Chapter 534: Get ahead

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 happily responded.
"Mr. Anderson, I have 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 abilities, I can't find When it comes to the right entry point, I am very happy that you can take a fancy to this project."
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 this." She sighed, "I used to adapt this project into a movie, and did a lot of effort, just to find a suitable screenwriter. It took me two years to find Catherine Johnson to adapt the screenplay. As a result, it took nearly three years to promote 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 his energy, but also his own emotions, so when the long-cherished wish a few years ago was possible to come true , Instead of setting up obstacles, she actively cooperated.
Judy Kramer continued: "I only got the film adaptation copyright of "Mamma Mia" at a high cost in the past. Most of my working capital was almost entirely on it, which directly led to the development of my company. If it weren’t for my luck, my company might 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."
Realizing the long-cherished wish and feelings of this project is one thing, but the actual benefits are another.
Judy Kramer has his own company and is not so much an inexperienced producer as a businessman.
"My requirements are actually not high." Judy Kramer said implicitly before, and he was afraid to scare away the only potential buyer now: "As long as the investment of the year can be recovered."
Ronan did not respond immediately, but instead asked: "Can you know how much money you spent on the copyright that year?"
Judy Kramer did not answer. Instead, he opened the briefcase, took out a contract, and handed it to Ronan, saying: "This is a copy of the authorization agreement signed that year. There is a specific price on it. I bought it for 1 million pounds. The film adaptation copyright and some other authorizations."
With this move, Judy Kramer is not only showing sincerity, but also proving that the copyright of "Mamma Mia" is in his own hands.
Ronan quickly flipped through the copy of the contract. With his current professionalism, he could naturally see that there was no problem with the contract.
"Ms. Kramer." Ronan closed the contract and returned to Judy Kramer, saying, "You make a price."
The other party's willingness to sell the copyright is very strong, and he doesn't want to be so troublesome, so he should be more direct.
Judy Kramer groaned slightly, and tentatively said: "1.5 million pounds?"
Ronan cut the mess quickly: "Yes, then 1.5 million pounds."
Hearing this, Judy Kramer breathed a sigh of relief. Although the value of the currency and the time cost of occupying funds are included, this 1.5 million pounds is just a return to the cost, but it is a movie that has been held in hand for so long. The project can finally be exchanged for important working capital.
Ronan added: "The details of the copyright transfer..."
Judy Kramer was a little anxious and said, "I'll just notify my lawyer and let him come over."
Ronan nodded and pointed to Connie who had been sitting next to her and said, "This is my assistant. She is responsible for receiving your lawyer."
"Yes." The key transaction price has been agreed, and Judy Kramer has no opinion.
Connie smiled at Judy Kramer, left the reception room, and contacted the lawyers of the British branch of Embassy Pictures to prepare for the next negotiation and signing of the agreement.
Judy Kramer didn't move, and seemed to have something to say.
Ronan chatted with her a few words about the unhealthy London weather. Judy Kramer tentatively asked again: "Mr. Anderson, you know I'm a producer, but I have always lacked practical experience. Can’t participate in the film adaptation of "Mamma Mia"."
She was worried that Ronan’s misunderstanding might affect the transaction, and said:
These are just some of my personal requests and have nothing to do with our copyright transactions.

Ronan pondered slightly and said, "Ms. Kramer, as you said, you have no practical experience, so you can join the future crew, but it is impossible to serve as a producer. You can only perform the system under name The filmmaker, join the crew as an individual."
The meaning of this is very clear. Judy Kramer has no power in the crew, let alone filming with her.
Judy Kramer replied, "No problem."
Ronan nodded slightly and said very politely: "I am also very glad that you who know "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."
Having said that, she took out a script from her briefcase and said: "This is a movie script adapted from Catherine Johnson a few years ago. If I can use it, my previous work is not in vain."
