Twenty minutes later, after reading probably half of the script, Jonathan Friedman forcibly stopped himself from reading the script, after all, he still have a lot of work to do today, now is not a good time to read the script.
Moreover, although only half of the script was read, Jonathan has determined that the quality of "The Butterfly Effect" is as good as the story's creativity. If it can be shot, it will become a classic.
Of course, with Jonathan's professional vision, the shortboard of this script is also obvious.
First of all, the name "The Butterfly Effect" is too niche, Most ordinary people can't understand the terminology of a professional theory that was put forward in the 70s, which will undoubtedly hinder many people's interest in the film. But, after Simon explained the meaning of "The Butterfly Effect", Jonathan couldn't find a more appropriate name for the film, so for now this matter can only be temporarily shelved.
Second, the overall style of the story is too dark. Especially at the ending of the film, the protagonist returns to his mother's womb and uses the umbilical cord to strangle himself. If you think about it carefully, this will make people feel creepy.
However, this script also fit with the style of his client's work.
In the course of reading just now, Jonathan was still contemplating in his mind some ideas.
Due to the internal turmoil of WMA, a large number of customers have left, and Jonathan was also affected.
Recently, one of his clients, a well-known Hollywood director Brian De Palma who directed films such as "Carrie" and "Scarface", was in secret talks with CAA, and according to the information he got, CAA has even prepared a project for him as a gift.
The reason why Brian De Palma didn't leave like Al Pacino and Barbra Streisand, etc., is mainly because of the sentiments cultivated through cooperation over the years.
However, in recent years Brian De Palma's last two big films with a total investment of more than 10 million US dollars have failed. As a broker, if he can't find a good project with a box office guarantee for his client as soon as possible, Jonathan believes he will soon lose this client.
Now, "The Butterfly Effect" seems to be an appropriate choice.
The script is very creative, the story is wonderful, plus it's a horror-thriller film, the type Brian De Palma is best at. Moreover, judging from the storyline, the budget of the film will not be too high, which will undoubtedly make it easier for the studio to initiate the project.
All these favourable elements add up, Jonathan believes that "The Butterfly Effect" does not have much chance of failure, and it will not even be much worse than Brian De Palma's famous work "Carrie".
Moreover, this film can be used to bring up young actors in his hand. Since CAA can make a series of successful packaging projects, there is no reason why WMA can't copy the other party's experience.
Now, the low-budget and low-risk "The Butterfly Effect" is a project that can be packaged.
After weighing all the details, Jonathan looked up at the young man opposite him. Perhaps, occasionally signing a film screenwriter is a good choice.
Making up his mind, Jonathan asked: "So, Simon, do you have any other scripts?"
Hearing Jonathan's question, Simon understood that he has passed the test.
However, since "The Butterfly Effect" has aroused Jonathan Friedman's interest, he does not intend to immediately take out another script, which will only distract the agent's attention in the script sales process.
Simon originally planned to submit a script every one to two months as long as he could find an agent.
Nevertheless, to continue to increase his weight in Jonathan's mind, he replied affirmatively: "Yes, but the script is still not completed and it will take some time to finish. This is a story about death, some Orientals believe that, if the god of death confirms the death of a person, then this person can't escape the entanglement of death."
Friedman originally asked not expecting anything, but Simon's remarks aroused his interest again.
However, since Simon didn't go into the details, Jonathan chose not to ask.
There will be many opportunities for chatting in the future, and it's better to solve the current matter at hand.
"In this case, let's talk about the signing of the contract. Simon, since you have done so much preparation work, you must know something about signing a contract with a brokerage company. Let me talk about your requirements first?"
Simon nodded and politely said: "First of all, I only write the scripts I am interested in. I don't accept commissioned scripts or long-term employment. so I hope to only sign a simple agency contract."
listening to Simon's first request, Jonathan couldn't help but want to shake his head.
There are only a few hundred movies and TV shows being made based on original scripts in Hollywood every year. If you rely only on original scripts to make a living, the two major screenwriter unions on the east and west coasts of North America may add up to 10,000 members.
