Hollywood Hunter

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As a country with three separate powers, the legislative power of the United States is mainly in the hands of Congress.

The core work of members of the Senate and House of Representatives after being elected is to propose, formulate, modify or repeal various bills according to the actual situation of all walks of life in the United States.

The US Congress accepts thousands of bills of various types every year, ranging from the national economy and the people's livelihood to the trivial.

Of course, the importance of the bill also differs.

Take Hollywood, for example, the Motion Picture Association of America (mpaa), which is mainly responsible for helping major Hollywood studios lobby, one of the recent lobbying focuses is to abolish the merger restriction bill between Hollywood studios and PBS.

The repeal of this bill will involve tens of billions of industrial changes.

On the other hand, it is natural that MPs cannot just sit in their office and conceive certain bills out of thin air.

Most bills are negotiated by members of the public, unions, business owners, interest groups or federal agencies and members of the House and Senate.

As a result, the United States has created countless professional lobbying firms responsible for connecting various groups and members of Congress.

Although the so-called lobbying in the United States cannot avoid behind-the-scenes power games or exchange of interests, it is generally very formal. On the surface, at least, no congressman would be so foolish as to accept the other party's invitation to dinner, gifts and red envelopes, knowing that some people want something from them.

Getting a bill to work starts with making connections, usually lobbying firms.

If you can't find the "temple gate", everything is in vain.

It is worth mentioning that most of the lobbying and consulting companies are often established by politicians who have left the US departments at all levels. The more top-level politicians are, the higher the fees will naturally be. This is another form of high salaries.

With the huge number of bills submitted by the US Congress every year, it is conceivable that these people have huge incomes.

Once you get in touch with your contacts, it is impossible for others to help you persuade a congressman to submit a bill without any evidence, and it is even less possible to directly put money into the hands of some people for you. What kind of bill you want to promote, you must collect and organize the corresponding data to prove the necessity of enacting or repealing a bill.

After obtaining enough data, lawmakers draft a bill and submit it to Congress, and then enter the process of deliberation, debate, and voting.

The process after the bill is submitted is often the focus of the game.

In most cases, the more important the bill is, the more you can ensure the passage of the bill than just your solid evidence and data.

This requires the promoters of the bill to continue to show their magical powers, political disputes, mutual compromise, public opinion building, interest exchange, etc., and so on.

The frequent back and forth between the White House and Congress on the annual government budget bills and even cause government shutdowns is the most intuitive manifestation of this game.

Of course, most of the dark confrontations hidden behind the scenes are often not visible to ordinary people.

The bill that Simon discussed with Joseph Schlapp this time is that operators are not allowed to participate in the field of telecom equipment manufacturing, which is a relatively important economic bill. It will take about two or three years from the proposal to the vote, and perhaps lobbying together with other telecommunications regulation bills.

The two negotiated for more than an hour, initially finalized some details, sent Joseph Schlapp off, and Simon boarded the plane at Westchester County Airport near Greenwich to return to the West Coast.

Back at Cape Dumay, it's just lunchtime on this side of the west coast.

After having lunch with Janet and casually chatting about this trip to New York, Simon rushed to Daenerys Studios for work in the afternoon.

Today is Monday, May 20th.

The following Friday, the summer of 1991 will begin.

However, today is another day. Another Cannes Film Festival in France closes today.

There is a 9-hour time difference between Los Angeles and Cannes. When I came to Daenerys Studios in the afternoon, Simon soon received the results of the film festival awards from Cannes at night.

Daenerys Entertainment's two films that entered the main competition unit this time, "Barton Funk" by the Coen Brothers and "Jungle Fever" by Spike Lee, both missed the highest Palme d'Or at Cannes. Fortunately, they were not empty-handed. Returning, "Barton Funk" won the best director award, "Jungle Fever" Samuel L Jackson, won the best supporting actor award.

In Simon's memory, "Barton Funk" should actually win the Palme d'Or at Cannes this year.

It's just that, of the three Palme d'Or works in the previous three years, Pulp Fiction, Cinema Paradise and My Heart is Wild, two were American films. Two American films, one produced by Daenerys Entertainment and one distributed by Daenerys Entertainment.

This time, the Cannes jury clearly had some balance.

The final Palme d'Or winner was French director Jacques Rivette's "Beautiful Beauty".

Jacques Rivette's reputation is not too big, but a heroine in "The Uninhibited Beauty" is well-known, named Jane Platinum. Hermès' platinum bag, which is so expensive that it is outrageous but attracts countless actresses and ladies, is named after Jane Platinum.

Because of such a gimmick, coupled with the blessing of the Palme d'Or, Ella Deutschman is already in contact with the copyright owner, hoping to get the North American distribution rights for "The Uninhibited Beauty".