Ronan is also welcome. After taking it, Judy Kramer said: "I did a lot of work at the time. Catherine Johnson created a heart-warming and exciting story. I still I once lobbied the famous female director Felida Lloyd to make her the director of the adaptation of the film..."
"She didn't agree?" Ronan asked.
Judy Kramer shook his head: "Filida Lloyd is somewhat interested in the script, but I still can't get the investment, and I don't have the money to hire Felida Lloyd as the director."
Ronan remembered the name Felida Lloyd in his heart, and briefly reviewed the script and said, "It's well written, but many things need to be revised."
Judy Kramer said: "I had a serious discussion with Catherine Johnson at the time about film script creation ideas, and then I had this story about the two generations of women’s different views on love, as well as the two generations of reckless love and mature love. A completely different result, and then interspersed with the story of friendship, identity, and desire fulfillment."
Ronan nodded lightly. There is no problem with the theme and framework of the story. Such a content setting is relatively easy to resonate in the hearts of most viewers. It can be of any age, regardless of gender, or nationality. 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 also obtained the copyrights for the use and secondary creation of some of the songs of the Abba Music Band. Based on the foundation, then create songs suitable for movies.
Returning to Hollywood later, Ronan will not be completely confined to it. He will find professional musicians to combine the script and stage music to create or adapt songs suitable for movies.
The framework of the script can be retained, but some of the content must be modified. This is a purely British story. The main market for the film in the future is North America, and it must be changed to an American story.
Ronan chatted with Judy Kramer all morning. The negotiation between Connie and Judy Kramer’s lawyers did not end until mid-afternoon. Both parties needed to draw up a contract and complete a series of procedures such as copyright transfer registration. On the morning of the third day, the formal transfer agreement was signed at the Ritz-Carlton Hotel.
With a quick knife to cut the mess, Ronan is extremely efficient, and before the charity dinner, he got the film rights of "Mamma Mia".
Judy Kramer is very satisfied with this transaction. It is not easy for her to sell projects that have been in her hands for many years, exchange them for important working capital, and enter the crew of major Hollywood companies.
As for the success or failure of the film project, Judy Kramer thinks so. If it succeeds in the future, she can learn from the experience of making successful films; if it fails, she can learn lessons.
This is only good for her, not bad.
On the afternoon of the signing of the formal copyright transfer agreement~EbookFREE.me~Judy Kramer was in a good mood. He returned to the company and received a call from an old friend.
"You mean Mr. Tom Hanks from Hollywood wants to talk to me about the film rights of "Mamma Mia"? What? You are coming to my company soon?"
Judy Kramer was a little surprised. "Mamma Mia" had been in her hands for many years. She couldn't sleep when no one cared about it. Now not only are people buying it, but one is even bigger than the other.
Fifteen minutes later, Judy Kramer received Tom Hanks and his group in the company, facing the honest and kind Tom Hanks, leaving Judy Kramer with a very good impression.
But no matter how good the impression is, no matter how you like this famous Hollywood superstar, it is impossible to sell one copyright for two.
"The copyright of "Mamma Mia" is not in your hands?" Tom Hanks was a little surprised: "But when I checked the copyright the day before yesterday, the copyright of the movie was still in your hands."
Judy Kramer gave a wry smile: "I just signed a copyright transfer agreement with someone this morning, and went through the final procedures for the copyright transfer in the afternoon."
Tom Hanks was a little bit dumbfounded, but didn't show it, and at the same time, he was curious as to who took a step ahead of himself and Pretone, and asked: "Ms. Kramer, take the liberty to ask, to whom do you transfer the copyright? Up?"
Judy Kramer didn't hide it either: "Shahai Entertainment, a subsidiary of Hollywood Relativity Entertainment, and Ronan Anderson, the owner of Relativity Entertainment, came to me personally."
"It's him?" Tom Hanks's simple face was a little heavy: "How can Ronan Anderson get ahead of us?"
No one can answer Tom Hanks's question.
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