"Long time no see, Director Myrick."
Michael Davenport spoke courteously, smiling as he said, "Welcome to the party."
Daniel Myrick's expression was somewhat serious. "As the director and producer of 'The Blair Witch Project,' how could I miss the celebration party?"
Hearing this, Jessica Felton glanced at Daniel Myrick. As a technical enthusiast, she immediately felt a sense of professional disdain. The footage was so poorly shot; the technical quality was terrible.
Michael extended his right hand. "Welcome."
Daniel Myrick had no intention of shaking hands and said, "I'm here for another reason."
Michael curiously looked at Daniel Myrick, who said, "Thank you, Mr. Davenport, for returning 'The Blair Witch Project' to my hands."
The words sounded like gratitude, but there was a strange undertone that even Jessica Felton, who wasn't privy to the details, could sense.
She looked at Daniel Myrick, then at Michael, and began to suspect there was some conflict between the production and distribution sides.
Despite her technical focus, Jessica Felton was still an insider in Hollywood and knew that disputes between producers and distributors were common.
Michael slightly frowned. "You're collaborating with DreamWorks?"
Daniel Myrick finally showed a hint of a smile. "Surprised? Let me tell you the truth: DreamWorks bought the sequel rights to 'The Blair Witch Project' specifically to work with me."
Michael, with his thick skin and intention to reuse resources, said, "I wish you success."
This response was unexpected for Daniel Myrick. After looking at Michael's calm face, he couldn't help but say, "We could have continued working together. 'The Blair Witch Project' would have followed up on the success of the first film, but you…"
Unable to resist, Daniel Myrick continued, "You went too far. I just wanted my fair share, and you… withheld the rightful benefits from the production team."
Michael calmly replied, "I respect you and hope you respect the contract we signed."
Daniel Myrick nodded repeatedly. "Fine, Mr. Davenport. I'll see you in court."
Michael didn't respond. In a purely profit-driven dispute, words were unnecessary.
Thinking back to the past, Daniel Myrick and another director, Eduardo Sánchez, had verbally agreed with Artisan Entertainment to only request a pool table if the film was a hit, yet they still sued Artisan later.
The revenue from 'The Blair Witch Project' was too high. As the producer and director, how could they be satisfied with just $80,000 plus a bit of box office bonus?
Understanding aside, Michael wouldn't hesitate when it came to exploiting opportunities.
The $12 million sequel rights for 'The Blair Witch Project' had already been deposited into Relativity Entertainment's account.
With Relativity Entertainment lending money to its own projects, the funding was relatively sufficient.
As for Koch Industries' $10 million share, there was no rush. It could wait until the overseas rights were sold.
Daniel Myrick soon left.
"Why do you seem like a villain from a movie?" Jessica Felton suddenly said.
Michael looked at her. "How could someone as righteous as me be a villain?"
Jessica Felton, having watched countless films due to her technical training, followed the usual film logic and said, "A small director, after much hardship, creates a film. The film becomes a box office hit, but the big company withholds the share, leaving him helplessly protesting…"
"You'd be wasting your talent if you don't become a screenwriter," Michael couldn't help but laugh and casually explained, "I signed a buyout contract with him, buying all the rights at once, with no subsequent revenue sharing."
Jessica Felton understood. "So, this director isn't honoring the contract. Coming to you now is his problem."
Michael spread his hands as if he had found a kindred spirit. "Exactly, that's it." He glanced across the room. "A friend is coming over. You enjoy yourself."
With that, Michael took a couple of steps forward to greet James Wong's agent, Edward, with a handshake. "Welcome."
"You've created a miracle." Edward seemed quite excited.
Michael said, "I merely bought someone else's film and plan." He looked around. "Edward, I have something I want to discuss with you."
Edward had a rough idea of what it might be and said, "Sure."
They found a quieter place and sat down. Michael said, "I plan to film a sequel to 'The Purge' next year and want to continue having James as the director."
"That's good news," Edward replied with a hearty smile but didn't respond directly. "Sequels are always a guarantee of success."
Michael wanted to settle the contract with James Wong before the release of 'Final Destination.' He said, "Glenn Morgan is already working on the script, and we'll have a draft soon. Let's discuss James's new contract."