Neither "Barton Funk" nor "Jungle Fever" won the Palme d'Or, only

He won two secondary awards, which actually met Simon's expectations.

After all, it is impossible for Daenerys Entertainment to occupy all the light, and it is necessary to properly keep a low profile.

Moreover, the focus of Gaomen Pictures' overseas awards this year is actually the Venice Film Festival.

Due to the progress of the production, Jane Campion's "Farewell to the Piano" was unable to participate in the just-concluded Cannes Film Festival, but it has already declared for this year's Venice Film Festival main competition unit.

Jane Campion's "Angel at the Table with Me" received a very good review at the Venice Film Festival last year, and "Farewell to the Piano" is obviously more suitable for the artistic temperament of Venice than Cannes. This film is very promising. Impact this year's Venice Golden Lion.

Ella Deutschman and Sofia Faisi's contacts in the Italian entertainment circle are also enough to support "Piano No Love" to win the championship.

In addition to the events in Cannes, this week when he returned to the West Coast, Simon's busy main work was "The Flash", which had been successfully completed in Melbourne and returned to North America.

As the first producer of "The Flash", Warners expressed a lot of doubts and dissatisfaction with Simon's move to visit Melbourne in person during the filming of the film.

Simon didn't refute this, and he really didn't have time. However, Simon actually invested a lot of energy in this film, enough for him to get the salary in the original producer contract.

For several workdays, Warner Bros. CEO Terry Semel found time each day to review dailies with Simon.

Terry Semel was relieved until it was confirmed that there were no major problems with the film samples, and Simon also personally presided over and finalized the post-production plan of the film.

Fast forward to Friday, May 24th.

In 1991, the summer program officially opened.

Only this week, a total of six new films above designated size were released. Except for the Antarctic documentary "Frozen World" released by Gaomen Pictures and the comedy "Fresh the Troublemaker", which was joined by New Line Pictures in the summer, the other four films were released. The scale of the painting screen has reached more than 1000 pieces.

The four films are the fire-type crime action film "Temperance" starring two male stars William Baldwin and Kurt Russell, which is temporarily still on the Universal Pictures distribution label, with a screen size of 2,036.

The Bruce Willis comedy action film "Ultimate Condor" released by the Samsung label of Columbia Pictures has a screen size of 1,621.

Last year, Chris Columbus's new romantic comedy "Marriage", which was promoted to the front line by directing "Home Alone", opened a screen size of 1561 yuan.

And finally, Disney produced the horse trainer-themed movie "Prancing Horse Hero" adapted from a real event, with a screen size of 1,521. .

The opening screen sizes of "Frozen World" and "Frozen Fred" are 687 and 821 respectively.

Perhaps because the competition is too fierce, or because none of the six new films has the potential to be a big hit, in the first week of filming from May 24th to May 30th, none of the North American theaters have a single-week box office of more than $20 million. Appear.

Universal Pictures' "Tempering" eventually won the single-week box office championship, with only $19.21 million in its first seven-day box office.

Afterwards, the second place on the list was an old Disney film "Genius Is Crazy". The film tells the story of the male protagonist starring Bill Murray because of a series of unfounded insecurities about the world. A string of jokes.

"Genius is Crazy" opened last week, and it was released in the second week. Due to the fermentation of word of mouth, under the attack of a lot of old films, it actually achieved a 5% box-office decline, and earned 13.53 million US dollars.

The new film "Flying Tiger Condor" starring Bruce Willis ranked third, but the box office fell directly to 8.64 million US dollars.

"Flying Tiger Condor" cost a whopping $65 million to make.

The word of mouth of a bad review, the bleak start of 8.64 million US dollars, according to the commercial action film may reach a 50% drop in the next week, the film's total North American box office may be less than 20 million US dollars, Columbia Pictures is destined to lose everything, behind the scenes. The owner, Sony, once again paid an expensive 'tuition fee' to Hollywood.

Chris Columbus's new film "Marriage" ranked fourth, taking in $ 7.73 million.

Considering the film's production cost of $20 million, it was also a failure.

Immediately after that, the fifth place was not Disney's "Prancing Horse" or "Frozen Fred" from the new line, but brought a refreshing "Frozen World" to this summer.

In the first week of its opening, "Frozen World" won a box office of 6.97 million US dollars with 687 screens.

After careful consideration, "Frozen World" has also become the only film in the first week of the summer season with an average box office of just over 10,000.

As we all know, the new films that are opened on a larger scale, the first week of the exhibition will exceed 10,000, so it can be regarded as a big seller.

