said seriously: If I own the copyright, I can start preparing for this project tomorrow.

Judy Kramer knew who Ronan was, and said, I have no doubt about it. She sighed: I have worked hard to adapt this project into a movie, just looking for the right screenwriter. , It took me two years to find Katherine Johnson to adapt the screenplay, and it took me nearly three years to pitch the project, but no one accepted it.”

Ronan could see that Judy Kramer had invested a lot in the film adaptation of Mamma Mia, not only energy, but also her own emotions, so when the long-cherished wish of a few years ago was likely to come true , she not only did not set up obstacles, but actively cooperated.

Judy Kramer continued: I spent a lot of money to get the film adaptation copyright of Mamma Mia. Most of my working capital was almost all on it, which directly led to the development of my company. If I am not lucky, my company may have gone bankrupt.

Ronan could hear the subtext in these words, and said, Ms. Kramer, don't worry, I will definitely give you a satisfactory transfer price.

It is one thing to realize the long-cherished wishes and feelings of this project, but another thing to obtain actual benefits.

Jodie Kramer has her own company and is more of a businessman than an inexperienced producer.

My requirements are actually not high. Judy Kramer said so implicitly before, because she was also afraid of scaring away the only potential buyer: As long as I can recover the investment of the year.

Ronan did not respond immediately, but instead asked: Can you know how much money you spent to obtain the copyright?

Judy Kramer did not answer. Instead, she opened her briefcase, took out a contract, handed it to Ronan, and said, This is a copy of the licensing agreement signed that year. There is a specific price on it. I bought it for 1 million pounds. film adaptation rights and other licenses.

With this move, Judy Kramer is not only showing sincerity, but also proving that the copyright of Mamma Mia is in her own hands.

Ronan flipped through the copy of the contract quickly. With his current professionalism, he could naturally see that there was no problem with the contract.

Ms. Kramer. Ronan closed the contract, returned it to Judy Kramer, and said, Make an offer.

The other party's willingness to sell the copyright is very strong, and he doesn't want to make it so troublesome, so he just be more straightforward.

Judy Kramer pondered for a while, and said tentatively, 1.5 million pounds?

Ronan cut the mess quickly: Okay, then 1.5 million pounds.

Hearing this, Judy Kramer breathed a sigh of relief. Although the 1.5 million pounds is just a payback after taking into account the currency value and the time cost of occupying funds, the movie that has occupied funds for such a long time The project can finally be exchanged for important working capital.

Ronan continued: The details of the copyright transfer...

Judy Kramer was a little anxious and said, I'll notify my lawyer and let him come over.

Ronan nodded, pointed to Connie who had been sitting next to him, and said, This is my assistant. She will be in charge of receiving your lawyer.

Yes. The key transaction price has been agreed, and Judy Kramer has no objections.

Connie smiled at Judy Kramer, left the reception room, and also contacted the lawyers of the British branch of Embassy Pictures, preparing for the next negotiation and signing the agreement.

Judy Kramer didn't move, and seemed to have something to say.

Ronan chatted with her about unnutritive London weather and other topics, and Judy Kramer asked again: Mr. Anderson, you know that I am a producer, but I have always lacked practical experience. Can I Cannot participate in the film adaptation of Mamma Mia.

She was worried that Ronan's misunderstanding might affect the deal, and said: These are just some of my personal requests and have nothing to do with our copyright deal.

Ronan pondered for a while, and said: Ms. Kramer, as you said, you have no practical experience, so you can join the crew in the future, but it is impossible to be a producer, you can only perform the production under name. Filmmaker, join the crew as an individual.

The meaning of these words is very clear. Judy Kramer has no power in the crew, let alone engage in joint filming with her.

Judy Kramer responded, No problem.

Ronan nodded slightly, and said very politely: I'm also very glad that you, who understand Mamma Mia like this, can help and guide the work of the crew in the future.

Judy Kramer is also very humble: I am a learner.

Speaking of which, she took out a script from her briefcase and said, This is a movie script I adapted from Catherine Johnson a few years ago. If it can be used, my previous work will not be in vain.