Therefore, most of the work that Hollywood screenwriters rely on to make a living is a variety of script adaptations and being script editors, as well as working as long-term employees of film and television production companies writing what the companies want.
Simon's request at this time is equivalent to limiting his career to a very narrow range.
Originally he wanted to explain, but looking at the young face opposite, Jonathan chose to dispel the idea.
Since the young man is frivolous, then it's better to let him experience some setbacks.
Simon probably understands the other person's thoughts from the change in Jonathan's expression, so without stopping, he continued: "Second, if conditions permit, I hope to be able to try the work of the film director. So, I hope my script retains a certain degree of autonomy."
Looking at Simon with surprise, he finally said: "Actually, Simon, I am very curious about your age?"
Simon took out his driver's license and handed it over, saying: "Mr. Friedman, although I do not intend to hide this from you, but I still feel that in the process of marketing the script, you'll need to avoid talking to film companies about my age."
Taking the driver's license from Simon's hand Jonathan glanced at the date of birth.
February 22, 1968.
Although know the date of the day, couldn't help but glance at the date on the calendar display on his desk, Today is June 19, 1986.
In other words, this little guy has just turned 18 at the beginning of this year.
Shaking his head slightly Jonathan smiled, returned the driver's license to Simon, and said: "Well, I will try not to bring you age as much as possible. However, Simon, you know, most directors in Hollywood did not get their first chance to direct before the age of thirty, so you are too..."
Simon didn't wait for Jonathan Friedman to finish talking, and interrupted him saying: "You are wrong, Mr. Friedman, Steven Spielberg didn't, Martin Scorsese didn't, George Lucas didn't and Francis Ford Coppola didn't, they all started before the age of 30, so why should I join the mediocre majority?"
Jonathan Friedman froze.
Many years later, Jonathan still clearly remembered what this young boy said in his office in the summer of 1986.
Steven Spielberg didn't.
Martin Scorsese didn't.
George Lucas didn't.
Francis Ford Coppola didn't.
So why should I?
He didn't even know that at that moment the young man didn't even have 100 dollars in his pockets and that if he can't find a job soon he will end up sleeping on the streets.
After a while, putting these things on the back of his mind, Jonathan Friedman began to discuss the signing of the contract with Simon.
Simon had already left a deep impression on him during this meeting. so Jonathan involuntarily didn't impose a too harsh signing condition on Simon, like he regularly did with the other newcomers.
In fact, in the final analysis, the height that a screenwriter can achieve in Hollywood is limited. such benefits to agents on the level of Jonathan Friedman are irrelevant.
Jonathan instinctively felt, at this moment by giving this young man some convenience now, in the future, he may be able to get some unexpected gains.
Therefore, the two quickly negotiated the basic contract framework.
A simple script agency contract, the signing period is three years and the commission is 10%. Simon has certain rights over his script. Simply put, if he wants to personally direct one of his scripts, it is not necessary to ask permission from his agent.
The detailed contract content will naturally not be so easily made, so Simon needs to come back again tomorrow.
Finally, to ease Jonathan Friedman's feeling, Simon also voluntarily explained that his next goal is just to make some ultra-low-cost experimental movies to learn.
He will probably use a 16MM camera, worth a few thousand dollars, with two or three actors.
Jonathan Friedman liked Simon's statement, he also offered to provide him with some help within his ability.
When the meeting ends, the time has already passed 5:40 without realizing it.
After saying goodbye to Jonathan who personally sent him to the office door, Simon found that outside the office there were three young people two men and one woman waiting in the lounge.
As the office door opened, the three people who were chatting all stood up respectfully, two young men looked at him with obvious envy and vigilance, while the girl with short black hair looked at Simon curiously.
Simon only nodded slightly to the three, and although the short-haired girl felt familiar, but without thinking about it too much, he went out.
It wasn't until he left the WMA headquarters building that Simon remembered the name Jonathan said more than an hour ago, Courtney. The short-haired girl should be Courteney Cox, she played Monica Geller in "Friends".