From the original fashion documentary "Gucci Mark", to Madonna's music documentary "Reality and Brave" during Easter this year, and then to the Antarctic scenery documentary "Frozen World" at this time, Hollywood has no choice but to find that its own studio has always tried its best to Following the pace of Daenerys Entertainment, it launched a fashion documentary, brewing a music documentary, and now, a landscape documentary has jumped out.

What's even more depressing is that the documentary is said to have a budget of only $3 million, just a birthday present for a little girl from the Westeros.

The box office of 6.97 million US dollars in the first week can be regarded as a direct recovery of the production cost.

According to this starting data, we will strengthen the publicity next, brew word-of-mouth and popularity a little bit, and appropriately expand the scale of the show. It is not a problem for this documentary to easily accumulate 30 million US dollars at the box office.

The $30 million box office is still far from what Simon remembers as "The Emperor Penguin Diary", but in the eyes of other Hollywood studios, this is already a rare success.

Compared with the budget cost of $3 million, the return rate is 10 times only at the North American box office!

Hollywood studios, who were still following the trend and trying to support the success of "Gucci Mark" and "Reality and Brave" before, have turned their attention to various scenic spots on the earth after "Frozen World" was released at the box office.

Some producers have also begun to take the opportunity to sell expeditions such as the Antarctic and Arctic Amazon jungles and the Sahara Desert to studios, and even Simon's Table has a documentary proposal for exploring the African savannah.

However, in this series of film lists, Simon is more concerned about "Fred the Troublemaker".

Or New Line Cinema, the production company of Fred the Troublemaker.

New Line Cinema in the original time and space relied on the "Monster Street" series to make a fortune. After "Teenage Mutant Ninja Turtles" exceeded 100 million at the box office, it entered the mainstream studio's vision, and was eventually acquired by Time Warner, and created "The Lord of the Rings", "The Spike" Moment" and other popular series of films.

Now, "Teenage Mutant Ninja Turtles" has been cut off by Daenerys Entertainment.

Losing a movie that was enough to support the profits of a second-tier studio for several years, the "Teenage Mutant Ninja Turtles" series, the potential of the "Monster Street" series has basically been exhausted, and the new line has blindly expanded film production and distribution in the past few years. In terms of scale, this summer "Trickster Fred" is one of the last attempts before the decline of New Line Pictures.

"Fred the Trickster," starring Carrie Fisher and Phoebe Cates, has a budget of about $6.7 million, according to information obtained by Simon. Just from this number it is not difficult to see how fine the new line is.

Although after so many years of accumulation of distribution resources, New Line forcibly squeezed this fantasy comedy into the summer season, but the box office was not ideal, with only 4.39 million US dollars, basically no hope of breaking the 10 million mark.

However, including the cost of publicity, the total budget invested in "Fred the Troubleshooter" is about 10 million US dollars.

Obviously, this is a failed project.

For Daenerys Entertainment, the failure of the $10 million project is irrelevant.

New Line Pictures, which is ultimately shallow, can't afford several similar losses.

Simon has inquired about the film list of the new line in 1991, and there are as many as 11 theatrical release plans.

With the exception of Elm Street 6: The Last Nightmare, Simon has not found any of the other films to have the potential to be a blockbuster.

A film company that barely squeezed into the second-tier, tossing 11 films a year, basically used up all the wealth accumulated in the past few years. If you count Simon’s secret sniping, this film company will only fall again in the future. For a bleak business situation.

Speaking of which, another company that Simon has been keeping an eye on, Miramax Films of the Weinstein Brothers, has now fallen into complete turmoil because it has continuously missed turnaround films such as "Sex, Lies and Videotapes" and "Cinema Paradise". The small-scale operation of the workshop.

Since they have no production capacity at all, the brothers can only flick some copyrights from Europe in the past two years to earn a little bit of money in North America.

In the final analysis, just as the total number of moviegoers in the US movie market is relatively fixed each year, so is Hollywood's luck.

The rapid development of Daenerys Entertainment for several years has not only captured a large number of blockbuster films that originally belonged to other studios, but also scraped a large part of Hollywood's resources in other areas.

Even other major studios are under pressure in front of Daenerys Entertainment, not to mention those second- and third-tier film companies that cannot form scale effects and have mediocre anti-risk capabilities.

In the past few years, Daenerys Entertainment has continued to devour Hollywood's best scripts, the best filmmakers, the hottest movie schedules, the hottest public attention, and the best publicity resources...

Losing the studio that originally belonged to its own blockbuster project, even if it can still produce other movies of good quality, but in the case of all-round shrinking of film and television production and marketing resources, those movies produced by Daenerys Entertainment have grabbed a lot of attention , simply can no longer compete with Daenerys Entertainment at the box office.

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