It took Michael Davenport five full days to finalize negotiations with James Wong. Both parties officially signed the director employment agreement.
James Wong was to direct "The Purge" for a fee of $300,000, with no backend compensation. This had already been settled early on, so it didn't take much time. The real time-consuming part was negotiating the smaller details.
For example, during his time with the crew, the director was to be provided with a dedicated car service. The director would have a private office or rest area at the studio, and a suitable RV when filming on location. The crew had to prioritize hiring staff recommended by the director under the same conditions. The director also had priority in selecting equipment within the crew's budget framework.
These minor details took Michael two days of haggling with Edward. In the end, they listed seventeen clauses in the contract.
This wasn't excessive. In Hollywood, James Wong and Edward's demands were not unreasonable. Top-tier directors often had forty to fifty, or even over a hundred clauses like these in their contracts.
Some demanding directors even had specific requirements for food, drinking water, and the sheets used in their hotel rooms.
Having been a small-time producer in his previous life, Michael wasn't overly concerned with these minor details. As long as the demands weren't too outrageous, he didn't mind. What he truly cared about was maintaining actual control within the crew.
For these, he and Edward negotiated for three days. On the basis of appropriate compromises, he managed to retain final decision-making power.
For instance, James Wong had the right to suggest actors, but the final decision lay with the producer. The director could participate in post-production, but the final editing rights remained with the producer. The producer would not interfere with the director's normal shooting but had veto power over the director's shots.
In Hollywood's producer-centered system, unless one reached the level of James Cameron or Steven Spielberg, directors were always subject to producers' control.
Simultaneously, they signed another contract.
Sahara Entertainment bought the entire rights to James Wong and Glen Morgan's "Final Destination" script for $5,000, including sequel rights and peripheral development rights.
Both James Wong and Glen Morgan were members of the Writers Guild. The current minimum buyout price for a script, as set by the Guild, was between $4,500 and $50,000, depending on the project's investment size.
After the 2008 writers' strike, the minimum buyout price would rise to $30,000 to $90,000.
In the crew's iron triangle of producers, actors, and directors, writers have always been the most unfortunate group, whether in the past, present, or future.
Hollywood strikes against the Producers Alliance have never been exclusive to the Writers Guild. But when the Actors Guild and Directors Guild strike, the Producers Alliance quickly negotiates with them. In contrast, the Writers Guild's strike intentions always escalate into actual large-scale strikes.
In 1988, the Writers Guild signed a new twenty-year agreement with the Producers Alliance after a major strike. Twenty years later, when writers sought more benefits, they were flatly rejected by the Producers Alliance, leading to another strike.
The contract stipulated that James Wong would direct the project personally and serve as a co-producer. Glen Morgan would serve as a writer and an executive producer.
No one was foolish. James Wong and Glen Morgan agreed to sell the script cheaply to gain more control and influence over the "Final Destination" production.
In other projects, Michael might suppress James Wong's authority as much as possible. For this project, however, he granted Wong more power than in "The Purge."
As long as Michael held final editing rights and veto power, Wong couldn't go rogue.
Michael would not relax supervision over Wong just because he was a Chinese director. Business was business.
The contract also specified that "Final Destination" would have a minimum budget of $6 million and would start pre-production after "The Purge" was released.
Michael had no money at the moment. According to Wong's preliminary plan, the simple film "The Purge" would take three to four months from preparation to completion, possibly even shorter.
He couldn't touch the money in the stock market.
So, his attention turned to Abu Dhabi again.
As long as "The Purge" could be successfully released, with positive Arab characters, the big shots in Abu Dhabi should be satisfied.
As a good friend of the UAE, Michael planned to visit Abu Dhabi again when the time was right.
Good friends need to catch up occasionally, talk about feelings, and reminisce.
Going for financing before "The Purge" was released would be foolish.
Just like his first visit, he needed something convincing to present.
Having secured the director, Michael did not relax. There was still a lot of work to do, and he couldn't neglect his studies either.
He bought another dozen books and returned to USC's film school to consult with his former mentor, Professor Johnson, on production issues.
Professor Johnson, nearing sixty, had worked in Hollywood for many years before transitioning to teaching at USC. Many behind-the-scenes workers in Hollywood had studied under him.
Michael picked up the network that Little Davenport had abandoned and carefully maintained it.
Sahara Entertainment needed talent.
Fortunately, he wasn't alone anymore; he had help.
After hiring, Sahara Entertainment expanded to ten employees, all with at least three years of industry experience, who would join the crew.
Of course, all salaries and expenses would be included in the film's budget.
Mary was in charge of finances, and producing a beautiful financial statement was a top priority.
Robert Lee secured a location in a small suburban town north of the San Fernando Valley and negotiated the rental of a house.
This house was frequently used by San Fernando Valley companies for filming various projects. Robert Lee secured the rental for the third week of May for exterior shots.
George Clinton arranged for a small studio at Warner Bros., rented from mid-April to mid-July.
With the director and locations secured, large-scale hiring of other crew members could begin. Michael respected James Wong's recommendations, hiring his suggested personnel when salaries were comparable.
James Wong, having worked in Hollywood for over a decade and in three TV shows, knew many industry professionals.
Familiar hands working together also benefited filming.
Since "The Purge" was to be made, Michael aimed for a successful and outstanding film.
Walking out of the Warner Bros. studio with James Wong, Michael discussed various topics.
"I've inspected the exterior location; it's suitable," Wong said. "I'm finalizing the shooting schedule and will submit the full plan by Friday."
"Good," Michael nodded.
Wong asked, "Have you seen the storyboard drafts?"
"I have," Michael replied. "Set things up as you envisioned."
The early stage of the crew's set layout was mostly left to Wong.
Michael knew that while Wong hadn't directed a film before, his on-set capabilities far exceeded Michael's.
As a producer, Michael's role was to oversee the entire project, not get bogged down in specific tasks.
Nearing the studio entrance, Michael asked, "Have you chosen the camera equipment? If so, let Mary handle the negotiations."
"I'll submit the detailed list to her tomorrow," Wong responded.
Exiting the small studio, they heard a loud crash from the large studio next door, clearly audible.
"Who's filming next door?" Wong asked, frowning.
"A TV show called Roswell," Michael explained. "They're currently filming action scenes. Don't worry; they'll wrap up the action scenes by early May and move to exterior shots, so there'll be no interference."
He added, "Once you finalize the schedule, we'll start casting."
After a few more words, Michael headed to the crew parking lot. Just as he reached his car, his phone rang. It was Carmen Kass.