Chapter 86 Full of Sincerity

Reduced to eighty thousand dollars, Ronan felt it was still a bit high. Subconsciously, he wanted to continue bargaining, but after some thought, he said, "Director Maklik, let's hear your conditions first."

Daniel Maklik licked his slightly dry lips and said, "This film must be released in theaters, with no fewer than..."

He had intended to say one thousand theaters, but after a pause, he amended, "No fewer than 500 theaters!"

This would ensure that his name as a director would be noticed by many media outlets, film companies, and even fans.

Ronan could tell that Daniel Maklik had more to say but refrained from interrupting.

"The eighty thousand dollars is the basic transfer fee for the rights," Daniel Maklik hadn't given up on seeking more favorable terms: "After the film is released, I request either a box office bonus or a percentage of the box office revenue."

Ronan remained silent, waiting for Daniel Maklik to continue. It was easier to refute his points after he finished speaking, saving him the trouble.

It wasn't surprising to hear such demands during negotiations; everyone wanted the best deal for themselves.

Daniel Maklik continued, "The bonus and percentage will increase with the box office revenue. If the North American box office of this film exceeds five million dollars, I want no less than three hundred thousand dollars in box office bonuses!"

"Five million dollars?" Tony couldn't help but interject. "Can this film even make five hundred thousand dollars?"

Ronan raised his hand to stop Tony from speaking further, then spoke slowly, "Director Maklik, do you understand Hollywood film distribution?"

"I..." Daniel Maklik certainly wouldn't admit, "know a little."

Ronan shook his head, "Five hundred theaters, you make it sound easy." He glanced at Daniel Maklik. "Five hundred theaters mean at least five hundred film copies. The cost of one film copy, from printing to storage to transportation and insurance, is at least fifteen hundred dollars."

Daniel Maklik's face soured: Had he asked for too much?

Ronan calmly stated, "Five hundred copies would cost seven hundred and fifty thousand dollars. How many small productions can this money buy? And how much risk does Relative Entertainment have to bear for publicity and distribution? I'll be investing over a million dollars, if not more, in a film that you've made for just twenty to thirty thousand dollars."

He shook his head again, "You're not negotiating; you're extorting."

"These conditions ensure the interests of both parties," Daniel Maklik argued strenuously.

Roger stated plainly, "You're just ensuring your own interests are maximized. Business cooperation is about win-win. According to your conditions, Relative Entertainment will suffer massive losses."

He sighed, "That's it."

Tony stood up directly, "Forget it, Ronan. There are plenty of small productions out there, much better than this DV recording."

One purpose of negotiations is to make the other party believe that what they have isn't as valuable as they think.

Obviously, this DV recording called "The Blair Witch" was rubbish from every angle.

Ronan had watched the roadside screening yesterday, and the difference between this film and what he remembered was huge. From the director's editing alone, it was truly terrible.

But it was understandable. Someone so poor they had to use a DV camera to make a film wouldn't have much skill to begin with.

"Wait... Wait a moment," Daniel Maklik saw his attempts failing and hurriedly said, "Let's discuss terms. Cooperation is about eliminating differences, right?"

Ronan didn't waste words anymore, "Eighty thousand dollars, a one-time buyout of all rights, including sequels."

Negotiations couldn't always be about pressure. After suppressing Daniel Maklik, Ronan began to offer some sweeteners: "We'll release the film in North America in no fewer than fifty theaters in the future; at the appropriate time, we'll hold a media event for the film, ensuring that no fewer than ten media outlets will interview the director and other key crew members."

Hearing this, Daniel Maklik's eyes lit up. Fame meant broader prospects for the future.

Ronan continued, "In addition to theaters, we'll also distribute the film extensively on videotapes, DVDs, television, and new media on the internet, so that more viewers can see Director Maklik's work."

Perhaps due to the psychological difference brought about by being suppressed, Daniel Maklik felt these terms were acceptable.

That was exactly the effect Ronan wanted.

Of course, Ronan was well aware that if the film truly developed as planned, Daniel Maklik and other key crew members would need to cooperate in the future.

For example, they would have to bear the blame for any negative impact caused by the film.

So, there needed to be appropriate incentives.

"In cooperation, there must be mutual benefit, which is the principle Relative Entertainment has always upheld," Ronan seemed particularly generous. "If this film can earn one million dollars at the box office in North America in the future, no... "

Ronan showed sincere intent, "As long as the total revenue of the film reaches five hundred thousand dollars, Relative Entertainment will provide a fifty-thousand-dollar one-time bonus for the main creative team!"

Regardless of how much the film earns in the future, there would only be a fifty-thousand-dollar bonus.

Who could think too far ahead? Most people would be tempted by immediate benefits.

Especially after rejecting the so-called progressive bonuses and profit sharing, Ronan took the initiative to suggest adding a box office bonus, making Daniel Maklik feel the sincerity.

Beyond sincerity, he could also sense that the other party truly didn't have much faith in this film.

Ronan emphasized again, "All the terms I've mentioned will be noted in the contract."

Daniel Maklik finally nodded, "Agreed."

In any case, he had earned a large sum.

"I also have a request," Ronan didn't wait for Daniel Maklik to respond, he said directly, "All key crew members need to cooperate with pre and post-release promotion and distribution. They must sign relevant contracts. Of course, promotions will focus on you as the protagonist."

"And, I will edit the film appropriately to meet the needs of the release. You must provide all the shooting materials."

Daniel Maklik thought there would be some special, stringent requirements, but he didn't expect these terms, which were favorable for increasing fame. He immediately agreed, "No problem."

Ronan added, "I have other films to see; I can't spend too much time on one project. I hope our cooperation can be formalized in writing as soon as possible."

After some thought, Daniel Maklik said, "The main creative team of the crew, including me and Eduardo, are in Park City."

"That's fine," Ronan said casually. "You provide contact information. After the film festival ends, I'll have someone from the company contact them to sign the contract. Oh, you should inform them in advance."

"Okay," Daniel Maklik had no problem.

After contacting his companions, Daniel Maklik quickly returned.

The deal was also reached.

That afternoon, after Ronan and Daniel Maklik submitted the relevant materials, under the witness of the committee staff and lawyers, Ronan, representing Relative Entertainment, and Daniel Maklik officially signed the copyright transfer agreement for "The Blair Witch." Afterwards, they completed the copyright change registration at the Copyright Bureau, and the transaction was formally completed.

Ronan obtained the film and spent another two days with Tony at the film festival, but they didn't come across any valuable indie productions. Those independent films with budgets of several million or even tens of millions of dollars held no value for him and his nascent Relative Entertainment.

Soon after, Ronan returned to Los Angeles with "The Blair Witch" in tow.