The reason why studios are so fond of PG-13 films is, in the final analysis, to pursue higher box office revenue.
These films are relatively mild in content, suitable for the whole family to watch together, and have a wide audience, so the box office is naturally guaranteed.
Disney's ability to remain at the top of the industry for the next thirty years was largely due to this strategy. They successfully left their competitors far behind with the unique advantage of family-friendly films.
Some Warner Bros. shareholders also hoped that the hangover could be adjusted to a PG-13 rating, believing that this would attract more audiences and thus earn more profits.
Although there are many blockbusters among R-rated films, such as Se7en, which was just released in North America, as an R-rated thriller, its global box office actually exceeded 400 million, an impressive achievement.
But the hangover is a comedy, and Warner Bros. shareholders always felt that if Director Kazir could modify the script and adjust it to a PG-13 rating, it might attract more audiences to cinemas.
However, Kazir's attitude was exceptionally firm.
He clearly stipulated in the contract that the creative rights for the hangover belonged entirely to him, and he even held the final editing rights firmly in his own hands.
Facing Kazir's resolute attitude, the studio had no choice but to remain silent and let him do as he pleased.
"John, is this reliable?"
Ed Helms looked at his agent, John, with a complex expression on his face.
"Ed, WMA Company wouldn't harm you, would it? If the 3 million remuneration can be negotiated, then it will be yours." John had been negotiating with Enrico, hoping to secure 3 million for Ed.
However, Enrico was not happy, feeling that spending so much money to hire Ed was not worth it.
Ed knew that 3 million was already a considerable sum for him. After all, his current worth was far from that level.
But his agent, John Harris, was not satisfied; he still wanted to strive for a higher remuneration—after all, that was a 10% commission, which was also a significant income for him.
"I understand what you mean. But I think I'll sign for 1.5 million, no need to negotiate further. Don't delay the start of filming." There were only two weeks left until the official start of filming, and besides Ed, all other actors had already signed their contracts.
"Alright."
John Harris was a bit helpless, but he also wondered why WMA Company insisted on him causing trouble on this project.
However, it was an order from above, and he could only comply.
"Of course, I hope Ed can join the crew smoothly, but it's also my duty to strive for more money." John knew that in the industry, agents were often seen as "vampires."
The higher the actors' remuneration, the higher their commission percentage, which undoubtedly pushes up the production costs of films.
To be honest, a large part of the reason why film costs are getting higher and higher now is the continuous increase in actor salaries.
While John Harris and Enrico Pusi were still haggling over remuneration, Salvatore Barlo arrived at Kazir's studio.
Kazir had specially opened a studio for filming the hangover, spending most of his time in the office revising scripts and drawing storyboards.
That week, he didn't even go back to his apartment, eating and living in the studio.
As soon as Salvatore entered, he was stunned by the sight before him: sketches were everywhere on the floor, and a pile of instant noodle buckets was scattered around.
"Is this how all creative people are? It's too messy." He couldn't help but murmur to himself.
At this moment, Kazir was typing away at the keyboard, fully immersed in his work.
"Is it done?"
He asked without raising his head.
"Done." Salvatore placed the document on the table, a proud smile on his face.
"Thank goodness, I thought it would take a lot of effort!" Kazir finally looked up and glanced at the document.
"Aaron Shane Productions asked for 3 million, and I approved it directly. You said this copyright is important, so we definitely had to get it," Salvatore explained.
Kazir scanned a few lines of text, a glint of excitement flashing in his eyes: "the bourne identity."
Ever since he learned that Tom Cruise had bought the Mission: Impossible copyright, Kazir had been eager to get his hands on the copyright for the bourne identity.
He felt that this series had huge potential, and it was a rare opportunity that it hadn't been noticed yet.
"Why did you buy the adaptation rights to this novel? And spent 3 million? Do you want to make an action film?" Salvatore asked, puzzled.
Aaron Shane Productions had bought the film rights to the bourne identity in the 1980s and even made a TV movie, but it received a lukewarm response.
After that, the copyright had been gathering dust in the archives, unheeded.
the bourne identity is actually a classic spy novel from the 1980s and 1990s, considered one of the pioneers of spy thrillers.
However, in today's age of prevalent digital media, novels and comics are no longer as popular as they once were, and many people have long forgotten this classic work.
"Yes, if all goes well, I might try making an action film next year. I've always wanted to make a decent action film in my life," Kazir said firmly.
"...Can you do it?"
Salvatore was a little worried.
As an agent, he preferred Kazir to stay within his comfort zone.
After all, comedy and action films are vastly different, and action films are much more difficult and complex to shoot.
"Don't worry, Salvatore, I won't touch the bourne identity for the next three years. I need to practice first and gain some experience," Kazir said confidently.
Among the scripts he had written, there was a low-budget action film project that he could even finance himself if it came down to it.
"As long as you know what you're doing." From the first day he dealt with Kazir, Salvatore knew he couldn't control this person.
However, he didn't complain.
After all, 3% of Kazir's 2.5 million remuneration went into his pocket.
Although this amount didn't seem like much, it was just the beginning.
Salvatore knew that he would definitely earn more money by following Kazir in the future.
Moreover, thanks to Kazir, the actors under his management also got many roles—this is why agents are willing to sign directors, their own actors always have work.