Chapter 860: Can do business

These people are all in the front line of the Hollywood industry chain, especially directors, producers, actors and screenwriters. The frequency of contact with scripts is very high. Some of them may pass by without leaving an impression, or some, Even if no company is willing to buy, they have left a deep impression.
The people Ronan wants to mobilize have a close cooperative relationship with Relativity Entertainment, and they also have relatively rich experience in the industry. They can feel that interesting scripts and projects are more likely to have production value.
More people will have more extensive contacts, and will see more scripts and projects.
And it was only for them to recommend it, and Ronan himself ultimately made the decision.
Both George Clint and Jessica Felton agreed with Ronan's proposal. This is undoubtedly a good way to expand the range of choices provided that the script cannot be separated from human review.
"I have some classmates and mentors who work in Hollywood." Jessica Felton said: "They can also be targeted."
Ronan nodded slightly: "Yes." He said to George Clint: "You are responsible for the specifics. You and Jesse will make a list. You can send letters or e-mails, plus my signature."
George Clint said: "Okay, I'll set it up when I go back."
Ronan added: "We have established a project blacklist within Relativity Entertainment, and recommended related projects or scripts are included in the blacklist, and then we select projects that can be cooperated to screen."
He specifically emphasized:
The blacklist is not necessarily the best original project. It can be adapted or other types. What can impress our collaborators shows its merits.

A critical group is moved, stimulated, and finds interesting stories, at least not bad.
George Clint has been thinking about it and added: "I think the company can systematize this measure, and subsequent collaborators can also be brought in."
Ronan nodded: "Yes."
Capital can bring higher efficiency to the cultural industry.
Jessica Felton said: "If the opportunity is right, we can also hold events like the Nikkor Script Contest."
Ronan said: "It's okay to have a suitable opportunity in the future."
If the e-mail recommendations from insiders who have cooperated are collected online, Jessica Felton's method is an offline supplement.
Hollywood also has scripting and screenwriting activities similar to the selection category, and it is also a good opportunity for some new screenwriters to get ahead.
Generally speaking, there are basically three ways for a newcomer screenwriter to make a career in Hollywood.
The first type is very common. After the script is created, many copies are printed and delivered according to the mailboxes of various film companies to hit the big luck.
Although the proportion of winners is appallingly low, it is not unique.
There are also lucky scripts that have been bought, but there is no possibility that screenwriters who are not screenwriters’ unions want to sell at high prices. The various minimum guarantees of screenwriters’ unions are for members, and the admission conditions of screenwriters’ unions are quite high.
The second is to participate in some Hollywood screenplay competitions. The most famous one is the Nicole Screenplay Contest hosted by the Academy of Motion Picture Arts and Sciences. If you can enter the top 20, you will not only get a bonus, but also a film company. Phone.
Compared with the first one, the second one is a little more reliable. Every year, new screenwriters emerge through this type of competition.
Of course, the so-called rookie screenwriter here refers to screenwriters who have no signed works.
This type of screenwriter may have worked in Hollywood for many years.
The third is to find a place where Hollywood directors, producers and senior film companies often go to work part-time, find ways to network and expand the circle, maybe after getting acquainted with them, send the script to these people, they will take a time to watch Look at the script.
Hollywood is a closed system.
This ensures that Hollywood has a relatively independent creative style, but it also brings a rigid selection model.
Ronan’s move did not break the Hollywood model. As a vested interest, too much change would do more harm than good to him and Relativity Entertainment.
This is entirely based on Hollywood’s traditional script selection channels, and only uses the contacts formed by the filming and production of Relativity Entertainment to expand the horizons of selection, not just within the Relativity Entertainment.
In fact, James Huang recommended Wen Ziren, and James Cameron recommended his special effects director. This model has already been in its embryonic form.
The three of them negotiated to the end and determined a lot of specific details, and even the roster of future recommended projects was determined-called "real-time blacklist"!
The specific implementation is by George Clint, and it is not difficult to get the support of some people with the appeal of relativity entertainment.
Moreover, this is not a free recommendation.
After George Clint left, Jessica Felton didn't leave for the time being, and said to Ronan: "The company is drawing funds recently. Is there a big move?"
