"Because it's been delayed for so long, several of the original actors have dropped out, and we're currently recasting. I'll probably head to Arizona on the 20th," Kathryn told Simon about her schedule as they walked side-by-side along a clean asphalt path in the Fox Studio lot.
She inadvertently glanced at Janette, who was intimately clinging to Simon's arm on the other side, and then added, "I've already spoken with Mr. Feldman, Simon. If you come to help, you can be my assistant director. However, if you have other things to do, you don't have to come. The promotion and distribution of 'Run Lola Run' will probably be very troublesome".
Having confirmed his relationship with Janette, Simon no longer intended to explore his special feelings for Kathryn. He also realized why Kathryn said what she did, but he shook his head with a smile and said, "I don't plan to personally handle the promotion and distribution of 'Run Lola Run'. I just need to finalize the distribution contract with the film company. Once that's done, I won't be too busy for the next few months. So, I'll definitely be able to make it to your set before the end of the month".
Kathryn's heart had inexplicably fluttered when she spoke earlier, but hearing Simon's words, she merely nodded lightly, her gaze drifting away as she said, "Alright then".
It was not long before quitting time, and Kathryn and Janette still had to return to Malibu together.
Simon escorted the two women to the fork in the road leading to the parking lot, then parted ways with them, turning alone towards the executive building where Peter Sanders was located.
Walking towards the parking lot, Kathryn saw Janette, after parting with Simon, intimately link arms with her again, and casually asked, "Aren't you planning to move in with Simon?"
Janette shook her head. "No way. Of course, I'm staying in my big house by the sea. His place isn't comfortable at all".
Kathryn couldn't help but tease, "You're so high-maintenance, Simon is definitely going to suffer later".
"Heh heh, well, he's a man, isn't that how it should be?"
Kathryn also laughed, then changed the subject. "After 'Near Dark' is filmed, I'll look for a house in Los Angeles. Then, you can have Simon move to Malibu too".
"I've already talked to Simon about this. The house in Malibu is so big, it would be fine even if all three of us lived there, but he's unwilling," Janette said with a hint of slight frustration, then huffed, "Such a chauvinist".
"You don't want to move there, and he doesn't want to move here. So what are you two going to do?"
"Wait until he earns enough money to buy a big house," Janette said, rubbing against Kathryn, then giggled, "But, living separately is actually not bad. If we moved in together too quickly, I think I'd be killed by that beast".
Kathryn, seeing Janette start to speak without filter again, felt her cheeks warm slightly. She raised her hand and tapped her on the head, saying unceremoniously, "Shut up, I don't want to hear about your messy affairs".
"Ouch, that hurt, hehe".
Simon arrived outside Peter Sanders' office. After the secretary announced him, he waited for a moment before he was allowed to enter.
As the secretary opened the door, Simon vaguely saw Peter Sanders on the phone. By the time he walked in, the other party had already hung up, stood up, shook his hand across the desk, and then sat back down.
After exchanging greetings, Simon placed the briefcase containing the copy of 'Run Lola Run' at his feet and sat down opposite Peter Sanders.
"Simon, it's almost quitting time, so let's get straight to the point," Peter Sanders said once Simon was seated. "For a young man like you, being able to make a film like 'Run Lola Run' is very rare. However, the subject matter of this film is too niche. The three-act structure and video game-like setting, while novel, will definitely appeal to a very small audience. The chances of a theatrical release are not high; it's most likely to go straight to the video market".
Business is business.
Although Peter Sanders spoke in a tone that didn't favour 'Run Lola Run', Simon listened calmly, patiently waiting for the other party to make an offer.
Peter Sanders secretly observed the young man opposite him as he spoke. Seeing that the other party appeared to be listening attentively but showed little change in expression, he stopped his skirting around the issue and said, "I just spoke with Mr. Goldberg. Because Brian and the other two are credited, and also because this film can indeed help promote the 'butterfly effect' concept, Fox is willing to buy it for 800,000. What do you think?"
Hearing the 800,000 US dollar offer, Simon didn't have much of a reaction. Instead, he asked seriously, "Mr. Sanders, is 800,000 US dollars for all rights?"
Peter Sanders nodded and said, "Of course. For $800,000 , Fox will acquire all rights to 'Run Lola Run' for a period of 20 years. After 20 years, the film rights will revert to you".
Permanent copyright transactions are rare in Hollywood, but contract terms lasting decades are enough for film companies to squeeze every penny of profit from a work.
