Chapter 89 Opportunistic Tactics

The initial plan was feasible, and as the discussion progressed, it became apparent that compared to the experienced professionals at Embassy Pictures, Ronan lacked in specific details and execution.

Such discussions were beneficial for Ronan to gain experience.

During the discussion, several plans were finalized.

Garcia personally took charge of distributing this film, with Robert and David Belya as deputies, while competent personnel were selected from the distribution and publicity departments to participate.

Thomas and Terry continued to develop the distribution plan for "Death Is Coming."

The initial funding for these two projects was temporarily provided by the parent company, Relativity Entertainment, through loans.

To be precise, all distribution funds for "Death Is Coming" would flow through Relativity Entertainment's accounts, then provided to Embassy Pictures as company loans.

These loans would accrue interest, which would be deducted from the film's early total revenue.

This was to accumulate experience for the accounting of the subsequent two films.

"A few things to note," Ronan said calmly. "Secrecy must be ensured. The post-screening publicity plan should focus on the film's creators. The company needs to establish an internet publicity department and communicate well with theater companies, inviting them for a trial screening."

Garcia nodded gently. "I'll formulate the relevant plans."

Ronan looked at Robert. "You'll personally meet with the main creative team of the film, sign contracts with them, and also gather some folklore about witches from the East Coast, especially those with high circulation."

He continued, "I'll communicate with Jessica Felton to arrange for the film's re-editing."

It was undoubtedly a risk. Any film investment was inherently risky.

For the company to develop, taking risks was inevitable, especially in the current Hollywood landscape, where resources were almost monopolized by the six major companies.

Ronan understood that only those bloody, crude, rule-breaking films could truly make the company powerful.

Film investment was a high-risk endeavor, especially when aiming for large gains from small investments.

More funds were needed; Relativity needed funds, and both Sahara Entertainment and Embassy Pictures needed funds.

Only with sufficient funds could they avoid becoming pawns and playthings of the six major companies.

Once "Blair the Witch" succeeded, it would bring in tremendous cash flow.

In the Hollywood food chain, the survival of small and medium-sized companies depended heavily on risk-taking because most major companies lacked the courage for such ventures. It wasn't because they lacked capital but because they saw no need for it.

This was the inevitable conservatism of oligarchs. If they knew something would sell well, why change it? However, companies like Relativity, Artisan, Miramax, and October, to gain massive profits, had to dare to take risks.

So, most of the blockbusters, which seemed to be from the six major companies, actually originated from smaller studios or were bought for distribution.

Ronan made a phone call, and Jessica Felton quickly returned to the screening room.

"What happened?" Ronan pointed to the stain on her chest.

Jessica Felton's tight shirt had been clean when she left earlier.

Jessica Felton looked down but couldn't see her feet, saying sadly, "Bought a cup of coffee and bumped into someone, spilled it on me. It's nothing."

"Hot coffee?" Ronan was curious.

Jessica Felton nodded. "Yeah."

Ronan had the urge to ask if it burned those two spheres, but he refrained. What if this hygiene-neglecting tech enthusiast took off her shirt here? That would be hard to explain.

"You've been free lately, right?" Ronan got to the point. "Can you start working?"

Jessica Felton furrowed her brow. "You're not asking me to edit this DV recording, are you?"

It wasn't hard to guess.

Ronan spread his hands. "It's still a formal film, better than stewing at home alone, right?"

As long as there was footage to edit, everything else was negotiable. Jessica Felton only considered for a few seconds before agreeing. "I can take on the job, but I'm out of money."

Ronan asked, "Didn't you receive an advance payment when you signed with the 'Death Is Coming' crew?"

"Research and practice cost money, and film is expensive!" Jessica Felton said straightforwardly. "Same weekly pay as 'Death Is Coming.'"

Ronan shook his head. "This is just for editing modifications, not starting from scratch. It's too expensive." He bargained, "2000 dollars a week."

Jessica Felton extended her hand. "Deal, but you need to prepay me $6000 salary."

Ronan patted her hand. "Agreed."

Jessica Felton shook her hand, feeling the pain from being patted. "I want my salary. Why did you hit my hand?"

"Wait for the contract." Ronan said directly. "After signing the contract, I'll advance you half the payment."

Jessica Felton glanced at her slightly red hand and said, "I make a living with my hands. What if they're hurt?"

Ronan coughed. "Let's talk about the editing."

Speaking of work, Jessica Felton immediately became serious and asked, "How do you want to edit this film?"

"The interviews with the townsfolk in the previous segment should have unnecessary protagonist monologues removed to make it look more like pure interviews."

Having just watched the film, Ronan remembered quite clearly. "The camera shaking is too severe; all unrelated shots need to be cut. Additionally, use camera transitions to create a terrifying atmosphere as much as possible."

Even without a witch appearing throughout the film, it could still scare people.

Jessica Felton asked, "Do you want to make it more like a horror film?"

"No, no..." Ronan raised his finger and waved it. "The first principle of re-editing this film is to make it look like a genuine DV recording, as if it were shot by adventurers. Currently, there are too many loopholes; even through the sparse trees, you can see busy highways. Would a witch live in such a place?"

Jessica Felton was a capable and stern editor, who immediately understood Ronan's intentions. "You want to use psychological, auditory, and visual cues to induce the audience to believe that these are real events, right?"

Ronan gave her a thumbs up. "Smart, just as I expected from the editor I chose."

"It's difficult." Jessica Felton shook her head. "The film is poorly made, with obvious traces of falsehood in both character development and the setup of many plotlines. Moreover, the portrayal of anxiety and breakdowns under heavy burden by the characters in the film seems contrived and unnatural. It's impossible to achieve your goal through editing alone."

She tapped the stain on her shirt. "Not all viewers are idiots."

Ronan nodded. "You're right. Of course, we can't rely solely on editing. I have other preparations."

"Okay, I won't ask further." Jessica Felton didn't continue the discussion. "When do we start?"

Ronan thought for a moment. "I'll contact the post-editing studio tomorrow... Um, next week. Let's start from next Monday, and remember to come to Sahara Entertainment tomorrow afternoon to sign the contract with me."

Jessica Felton checked her phone for the time and waved her hand. "Got it, I'll leave now if there's nothing else."

Ronan escorted her out of Embassy Pictures and chatted with Garcia about work before leaving.

In fact, what Jessica Felton said made sense. Even if this film was shot from the beginning in the style of a 'real DV' recording, the content presented was clearly rushed and hysterical.

Without corresponding promotional methods and various forms of subconscious hypnosis and 'deception' regarding whether this film belonged to 'real footage' for the audience, success would be impossible.

This kind of success could only be considered an anomaly in Hollywood. It relied on catering to preferences and opportunistic tactics, destined to be used only a limited number of times. Once the audience became familiar with such tricks, the result would inevitably be criticism and condemnation for "playing the audience like monkeys."

So, it's essential to push the creative team to the forefront at that time.