"Yeah." Ronan nodded slightly: "There are some actions that have been planned long ago to be implemented."
He would not say specifically, even if he knew that Jessica Felton would not disclose it casually, Ronan, as the company's controller, could not talk to anyone outside the plan.
Jessica Felton is also a smart woman. Seeing that Ronan didn’t say anything in detail, she didn’t continue to ask, and instead said,
I’m discussing with the Embassy Pictures, and I’m going to let Juno participate in Europe next year. Three major film festivals."
Ronan asked, "When will the shooting of Juno start?"
Jessica Felton said: "Filming can start before the New Year, the Cannes Film Festival is a bit tight, and I should go to Venice."
The theme of "Juno" is not suitable for the Berlin Film Festival.
Ronan never intervened too much in the "Juneo" project, and directly said: "You just make the decision." He asked, "What about "Fast and Furious 4", what are your plans?
"It's better to wait for "Fast and Furious 3" to be released before making a decision." Jessica Felton is also very cautious: "I want to see the market response on the spot and count the audience's feedback data in order to make timely adjustments. ."
Ronan said: "Also, what we shoot and produce is a commercial film aimed at the general public. The market response is very important."
Market research, audience testing, review, modification, renovation and reprocessing are all essential links for modern commercial films.
Jessica Felton said: "I recently got a market survey on the "Pirates of the Caribbean" series. The data shows that after the first two films were screened, more than 70% of fans said that as long as there is Jack Si If Captain Palo is there, they will always watch "Pirates of the Caribbean", regardless of the film itself."
She said seriously: "In the future, we will shoot "Pirates of the Caribbean 4". Captain Jack Sparrow is the core we can't get around."
Ronan knew the meaning of these words: "Don't worry, even if the fourth film is filmed, it will be five years later. The Johnny Depp at that time may not be the current Johnny Depp."
Jessica Felton still has a headache: "Who would have thought that a magic pirate movie was about to become a pure fan movie."
Ronan smiled and said, "This is the charm of Jack Sparrow, isn't it?"
Jessica Felton looked at her watch and said, "I'll talk another day. I asked Sophia Coppola to see the location. I guess she will be there soon."
Ronan said: "Control this project. If all goes well, Juno will appear in the awards season next year."
Jessica Felton said, "I understand."
Sending away Jessica Felton, Ronan finished reading the remaining scripts transferred by Shahai Entertainment. Like most of the time, there was no type that made him shine.
Ronan didn't feel disappointed. This is normal. Seeing a valuable script is an accident.
Relativity Entertainment will establish a "real-time blacklist" mechanism internally, which may bring some surprises.
If this mechanism can be successful, it may be able to make a successful business like the previous Hollywood script blacklist.
I vaguely remember that the Hollywood person who created the "blacklist" later set up the "screenplay blacklist" website, which really made the recommended scripts a very successful business.
This "blacklist" is far less simple than it seems.
Ronan didn't know much, but one thing impressed him quite deeply.
After the "blacklist" is upgraded from email information to a website, if the playwright wants his work to be seen by more people, he can pay for the fixed anonymous professional judges on the website to give opinions, including scoring and short evaluations on strengths and weaknesses. And commercial possibilities.
Scripts with high scores can be pushed to good positions and recommended in email journals.
It is estimated that most people are familiar with this mode of website operation.
This is also in line with the Hollywood environment ~EbookFREE.me~ After all, it is a business circle, and everything can be commercialized.
Of course, as far as relativity entertainment is concerned, this aspect will not be considered for the time being.
Ronan's purpose is to find valuable film and TV drama projects in a wider range.
George Clint moved very fast. He drew up a preliminary plan that afternoon and can start implementing it within this week. It is expected that some feedback will be received this month.
When Ronan was about to get off work, he received a call from Harvey Weinstein. Harvey Weinstein asked about Disney again, especially related to Michael Eisner.
The conflict between the Weinstein brothers and Michael Eisner is well known in Hollywood, and such problems seem normal.
Ronan, as before, told Michael Eisner very seriously that Relativity Entertainment is still taking in Disney’s shares, and even suggested that he go to Disney’s shareholder meeting together to see how Michael Eisner was relativized. Entertainment and Roy Disney ousted.