After the meeting, Robert did not leave immediately but followed Michael Davenport into his office.
"'The Blair Witch' is a big hit, and company morale is high," Robert suggested. "Shouldn't we throw a celebration party?"
He pulled out a chair and sat opposite Michael, saying, "It would be beneficial for both companies to get to know each other better and deepen cooperation."
Michael considered it briefly and agreed, "We can have a celebration party. Let's plan it for after the film finishes its North American run. Find a party planning company to organize it."
With the substantial profits from this film, spending a small amount on a company event was reasonable.
Besides, parties are suitable for networking.
Robert brought up another matter, "A few days ago, I heard that Daniel Malick is preparing to collaborate with DreamWorks, and it seems to be another horror film. DreamWorks approached him."
"With the success of 'The Blair Witch,' it's not surprising," Michael replied. "Some film companies inevitably think he will continue to succeed."
Robert picked up on the implication, "You don't have high hopes for Daniel Malick?"
Michael shrugged, "As a director, Daniel Malick has already overdrawn his future. Unless he can produce a truly high-quality film, it will be difficult for him to succeed."
Robert said, "It seems DreamWorks and Daniel Malick want to replicate the success of 'The Blair Witch.'"
Michael said, "I wish them success."
This kind of credibility-draining marketing tactic had most of the negative impact of 'The Blair Witch' borne by Daniel Malick and his team. Anyone wanting to collaborate with him to create another success in the short term would be asking for trouble.
Robert joked, "You should save that comment for when you meet Susan Arnold. I'm sure she would be thrilled."
"Who's Susan Arnold?" Michael didn't recall seeing this woman on television.
Robert replied, "She's a producer at DreamWorks. She was in charge of 'The Haunting,' which was released around the same time as 'The Blair Witch.' Susan Arnold is the one persuading Daniel Malick to work with DreamWorks."
Michael remembered the female producer. Just as he was about to say something, the phone on his desk rang. After a brief conversation, he frowned.
Hanging up, Michael said to Robert, "That was Attorney Dana. Daniel Malick has filed a lawsuit against Relativity Entertainment in the Los Angeles District Court, demanding a share of the box office profits. We should receive the subpoena soon."
"What?" Robert was furious. "How can someone be so shameless!"
Relativity Entertainment was clearly acting according to the contract. He asked, "What did Attorney Dana say?"
Michael remained calm, "This type of lawsuit can drag on for a long time. Attorney Dana thinks their goal is to get money from us, and the lawsuit is just a way to push for an out-of-court settlement."
He had already made up his mind during the call, "I won't settle out of court with him. We'll stick to the contract. If Daniel Malick makes false claims in the media, we'll publish the copyright contract."
Every year, there are many people envious of blockbuster films, leading to countless disputes over various interests. This won't be the first, nor the last.
Hollywood film companies face numerous lawsuits over profit distribution and copyright issues every year.
"Yes, we can't back down," Robert, a Hollywood veteran, agreed. "Otherwise, we'll have many more problems in the future."
Today it's Daniel Malick asking for extra pay outside the contract. Tomorrow, will James Wong also demand extra rewards?
It would become a vicious cycle.
Michael understood this as well. He'd rather lose a lawsuit than settle out of court. Besides, the chances of losing were minimal.
Signing a long-term agreement with Shengzhi, a firm specializing in entertainment law, was partly to handle such issues.
Robert remarked, "I've dealt with Daniel Malick a few times. This guy never had an agent, had no connections in Hollywood, and didn't know much about entertainment law. How did he suddenly find a lawyer to sue us?"
He looked at Michael, "Could DreamWorks be involved? Is DreamWorks or Susan Arnold supporting him?"
Michael frowned, "We don't seem to have any conflicts of interest with DreamWorks." Then he realized, "Is this a way to woo Daniel Malick?"
"Possibly," Robert said. "Several studios are interested in working with Daniel Malick, and he ultimately chose DreamWorks."
Michael thought for a moment, picked up the phone, and called Dana. After hanging up, he said, "Daniel Malick's representative is a lawyer who has long collaborated with DreamWorks' legal department. It's likely that DreamWorks is backing him to attract his cooperation."
