Someone knocked on the office door, and Michael Davenport called out, "Come in." Receptionist Eva opened the door and said, "Mr. Davenport, Director Paul Greengrass is here. He wants to see you."
Michael had just given the original book and the first third of the script to Paul Greengrass yesterday. He asked, "Did he come alone or with his agent?"
The strategy would be entirely different if he came alone compared to if he brought his agent.
"He's alone," Eva replied.
Michael understood and thought for a moment before saying, "Please send Director Greengrass in."
Compared to an agent, Paul Greengrass would be much easier to persuade. If Michael could reach an agreement with Paul Greengrass first, negotiating with Dean later would be much easier.
Paul Greengrass entered the office with his briefcase and greeted with a smile, "Good morning, Mr. Davenport."
"Good morning, Director Greengrass." Michael observed that Paul Greengrass looked tired, with dark circles under his eyes and disheveled hair, yet he seemed excited, as if he hadn't slept due to excitement. Michael quickly judged the situation and asked, "Did you not sleep well last night?"
Paul Greengrass, being a straightforward director, didn't think much of it and opened his briefcase, taking out the original "The Bourne Identity" book and the thin script. He said, "I was up all night studying the book and script. The character Jason Bourne is much better than the last spy setup."
He didn't hide his thoughts, "Mr. Davenport, this script and character are very suited to my style. Could I direct this project?"
Michael didn't answer immediately, appearing hesitant.
"I know the last film, 'The King's Man,' failed," Paul Greengrass couldn't avoid the topic. "But hasn't it reached almost $9 million at the North American box office now? This shows that many people can accept my film style. And Jason Bourne is a proper American character..."
Michael didn't rush to respond but said instead, "Director Greengrass, have you informed Dean? According to industry practice, I can't discuss work with you without your agent present."
These empty words were meant to make Paul Greengrass think that no decision had been made yet.
Paul Greengrass, having spent the night studying the script and making various plans, didn't think much of his agent. He said directly, "Dean is not a problem."
After the failure of "The King's Man," he realized that his unique film style needed the right vehicle. "The King's Man" had inherent flaws, but "The Bourne Identity" was very fitting.
Not returning to Hollywood to prove himself would mean spending a lifetime stuck in the UK.
The more proactive Paul Greengrass was, the less urgent Michael seemed.
"I've just started selecting directors for this project and have contacted several directors," Michael said unhurriedly. "Some have already received the original book and part of the script from me."
Paul Greengrass instantly thought of the person from yesterday and said, "Mr. Davenport, we've worked together before. You understand me, and I understand you. We share almost the same vision, wanting to create an extraordinary spy film. You've seen my action scenes; they are more suitable for a civilian spy like Bourne."
Michael rested his hands on his desk, seeming to ponder Paul Greengrass's words.
"Quick edits and handheld camera work?" Michael nodded slightly. "I like that style..."
Paul Greengrass didn't want to return to the UK and said, "This style complements the tone set by the original author and the screenwriter. The main character Jason Bourne is a spy constantly seeking his true identity while avoiding CIA assassinations. The insecurity caused by amnesia and the anxiety of an unknown identity cannot be presented in Spielberg's classic narrative or Tarantino's playful shots. It's more suitable for the documentary style that handheld shaky cameras can bring!"
Michael tapped his fingers, recalling the movie from his memory and the book and script he had read. What Paul Greengrass described perfectly matched the film in his memory.
Perhaps, Paul Greengrass, a director with a journalist background, was born for the "Bourne" series.
Seeing Michael remain silent, Paul Greengrass continued, "After reading the original and the script yesterday, I had many ideas. I have some initial thoughts on the future filming and the movie."
He glanced at Michael and continued, "Shaky chase scenes, incomplete framing, and rapid, sharp editing can create a suffocating atmosphere over every place Jason Bourne stays. If there's anything that can describe this closed story structure and the protagonist's wandering state more precisely, it can only be found in handheld shaky camera work and fragmented editing!"
Gaining confidence, Paul Greengrass said, "So, it's not that the project seeks this style, but 'The Bourne Identity' requires this visual approach!"
