Behind The Spotlight Chapter 58
"We can discuss the finer details once we finalize the initial agreement. For now, I want this project under our control before other studios hear about it. They probably won't sign with us if we don't meet their conditions but that doesn't matter. This movie will be released under our company, no matter what it takes."
Everyone in the room nodded in agreement. The fact that they had kept Wyatt and Henry in a separate room instead of sending them away spoke volumes. It was a clear sign of interest and a desire not to let them walk.
More importantly, there was a fear that if Wyatt and Henry left the premises, they might pitch the script to another studio, potentially triggering a bidding war. That was something Uni-versus Pictures wanted to avoid at all costs.
Henry and Wyatt had chosen Uni-versus Pictures as their first stop because Wyatt already had a successful collaboration with them on his debut film. The studio was already familiar with his capabilities, making the partnership smoother and more efficient.
Noah had no intention of letting this project slip through their fingers. If they had to make the first move to secure it, then so be it.
"Call them back. Start negotiations as soon as possible before they have a chance to change their minds. I don't want any other company interfering or getting ahead of us."
Noah saw the potential of this movie clearly. Like The Accidental Wedding Crashers, Week On A Cruise Ship was filled with adult humor and sharp comedic timing. It would likely receive an R rating, but that wouldn't hurt its profitability or appeal.
After all, The Accidental Wedding Crashers, despite its R rating, had grossed over $251 million worldwide. In 1995, that kind of box office performance was phenomenal.
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"Henry, the holidays are still four days away, and now you're saying I might not get a single day of rest?" Collin said with a wry smile, phone pressed to his ear.
Henry had just called to inform him that Uni-versus Pictures was ready to begin negotiations much sooner than expected. Collin would represent Wyatt, while Henry would negotiate on his own behalf.
Some producers had agents, while others preferred not to. Especially for large projects where agents would take a cut of their earnings. It was all a matter of preference and capability.
But for directors and actors, agents were a necessity. Their careers were opportunity-driven, and they needed someone to protect and promote their interests.
To avoid souring the relationship between studios and their clients over financial matters, agents stepped in as negotiators, acting as a buffer. That way, if things got heated, the resentment would fall on the agent, not the talent.
Just remember what happened when Collin negotiated Lawrence's salary with producer Balthazar Harper. The man had said some brutal things. If Lawrence had negotiated personally, he wouldn't have lasted five minutes. He might not have walked away with even $100,000 despite his talent.
Collin's job was to pursue the best possible outcome for his client, even if it meant playing the villain in the room.
"Alright. I'll go to Uni-versus headquarters tomorrow and start the talks with the executives. I'll hang up now, I need to call Wyatt next. Drive safe."
The next call went to Wyatt, who was still with Henry when his phone rang. Henry waved goodbye and left the room, giving Wyatt space for the conversation.
"How much do you realistically want to earn from this project?" Collin asked. "Keep in mind, you're not just the screenwriter. You're the director and the creative visionary behind this story."
"Is it possible to earn $4 million plus a box office share?"
"Completely possible and even reasonable," Collin answered. "Honestly, if I'm right, Uni-versus wouldn't even flinch at a $7 million salary if they believe in your value. But the box office share? That's a different story. That eats into their profit, so it's a tougher negotiation. Would you rather prioritize a larger direct salary or the share? Keep in mind, the share will take a while to arrive."
They had already experienced this with The Accidental Wedding Crashers. It had taken two months for the first box office payout to come through.
"Well, I'm confident this movie will be a success. You said it yourself, I should always believe in the success of my films, especially comedies."
"Exactly, and that mindset will serve you well." Collin smiled, proud of how much Wyatt had grown.
"Then let's prioritize the box office share. Let's meet today and finalize our contract before the meeting with the studio."
Collin, under their agency agreement, could earn a 10% commission from Wyatt's salary.
However, box office bonuses were separate and had to be negotiated independently. Both parties needed transparency to preserve trust.
Later that afternoon, Wyatt arrived at the ANT headquarters and found Collin standing in a small but newly claimed office on the 6th floor, looking pleased.
"I finally got my own office," Collin laughed, gesturing proudly at the modest space.
It wasn't large, but it was his, and that meant something. Thanks to The Accidental Wedding Crashers and representing a director with rising clout, Collin's status at the agency had improved. His base salary had jumped from $30,000 to $50,000 a year, a huge leap.
It was proof that he was no longer just a small-time agent. He had earned respect in the industry, especially now that his client was a promising young director.
"That's great," Wyatt said, eyeing the new space. He had seen Collin's old cubicle, it was clear this was an upgrade worth celebrating.
"Next year, I'll build a team to prioritize your career and help manage everything around you."
Collin didn't elaborate. He also didn't mention that having a team would likely reduce his personal commission, but that could be discussed another time.
The two sat down and quickly drafted a simple but legally binding agreement.
The terms were straightforward and fair.
For every 1% of box office share that Collin successfully negotiated, Wyatt would pay him a $100,000 bonus. With one of the company's lawyers present to witness and confirm the terms, they signed the contract and left ANT headquarters to grab a meal and talk more about the project.
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The next morning, Collin adjusted his tie with care before walking into the office of Uni-versus Pictures' Chairman. He carried himself with the calm composure of a man ready for a tough negotiation. The secretary opened the door, and Collin thanked her with a polite nod.
Inside, he saw a man seated at a polished wooden desk, gold trim, and everything about it screamed authority. Chairman Noah Nash rose to his feet and approached Collin with a smile that didn't quite reach his eyes.
The moment Collin stepped in, his instincts flared. He immediately sensed that this man was dangerous, someone accustomed to power and control. There was an unmistakable aura around him, as if years of hidden dealings and shady power plays had left an imprint on his very presence.
Thankfully, this was just a negotiation, not a partnership. Collin wouldn't have to deal with Noah on a daily basis, which was a relief.
'Balthazar had a bad vibe and a short temper, but Chairman Noah is on another level entirely.'
Collin kept a pleasant smile on his face and reminded himself to stay sharp.
"It's nice to meet you, Chairman. Thank you for the opportunity."
"Just call me Noah, no need for formalities. You're Collin, right? Come, sit. Let's talk about your client's project. Do you prefer coffee or tea?"
"Coffee, please, if it's not too much trouble."
They took their seats across from each other. Between them was a small table adorned with an antique ceramic tea set. The secretary brought over the coffee and a plate of nicely arranged pastries.