Edward continued to smile, "'Final Destination' has started its pre-release promotion. James has a busy schedule. To ensure our cooperation, let's wait until after 'Final Destination' is released before discussing it."
Hearing this, Michael knew it wasn't the right time to secure James Wong. He said, "Alright, I'll communicate with James. You give him a heads-up."
Edward smiled and said, "No problem. Michael, we've had a great working relationship, and I hope we can continue."
Such words from an agent couldn't be taken at face value. Michael exchanged a few more words with Edward before they went their separate ways.
The previous two collaborations with James Wong, especially 'Final Destination,' had saved Sahara Entertainment a lot in director fees due to pre-signed contracts.
However, after the success of 'The Purge,' James Wong was no longer an unknown small director.
Anyone capable of obtaining an entertainment agent license wasn't a fool. Hollywood agents usually had high educational backgrounds and analytical skills. As long as 'Final Destination' succeeded, James Wong's director fee would significantly increase.
Michael ended his conversation with Edward, mentally preparing for two scenarios. The first choice was, of course, for James Wong to continue directing the sequel to 'The Purge.' If the fee demanded was too high, he'd consider other candidates.
After wandering around the banquet hall for a while, Michael found the associate producer of 'Final Destination,' Andrew.
"I plan to shoot the sequel to 'The Purge' next year," Michael said directly. "Can you be the production manager?"
In reality, Andrew, despite holding the title of associate producer in the 'Final Destination' crew, performed the duties of a production manager, handling the daily affairs of the crew.
Although he had only previously worked in VHS film crews, 'Final Destination,' with an investment of over ten million dollars, had broadened Andrew's horizons.
Andrew hardly hesitated and said, "I can."
Michael added, "After 'Final Destination' is released, you will negotiate James's director contract with his agent. Try to keep the fee as low as possible."
"Is there a baseline?" Andrew asked.
Michael replied, "The lower, the better."
Andrew, being highly efficient, said, "I understand."
Michael whispered a few more instructions, telling Andrew to prepare for the negotiations. Sending Andrew first added a layer of buffer, which might lead to unexpected results.
After instructing Andrew, Michael intended to find Amanda but ran into Paul Greengrass and Katherine Heigl's agent, Dean.
Michael had a drink with Dean. Dean first congratulated him, then apologized, "There was a meeting at the company today, which delayed things a bit. I'm late."
"No problem," Michael said with a smile.
Dean valued the collaboration with Michael. One success could be attributed to luck, but two consecutive successes couldn't be explained by luck alone.
"Katherine asked me to apologize to you," Dean said sincerely. "She had a family matter and went back to Washington, D.C., so she couldn't make it."
Michael was gracious, "Family is important."
Dean continued, "Right, family should come first." He then shifted the topic, "Michael, if you need actors, directors, or other positions, feel free to contact me. William Morris will provide you with ample support."
This was Dean's true purpose.
Michael wouldn't reject the goodwill from a major agency and said, "If I need help, I won't hesitate to ask."
Producers and agents had a collaborative yet adversarial relationship. Even if the conflicts were severe, they maintained a facade of respect, never knowing when the other might have a resource they urgently needed.
As one of the largest agencies, William Morris managed numerous actors, directors, and behind-the-scenes workers. If the price was right, a top-tier agency like William Morris could assemble an exceptionally luxurious crew in a short time.
While the one-stop packaging service was created and popularized by CAA, it was no longer exclusive to CAA.
Michael found Amanda Seyfried in the southeast corner of the banquet hall.
"Hello, Mrs. Seyfried," Michael said politely. "I haven't thanked you enough; the cake was fantastic."
Mrs. Seyfried smiled, "I'm glad you liked it."
Amanda Seyfried moved closer to her mother and whispered, "Mom, I want to ask Michael a few questions. Can I talk to him alone?"
"Sure," Mrs. Seyfried agreed but gave a soft warning in her ear, "Don't leave the banquet hall."
In her eyes, Michael was indeed a good person, but her daughter was getting prettier, and some precautions were necessary.
Amanda nodded, smiled brightly at Michael, and walked towards a less crowded area.