The hesitation on Michael's face gradually disappeared, seemingly convinced by Paul Greengrass.
"Times have changed," Michael said slowly. "You make a valid point. Spy films aren't just about fast cars and beautiful women. Sometimes, the psychological impact of extraordinary characters coming down from their pedestals is far more memorable than the dullness of staying on it."
These words captured the essence! Paul Greengrass nodded quickly, "Exactly, that's what I meant!"
Michael smiled, "Frankly, I've seen several directors recently, some of whom are well-known. But I always felt something was missing. Particularly when it came to spy movies, these directors tended to lean towards James Bond and Ethan Hunt."
He sighed, "I've always known what this project needs. Director Greengrass, your style is unique and unforgettable."
Hearing this, Paul Greengrass felt slightly relieved.
Michael seemed to make a difficult decision, "I'm personally willing to work with you, but some things need to be clarified upfront."
Having flown from England to Los Angeles and spent a night studying the script, Paul Greengrass felt there was nothing he couldn't accept. Surely Michael wasn't going to impose some sort of unspoken rule on him, right? If so, it wouldn't be him who was at a loss.
"Go ahead," Paul Greengrass said.
Michael calmly said, "First is your fee. Director Greengrass, you should know that Hollywood has a complete system for evaluating directors and actors."
Paul Greengrass nodded, "I understand."
"Sandsea Entertainment also has regulations in this regard that I cannot violate," Michael said. "Therefore, your fee won't exceed what you received for 'The King's Man'... Hmm, I can promise a fee of $500,000. Anything higher, and I won't be able to explain it to everyone in the company."
Paul Greengrass wanted the director's position and the opportunity to prove himself, and the fee was a secondary concern. Maintaining the fee level of "The King's Man" also basically matched his current status.
"That's acceptable," Paul Greengrass agreed directly.
Michael picked up the original book of "The Bourne Identity" and asked, "You've read the book, so you should know it's a trilogy, right?"
The book's cover indicated as much, and Paul Greengrass had seen it yesterday, "I noticed 'The Bourne Supremacy' and 'The Bourne Ultimatum.' I haven't read them yet."
Michael put down the book and said, "I own the film rights to these as well. If the first one succeeds, the other two will inevitably be adapted into films. This will be a complete trilogy. To ensure the continuity and consistency of the trilogy's style and content, I need a stable director."
He knew he couldn't pressure too much and added, "Paul, your style is so strong and unique that no one else can replicate it. If 'The Bourne Identity' succeeds, changing directors for the rest would jeopardize the series."
Paul Greengrass understood what this meant and hesitated for a moment.
Michael continued as if not noticing his hesitation, "I can guarantee you the same level of authority you had while shooting 'The King's Man.' I heard you worked well with George Clinton last time. Sandsea can have George as the production manager."
The cooperation between the highest authority producer and the production manager, who handles daily affairs, is crucial for the director's work. Paul Greengrass understood this well. Emotionally and rationally, he preferred to work with a lenient producer like Michael.
But a trilogy...
Michael had done so much just to get Paul Greengrass to sign a three-film deal at once. Otherwise, negotiating fees for each subsequent film would be a huge hassle.
"The first film's budget is $50 million, with your fee being 1% of the budget," Michael threw out his trump card. "The sequels will each have a budget of no less than $50 million. If there's a second film, your director's fee will be 3% of the budget, and 6% for the third film."
Without such a contract, and if the films achieved the same success as in his memory, it would be reasonable for Paul Greengrass to demand $5 million plus some backend shares for the second film and over $20 million in total fees for the third.
Though these contracts could be modified later, having the three-film deal in place would give Sandsea Entertainment the upper hand.
"A threefold increase for the second film and a sixfold increase for the third," Paul Greengrass thought for a long time before finally saying, "Mr. Davenport, I'm willing to work with Sandsea on the trilogy!"
Michael stood up and shook his hand with a smile, "Let Dean handle the details of the contract. But make sure you've communicated with him first."
Paul Greengrass nodded, "No problem."