Before meeting Alan Sharpe, Michael Davenport first gathered detailed information about Alan Sharpe Productions and Alan Sharpe himself. He also reviewed "The Bourne Identity" novel and the 1988 TV series produced jointly by Warner Bros. Television and Alan Sharpe Productions.
To negotiate effectively, one must understand their opponent.
Alan Sharpe Productions had its heyday in the 1980s, but its fortune began to decline after the production of "The Bourne Identity." The company made a series of failed projects and, being relatively small, couldn't withstand the financial risks, leading to its gradual fading out by the late '80s.
The first adaptation of "The Bourne Identity" wasn't a success. Hollywood, a place that chases after success, had ignored "The Bourne Identity" for over a decade due to its initial failure.
Additionally, "The Bourne Supremacy" and "The Bourne Ultimatum" rights remained with Robert Ludlum, likely because of the TV series' poor reception.
Since the early '90s, Alan Sharpe Productions has stopped directly participating in TV production, shifting to small-scale investments instead. The company soon became just another small, unnoticed entity in Hollywood.
Before George Clint gathered information, Michael had never heard of this company.
In essence, it was a small company with limited funds, no strong backing, and no independent production capabilities, much like Seashore Entertainment during the early days under old Davenport.
Alan Sharpe, now in his fifties, had become increasingly conservative after his company's failures. Michael, understanding this, anticipated that Alan might ask for a high price.
Michael also consulted with attorney Dana Ampton and checked relevant legal matters.
Being well-prepared, the situation unfolded as he expected.
"Three million dollars," Alan Sharpe cautiously proposed, testing the waters.
Feigning shock, Michael replied, "Three million dollars?"
Given the potential profits of "The Bourne Identity," the amount wasn't excessively high, but Michael aimed to negotiate down the price due to limited funds.
"Mr. Sharpe, your company bought the rights for $300,000. You're asking for ten times that amount," Michael argued.
Alan remained firm: "That was over a decade ago."
Realizing that Alan wouldn't be easy to deal with, Michael countered, "Fifty thousand dollars."
Alan, holding the rights and thus the upper hand, insisted: "Three million dollars!"
Michael pointed out, "No one will buy it at that price, Mr. Sharpe."
With the rare opportunity to sell, Alan tried to maximize his profit: "You must know the value of 'The Bourne Identity.' It dominated bestseller lists in the early '80s, with a nationwide fanbase. They will naturally become your audience when your adaptation airs."
"Three million dollars!" Alan emphasized, "Not a dollar less."
Michael decided to adjust his strategy to make Alan realize the rights weren't as valuable as he thought.
"Fans turning into viewers? Really? Why did 'The Bourne Identity' stop airing due to poor ratings then? As far as I know, your company's series never finished airing and was pulled off because of terrible ratings."
Michael continued, "You know the true value of this novel, Mr. Sharpe. Your company weakened after the failed adaptation and fell out of Hollywood's mainstream production."
Memories of the failed series flashed in Alan's mind. He had indeed misjudged it back then.
Michael didn't let him reminisce: "Such popular novels have strong era limitations. By the '90s, few mentioned Robert Ludlum's 'Bourne Trilogy.' It's been long forgotten."
He quickened his pace: "I've spoken with Robert Ludlum. His combined quotes for 'The Bourne Supremacy' and 'The Bourne Ultimatum' are far less than yours."
Alan remained calm: "If the value isn't high, you can choose not to buy."
Michael shrugged: "I didn't say it had no value, just limited value. Some things are commercial secrets..."
He sighed, "Here's the deal. The production budget for this film is only $4 million. I can't justify paying $3 million for the rights."
"Four million dollars?" Alan was surprised.
Michael displayed honesty and resignation: "I just want to follow the trend of 'Mission: Impossible,' making a B-grade spy action film."
After a pause, Alan held firm: "Three million dollars. This price is fair."
Michael shook his head: "Fine, then hold on to the rights. Your company has had them since 1986. I hope you find a good buyer and don't hold onto them for another 13 years."
He stood up, ready to leave. Knowing Alan's company had held onto the rights since the failed series, they likely lacked the capacity to produce it. Letting the rights expire without a buyer would mean no returns.
Even if Michael left, he had a backup plan.
Alan's expression changed. This was his first inquiry in years about "The Bourne Identity" rights. He couldn't afford to wait another 13 years, with the rights soon expiring.
"Fifty thousand dollars is too low," Alan said steadily. "I can't do a losing deal."
Michael raised a single finger: "One hundred thousand dollars. That's my highest offer." He stressed, "If you disagree, I'm sorry. I want to make a B-grade action film, and there are plenty of cheaper novels on the market."
Alan, after a long pause, still wasn't satisfied with the price.
"This is my contact information," Michael placed his card on the table between them. "Call me if you reconsider, Mr. Sharpe."
Alan didn't touch the card: "One hundred fifty thousand dollars. Business should show a profit for the seller."
Michael seriously considered for a long time before saying, "I believe in win-win deals. Okay! One hundred fifty thousand dollars."
Alan kept his face composed, though relieved inside. This young man was brutal.
Are all the new Hollywood players this formidable?
But Alan wasn't finished: "Mr. Davenport, I have a few conditions."
Michael wasn't done either: "Mr. Sharpe, I also have one condition. We'll transact with a right of first refusal."