"Sigh…"
Producer Enrico walked into the Room, looking vexed, and sat down next to Kazir, who was engrossed in revising the storyboards.
As a director, Kazir's drawing skills were quite excellent.
The storyboards had actually been completed long ago; he was merely meticulously refining them now.
He knew very well that every minute and second after filming began was precious and could not be wasted on shooting useless takes. This was especially true since the project had an insurance contract with Merrill. He understood the insurance company's operating style too well; those people would rather strictly control production costs, not allowing any overruns.
Sometimes, what a director found most frustrating was the insurance company, always feeling that his creative inspiration was being constrained.
If one were to name a director who gave insurance companies the biggest headaches, James Cameron would definitely be on the list—this guy wouldn't even bat an eye when going over budget to get the perfect shot.
"Sigh…"
Enrico sighed heavily again.
"What are you sighing about?" Kazir looked up at Enrico.
The two of them, one a director and the other a producer, had to maintain close communication daily to ensure the project progressed smoothly.
The producer's job, to put it plainly, was to oversee the entire production process.
From selecting actors and forming the team, to supervising progress, liaising with upper management, and managing funds, every aspect required attention, making it much more cumbersome than the director's work.
Therefore, having a top-tier producer who could command the set was incredibly important for a project.
"Ed Helms's compensation negotiations fell through."
Enrico looked helpless. This was already his second time discussing compensation with Ed's agent, and the results were still not ideal.
"Still demanding an exorbitant amount?" Kazir raised his eyebrows.
"Five million? What nonsense! Brad Pitt didn't get that much for Se7en back then!" Enrico was furious, while Kazir merely shrugged and listened quietly.
The longer he dealt with Enrico, the more Kazir realized how genuinely dedicated he was to his work.
Currently, Enrico's dark circles were even heavier than Kazir's, indicating how many sleepless nights he had spent worrying about this project.
"He probably wants to use the hangover to climb the ladder," Kazir said indifferently.
This mindset was actually quite normal; in the entertainment industry, who didn't have their own little agenda?
"At least he thinks the hangover will be a hit." Kazir actually knew that Ed dared to ask for such a high compensation, presumably because he was very optimistic about the film's prospects.
"I just don't understand. Doesn't anyone in the industry know Ed Helms's true worth? Why does he dare to make such demands?" Enrico grew angrier the more he thought about it. "So far, his most notable role is still napoleon dynamite, and that film's success was largely thanks to your excellent directing and keen eye."
Kazir didn't respond and couldn't be bothered to explain—he guessed it was because he had previously rejected WMA's "kindness," and they were unhappy, so they were finding another way to cause trouble!
However, both sides knew that this was not a very honorable way of doing things.
Kazir knew very well that he could find someone else to play the role of Stu; it didn't necessarily have to be Ed Helms.
WMA also knew this. If they pushed too hard, Ed would not only lose this project but might also have to switch agencies—after all, their meddling was largely responsible for the compensation negotiations falling through this time.
"Enrico, tell them that Ed is not the only option; there are plenty of alternatives!" Kazir said, looking at Enrico.
"But didn't you want him to play the part?" Enrico was a little confused.
"Don't be silly. I want to work with him, but the project always comes before the person. WMA and Ed should know that." Kazir said, while drawing a scene on the storyboard of Mike Tyson beating up Alan.
"Speaking of which, the boxing champion Mike Tyson was just released from prison last year," Enrico interjected.
After spending some time in prison, his temper was probably even more explosive—if you were to talk about someone who could kill with one punch, Mike Tyson would definitely be one.
Fortunately, Enrico had used a lot of persuasion to get him to make a cameo in this film, saying it could promote his boxing match with Bruce Seldon through the movie.
Like movies, boxing matches also need exposure to attract audiences.
"I'll talk to Ed directly tomorrow and tell him that 1.5 million is the top price; if he doesn't agree, we'll find someone else. By the way, do you have any backup actors?" Kazir put down his pen and asked Enrico.
"Hmm… during the auditions for Stu, someone named Steve Carell made it to the final round. If we can't reach an agreement with Ed, try contacting him," Enrico recalled.
"Okay… By the way, are you really planning to make the film R-rated? I know such comedies can't avoid foul language and dirty jokes, but can't you tone it down a bit?" Enrico was still a little worried.
"Enrico, I've already discussed this with Terry Semel. PG-13 definitely won't have that punch," Kazir stopped what he was doing and looked directly at Enrico.
Like most directors, Kazir hated others interfering with his creative process.
He wanted to make the film as authentic as possible, and if it were cut to PG-13, it would be pure self-sabotage.
"Alright, alright, I won't say anything more, okay?" Enrico also realized he had overstepped—many directors fought tooth and nail with producers to retain creative control.
His relationship with Kazir was quite good, and he didn't want to jeopardize it over this matter; who knew, there might be opportunities for future collaborations!
Sighing as he finished discussing Ed's compensation issue, Enrico stood up to leave: "By the way, Nokia has agreed to sponsor us. They'll give us 1 million upfront, and another 1 million if the North America box office exceeds 100 million."
"What about the global box office? Are there any conditions?" Kazir pressed.
"Still negotiating, but the sponsorship is confirmed," Enrico replied.
"That's great."
Kazir calculated. With a budget of 35 million, they had already recovered 1 million. It seemed product placement was indeed a good way to get funds back.
"But this 2 million isn't so easy to get. the hangover has to withstand the box office pressure first!" Kazir knew very well that the film's box office was the key; only if the box office succeeded would these sponsorships and returns truly materialize.
[PS: PG-13 means viewers under 13 must be accompanied by a parent.]