Simon finally shook his head and said, "That won't work, Mr. Sanders. The price is too low".
Peter Sanders was not surprised by Simon's refusal and patiently said, "Simon, $800,000 is a very reasonable price. You only spent $650,000 to make this film, right? A profit of $150,000, roughly a 20% profit margin, which is already far above the average return level for Hollywood films".
In reality, as of now, the final production budget for "Run Lola Run" was 597,000 US dollars, with approximately 53,000 US dollars remaining in Daenerys Entertainment's account.
However, Simon naturally wouldn't argue these points with Peter Sanders. Instead, he said, "Mr. Sanders, I believe your calculation is flawed. A 20% profit margin on a $10 million budget film and a 20% profit margin on a $650,000 budget film are two entirely different concepts".
Peter Sanders smiled slightly and said, "Of course, you yourself are clearly aware that a $10 million budget film and a $650,000 budget film are also two different concepts."
"Alright," Simon shrugged and said, "Mr. Sanders, actually, I was wondering if we could sign a revenue-sharing agreement".
Peter Sanders flatly refused, saying, "Impossible, Simon. This is Fox, and we don't have the energy to do a revenue-sharing distribution for a B-movie with a production cost of only a few hundred thousand dollars".
"Mr. Sanders, 'Run Lola Run' only has a B-movie budget, but it is definitely not a shoddily made B-movie".
"Perhaps, but you must understand, Simon, for a big company like ours, promotional and distribution costs are very high. A slight operation might make the investment in this area exceed your budget for producing 'Run Lola Run.' So, we can only offer you a buyout contract for this film".
Simon thought for a moment and said, "Then, Mr. Sanders, a buyout is fine. However, I hope to temporarily only sell the North American theatrical distribution rights for 'Run Lola Run'.
"I just said, Simon, this film is very likely not to get a theatrical release."
"This is a prerequisite for cooperation," Simon's tone became slightly more assertive. "If Fox is unwilling to do a theatrical release for 'Run Lola Run,' then no matter what terms you offer, I will not agree".
"Fox will not give you such a guarantee," Peter Sanders' tone also became equally firm. "Simon, you are not yet qualified to ask Fox for such a guarantee, nor would any of the other six major studios".
"Then," Simon showed a regretful expression and stood up, saying, "Mr. Sanders, thank you very much for taking the time this afternoon".
Peter Sanders saw that Simon had already picked up the briefcase, and a troubled expression appeared on his face. After a slight hesitation, he gestured to Simon to wait.
Simon didn't insist and sat back down.
Peter Sanders said, "Simon, I know you're going to the Sundance Film Festival, but compared to the Oscars or the major international film festivals, Sundance has very little influence. Even if you win an award, it won't have much impact on the visibility of 'Run Lola Run.' So, $1 million, that's the highest offer I can give you".
Regardless, Simon was still very eager to collaborate with a major film company, and Peter Sanders was currently the only senior executive from a major film company he could access.
All the preliminary arrangements had been made, so there was no longer any need to conceal certain things.
Simon pondered for a moment, not taking Peter Sanders' new offer, but instead said, "Mr. Sanders, Sundance may not have much influence. However, the gimmick of 'Hollywood's youngest director' should be able to attract some attention, right?"
Peter Sanders heard this, observed Simon for a moment, then laughed and said, "Simon, if we're talking about youth, Spielberg started making films at 13. Do you think you were as young as he was then?"
"It's a pity I didn't have the opportunity to use a Super 8 camera when I was 13, otherwise I might have been able to shoot a film too," Simon just smiled indifferently and said, "However, if I'm not mistaken, Spielberg's first standard theatrical film was 'The Sugarland Express,' released in 1974, when he was already 28 years old".
Peter Sanders still spoke with a hint of teasing, "So, what about you, Simon? Could it be 18?"
People who weren't very familiar with Simon, seeing his actions, often assumed he was older.
Peter Sanders was like this, especially after just watching 'Run Lola Run'. He felt even more that to be able to produce such an excellent film, Simon was likely a graduate of a top art school like USC Film School.
If that were the case, Simon should be at least 22 years old.
A top student from a prestigious institution, making a film at 22, while still rare in Hollywood, wasn't considered particularly special news.
Facing Peter Sanders' teasing, Simon unhurriedly pulled out his driver's license, handed it over, and said, "You guessed correctly, Mr. Sanders. I am indeed 18 years old".