The preliminary plan was feasible, and the group began discussing it. Compared to the experienced professionals at Embassy Pictures, Michael lacked specific details and execution skills. These discussions would help him gain experience.
Several plans were confirmed during the discussion. Garcia personally took charge of the film's distribution, with Robert and David Villa as his deputies. They recruited key personnel from the distribution and marketing departments to join the team.
Thomas and Terry continued to work on the distribution plan for "The Purge."
The initial funding for these two projects would temporarily be provided by Seashore Entertainment through loans.
Specifically, all distribution funds for "The Purge" would go through Seashore Entertainment's accounts and then be provided to Embassy Pictures as a company loan.
Loans would incur interest, which would be deducted from the film's initial gross revenue.
This was to gain accounting experience for the following two films.
"There are a few things to note," Michael said calmly. "We must ensure confidentiality. The post-screening marketing plan will highlight the film's creators as the main stars. Establish an internet marketing department quickly and communicate with theatre companies to invite them for previews."
Garcia nodded slightly. "I will draft the necessary plans."
Michael turned to Robert. "You will personally meet with the film's creators and sign contracts with them. Also, collect some folklore about witches from the East Coast, especially those widely known among the public."
He added, "I will work with Jessica Felton to re-edit the film."
This was undoubtedly a risk, but any movie investment was a gamble. For the company to grow, taking risks was inevitable, especially when the big six companies almost monopolized Hollywood's resources.
Michael understood that only those gritty, raw films that could break the rules would genuinely strengthen the company.
Movies are high-risk investments, and small-scale gambling is winning against the odds.
He needed more funds; Seashore Entertainment needed funds; Embassy Pictures funds required.
Only with sufficient funds could they avoid becoming subservient to the Big Six companies and mere playthings of capital.
If "The Blair Witch Project" succeeded, it would bring significant cash flow.
In Hollywood's food chain, small and medium-sized companies relied heavily on taking risks because most big companies didn't even dare to take significant risks. Not because they couldn't afford it but because they didn't need to.
This conservative mindset is inevitable for oligopolies. If they already know something can sell well, why change? However, companies like Seashore, Artisan, Miramax, and October Films must take risks to achieve huge profits.
Thus, most of the low-budget films that gross millions at the box office come from small and medium-sized film companies.
Even if some seem to belong to the big six, they are often distributed or bought out by them.
Michael made a call, and Jessica Felton quickly returned to the screening room.
"What happened?" Michael pointed at the stain on her shirt.
Earlier, when she left, Jessica Felton's tight shirt was clean.
Jessica Felton looked down but couldn't see her feet, saying, "I bought a coffee and bumped into someone, spilling it. It's no big deal."
"Hot coffee?" Michael asked curiously.
Jessica Felton nodded, "Yes."
Michael wanted to ask if she got burned but held back, thinking it was better not to risk the tech-savvy but hygiene-indifferent woman taking off her shirt here.
"Are you busy lately?" Michael moved to the main topic. "Can you start working?"
Jessica Felton frowned, "You want me to re-edit this DV film?"
This wasn't hard to guess.
Michael spread his hands, "It's still a formal film; better than staying home alone, right?"
As long as there was a film to edit, everything else was negotiable. Jessica Felton only took a few seconds to agree, "I can take the job, but I'm out of money."
Michael asked, "Didn't the 'The Purge' crew pay you an advance salary?"
"Research and practice cost money, and the film is expensive!" Jessica Felton replied bluntly. "Same weekly salary as 'The Purge.'"
Michael shook his head, "This is just editing, not starting from scratch. Too expensive." He countered, "Two thousand dollars a week."
Jessica Felton extended her hand, "Fine, prepay me six thousand dollars."
Michael slapped her hand, "Deal."
In pain, Jessica Felton shook her hand, "I need my hand for work, don't damage it!"
"Sign the contract first." Michael said directly, "I'll prepay you half once it's signed."
Jessica Felton glanced at her slightly red hand, "I earn my living with these hands. What if you damage them?"
Michael coughed, "Let's talk about the editing."
Talking about work, Jessica Felton immediately focused, asking, "How do you want to edit this film?"
"The initial interviews with the town residents should have some unnecessary character narrations cut out, making them look more like pure interviews."
Having just watched the film, Michael remembered it clearly, "The camera shakes too much. Cut out unrelated shots. Also, use editing to create a more horror-like atmosphere."
The film had no witch from start to finish but could still scare people.
Jessica Felton asked, "You want it to look more like a horror film?"
"No, no…" Michael shook his finger, "The primary goal of re-editing is to make it look like a real DV recording, like a DV shot by explorers. The current film has too many flaws. You can see busy highways through the sparse woods. Would a witch live there?"
Jessica Felton, a fierce yet capable editor, immediately understood Michael's intention, "You want to use psychological, auditory, and visual cues to trick the audience into thinking it's real, right?"
Michael gave her a thumbs up, "Smart, that's why you're my chosen editor."
"Very difficult," Jessica Felton shook her head. "The film is shot too poorly. Character introductions and numerous plot points show obvious signs of fabrication. The portrayal of characters' anxiety and breakdowns under stress looks forced. Editing alone won't achieve your goal."
She flicked the stain on her shirt, "Not all viewers are idiots."
Michael nodded, "You're right. We can't rely solely on editing. I have other preparations."
"Alright, I won't ask more." Jessica Felton didn't continue the discussion, "When do we start?"
Michael thought, "I'll contact the post-editing room tomorrow… hmm, next week. Start next Monday. Remember to come to Seashore Entertainment tomorrow afternoon to sign the contract."
Jessica Felton checked the time on her phone and waved her hand, "Got it. If there's nothing else, I'll go."
Michael escorted her out of Embassy Pictures and then chatted with Garcia about work before leaving.
Jessica Felton made a good point. Even if the film had initially been shot as a 'real DV' recording, the content was too rushed and hysterical.
Without corresponding marketing strategies and various subconscious and 'deceptive' tactics to make viewers believe it's 'real footage,' success was impossible.
This kind of success is an anomaly in Hollywood, relying on catering to the audience's tastes and clever tricks, which can only be used sparingly. Once the audience gets used to such tricks, the result will inevitably be criticism and complaints.
Thus, the primary creators must be pushed to the forefront when the time comes.