The title of successful director was very appealing. Michael could see the negative impact of 'The Blair Witch' mainly because of his past life experiences.
Perhaps some film companies could analyze the negative impact of 'The Blair Witch's' success, but more people would be blinded by immediate interests.
Robert muttered, "DreamWorks went too far, not taking us seriously. They're using us as a stepping stone to lure Daniel Malick."
Michael smiled, "DreamWorks aspires to be a top Hollywood company, so it's natural they look down on a small company like ours."
Despite DreamWorks being new, in every aspect, it far surpassed Relativity Entertainment.
Would the six major Hollywood studios take small companies seriously? DreamWorks prided itself on being the seventh major studio.
Since his first trip to Abu Dhabi, everything had been smooth sailing, so Robert was a bit upset, "Should we do something?"
"No!" Michael stopped him. "Don't be impulsive. That's Spielberg's DreamWorks. We can't afford to provoke them now."
Robert looked at Michael in surprise. From what he knew, Michael wasn't the type to take things lying down.
Michael leaned back in his office chair, contemplating. Although he wasn't sure what role DreamWorks played in Daniel Malick's lawsuit against Relativity, having a DreamWorks legal consultant as Daniel Malick's lawyer was too coincidental.
Just as small individuals felt powerless against enormous forces, small companies were like ants in the eyes of large corporations.
DreamWorks likely didn't take Relativity seriously.
Relativity Entertainment couldn't afford to have a conflict with DreamWorks, or it would be in serious trouble.
Although constantly suppressed by the Big Six, DreamWorks was still far beyond what Relativity could handle.
Michael had an idea, "Robert, investigate if there's a connection between DreamWorks and Daniel Malick's lawsuit against Relativity. If there isn't, forget it. If there is..."
Having calmed down, Robert quickly reminded, "Michael, that's the DreamWorks of the Big Three!"
"Relax," Michael laughed. "It's not what you think. I won't start a conflict with DreamWorks."
Robert curiously asked, "What are you planning?"
He was genuinely worried Michael would rashly provoke DreamWorks' Big Three.
Michael whispered, "I just want to sell the sequel rights of 'The Blair Witch' to them."
Robert was stunned.
"'The Blair Witch's' success can't be replicated by a sequel," Michael explained simply. "The sequel rights are meaningless to us but should have some appeal externally."
Robert agreed, "Absolutely appealing!"
Michael continued, "Spread the word discreetly, especially to DreamWorks, that Relativity is looking to buy office space and is very short on funds, so they're considering selling some assets, including the sequel rights to 'The Blair Witch.'"
He was only selling the sequel rights, not the original rights.
"Good plan!" Robert gave a thumbs up. "We can make a lot of money from the sequel rights."
A sequel to a film that grossed nearly $150 million in North America could easily fetch seven figures.
Robert was then concerned, "What if DreamWorks isn't interested?"
Michael said, "Selling the sequel rights to other companies works too. Money is money. If no one buys, we'll just have wasted some breath, nothing more."
In the future, whenever the name 'The Blair Witch' is mentioned, fans will recall this marketing ploy.
This film had already exhausted all its potential.
Selling the sequel rights was a way of making use of waste.
Robert said, "I'll handle this."
Within just two days, Robert brought Michael some news. To attract Daniel Malick, DreamWorks' Susan Arnold had provided him with legal assistance. Malick had already submitted a new horror film script to DreamWorks, which they rejected.
DreamWorks and Susan Arnold wanted to replicate the miracle of 'The Blair Witch' rather than produce a regular horror film.
Michael quickly decided to have Mary contact a real estate agency, creating the impression that Relativity was looking to buy office space and spreading the word about the sequel rights to 'The Blair Witch.'
Whether they could lure a buyer for the sequel rights was uncertain.
In September, 'The Blair Witch' reached $151.2 million at the North American box office after eight weeks.
The film's market lifespan was nearly over. Still, Michael had Seashore Entertainment communicate with theatres to keep showing 'The Blair Witch' until just before Halloween, when DVDs and videotapes would be released.
With these matters handled, Michael personally drove to Los Angeles International Airport to pick up a guest.
Carmen Kass had arrived from Europe to participate in Dior's "J'adore" perfume marketing campaign.