Ronan was also polite. After receiving it and watching it, Judy Kramer said: I did a lot of work at the time. Katherine Johnson created a heart-warming and exciting story. I also I once lobbied the famous female director Phyllida Lloyd, wanting her to be the director of the film adaptation...

She didn't agree? Ronan asked.

Judy Kramer shook her head: Phyllida Lloyd is somewhat interested in the script, but I still can't get investment, and I don't have the money to hire Phyllida Lloyd as the director.

Ronan remembered the name Phyllida Lloyd in his heart, briefly read the script, and said: It is well written, but many places need to be revised.

Judy Kramer continued: I had a serious discussion with Catherine Johnson about the idea of ​​writing a movie script, and then I came up with this story about two generations of women's different views on love, as well as the two conflicts between reckless love and mature love. A completely different outcome, and then interspersed with stories of friendship, identity annotations and wish fulfillment.”

Ronan nodded lightly. There is no problem with the theme and framework of the story. This kind of content setting is relatively easy to arouse the corresponding resonance in the hearts of most audiences. An attraction that cannot be ignored.

Then there is the use of songs, which is the key and soul of musicals. Judy Kramer did a lot of work at the beginning, and even got the use and secondary creative copyright of some songs from the Abba music band. Basic, and then create a song suitable for the movie.

When he returns to Hollywood later, Ronan will not be completely limited to it, but will find professional musicians to combine script and stage music to create or adapt songs suitable for movies.

The frame of the script can be retained, but some content must be revised. This is a purely British story. The main market for the film in the future is North America, so it must be changed to an American story.

Ronan chatted with Judy Kramer all morning, and the negotiation between Connie and Judy Kramer's lawyer ended in the middle of the afternoon. The two parties needed to draw up a contract, complete a series of procedures such as copyright transfer registration, until On the morning of the third day, the formal transfer agreement was signed at the Ritz-Carlton Hotel.

Cutting through the mess quickly, Ronan was extremely efficient and got the movie copyright of Mamma Mia before the charity dinner.

Judy Kramer is very satisfied with this transaction. It is not easy for her to sell the project that has been in her hands for many years, exchange it for important working capital, and enter the crew of a major Hollywood company.

As for the success or failure of the film project, Judy Kramer thinks this way. If it succeeds in the future, she can learn from the experience of making successful films; if it fails, she can learn lessons.

It's only good for her, not bad.

On the afternoon of the day when the formal copyright transfer agreement was signed, Judy Kramer was in a great mood. When she returned to the company, she received a call from an old friend.

You mean Mr. Tom Hanks from Hollywood wants to talk to me about the film rights to Mamma Mia? What? You're going to my office soon?

Judy Kramer was a little surprised. Mamma Mia has been in her hands for many years, and she couldn't sleep because of worry when no one cared about it. Now, not only are people buying it, but each one is getting bigger and bigger.

Fifteen minutes later, Judy Kramer received Tom Hanks and his group in the company, facing the honest and kind Tom Hanks, and left a very good impression on Judy Kramer. impression.

But no matter how good the impression is, no matter how much you like this famous Hollywood superstar, it is impossible to sell one copyright for two.

The copyright of Mamma Mia is no longer in your hands? Tom Hanks was a little surprised: But when I checked the copyright the day before yesterday, the movie copyright is still in your hands.

Judy Kramer smiled wryly: I just signed a copyright transfer agreement with someone this morning, and I went through the final procedures for copyright transfer this afternoon.

Tom Hanks was a little dumbfounded, but he didn't show it. At the same time, he was curious who was ahead of himself and Pratton, and asked: Ms. Kramer, may I ask, which party did you transfer the copyright to? gone?

Judy Kramer didn't hide anything: The Sand Sea Entertainment Company under Hollywood Relativity Entertainment, and the boss of Relativity Entertainment, Ronan Anderson personally approached me.

It's him? Tom Hanks' simple and honest face was a little heavy: How could Ronan Anderson get ahead of us?

Nobody can answer that question for Tom Hanks.

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