America Tycoon: The Wolf of Showbiz

The crowd in front of the festival theater gradually dispersed, and the buyers interested in the film had mostly agreed to talk more tomorrow.

From Focus Features, Samantha was at the very end, with Kelly Gray accompanying her out of the theater.

Samantha was close to fifty, still well-preserved, and discussed the movie with Kelly, "The male lead's scenes at the beginning, middle, and end were impressive. You have a good eye—you chose a fine actor."

Kelly, pleased, responded, "His looks are outstanding, and his acting is top-notch. His background is a bit rough, but he has a lot of spirit."

Samantha's gaze suddenly shifted to the side of the theater's entrance, observing the people there.

The male lead, dressed in formal wear, stood out under the street lamps, like a beacon in the night, attracting attention.

She came from Hollywood and stared in that direction, "Kelly, I'll highly recommend this movie to my company."

Kelly knew there was another catch and waited quietly for her to continue.

Samantha added, "Such an outstanding male lead—I'd really like to meet him."

Kelly, who had struggled in Hollywood, caught the implication without hesitation but declined, "Sorry, he's coming back to Atlanta with me soon."

Samantha nodded slightly, "I was presumptuous. Kelly, let's look forward to future collaborations."

Kelly's smile betrayed nothing unusual, "Sure, goodbye."

Samantha had no intention of talking more about the film and left directly by car.

Her company, Focus Features, favored producing and distributing art-house films.

Coming here was more about the company's partnership with Louise Mel.

Samantha had wanted a quick fling, to see if the attractive male lead was as astonishing in person as he was in the film.

Unable to succeed, she didn't insist; Hollywood was not lacking in handsome men.

Kelly silently cursed "fucking bitch," then waved towards the street lamps.

When Martin arrived, the car was also there, and the two of them got into the back seat together.

Kelly couldn't help herself, "Those Hollywood whores are always ready to get it on!"

Martin joked, "If Louise heard that, she'd tear you apart, and you're no match for her."

But Kelly asked, "Whose side would you take?"

This chapter upload first at NovelUsb.Com

Martin candidly replied, "I'd tear off both of your clothes."

Kelly didn't mention the previous incident, instead saying, "I have a seaside villa."

Martin hugged her and kissed her passionately, "Rich lady, you've finally seen the light and decided to give me a house!"

Kelly firmly quashed such unrealistic fantasies, "You're thinking too much." She had other plans, "I'm thinking of renovating the tallest entrance hall, adding an iron chain. What do you think?"

"Not so good," said Martin, understanding her meaning and deciding to tell the truth—after all, he would be the one to suffer, "Filming that scene nearly killed me, I couldn't handle it alone, machinery was needed. You might as well install a swing."

Kelly leaned on him, "I'll have someone come up with plans as soon as possible."

After about fifteen minutes, the two entered the same suite in the same hotel.

Martin couldn't figure out why Kelly was so very critical of Hollywood tonight, even calling Louise in the middle of the way and putting the call on speaker.

It made Louise on the other end slam down her wine bottle.

...…

The Savannah Film Festival continued for a week, and "Zombie Stripper" had three more screenings, with media journalists invited consecutively.

The main creators of the film crew stayed in Savannah.

Martin, wanting a comprehensive understanding of Hollywood film operations and management, notified Kelly Gray and joined the "Zombie Stripper" studio in their negotiations with the various distribution companies.

Most film companies offered low bids, leading negotiations to break down; only Lionsgate Films and Warner Bros. remained in talks with the studio for North American distribution.

Both companies were straightforward, only discussing outright purchase of the rights, not box office and rights-sharing agreements.

Representatives of distributors from overseas, Europa Corp, India, South Korea, Southeast Asia, and Latin America, were also negotiating buyouts with the studio.

"Three and a half million US Dollars for complete rights buyout," Blaitner from Warner Bros. stated firmly, "If this doesn't meet your approval, I can only apologize."

Large companies were not short of low-budget films; on the contrary, numerous low-budget films were pleading for their distribution.

Dave responded, "Please give us a day; we need some time to discuss."

Martin knew his limitations, bringing only his ears and eyes, remaining silent throughout.

Subsequently, the studio engaged in a third negotiation with Jeffs from Lionsgate Films, whose bid rose to their limit of two million four hundred thousand US Dollars.

Lionsgate Films, lacking overseas distribution capabilities, were only interested in North American rights.

Kelly Gray joined them shortly after for an emergency meeting, "Our goal is clear," she insisted, "sell the film rights for the right price and get it into theaters."

Dave suggested, "I recommend choosing Lionsgate Films. Sell the North American rights to Lionsgate, and sell the overseas rights separately. This allows us more operating room."

Truth be told, Kelly was quite satisfied with two million four hundred thousand US Dollars, but she wouldn't mind earning more.

Kelly inquired, "What about the screening plans provided by Warner Bros. and Lionsgate Films?"

Benjamin took the initiative, "Warner Bros. plans to have a limited release in March or April next year. They have huge operations, so they aren't concerned about the time cost."

He wanted the film to be shown in theaters as soon as possible and was somewhat biased internally, "Lionsgate Films is smaller and has tight funds; they don't want to bear too much time cost. If they buy the rights, they will push it immediately for an MPAA rating. They had a horror film pulled in mid-November, which would be perfect to replace with Zombie Dancer."

Kelly was also calculating internally, "What if the rating doesn't go smoothly?"

Benjamin replied, "Like 'Y Tu Mamá También', skip the rating and go straight to a limited release."

Kelly knew this film. It was from the Mexican director Alfonso Cuarón, and its distribution company, Good Machine, dissatisfied with the MPAA rating, went straight to theaters. It not only took in tens of millions of US dollars at the North American box office, but Alfonso Cuarón also received an Oscar nomination.

This wasn't an isolated case in North America.

Under normal circumstances, it's still better to go through the rating process.

Small companies prefer a quick battle. Dave added again, "Lionsgate plans a small-scale limited release in California and Georgia first. If the limited release goes well, they'll continue to invest resources in publicity and distribution; if it's not ideal, after two to three rounds of limited release, they'll push it to the DVD and video tape market."

Kelly specifically mentioned, "I understand, for small-budget films, a slightly larger screening scale means the publicity and distribution costs are far higher than the production cost."

Martin had been listening intently, leading him to think of The Blair Witch Project and Paranormal Activity.

Kelly made a decision, "It's not in our interest to sell the global rights as a package. Let's split the rights: sell North America to Lionsgate, and Europa Corp is interested in buying the European rights, let's sell to them."

Gray Company urgently needed funds for studio renovations, "Let the other overseas companies wait, let's see how the North American limited release goes. Dave, go tell them we'll send someone to negotiate with them."

Dave, who oversaw the entire project investment process, said that overseas transactions offered plenty of room. He stated, "I'll notify them right away."

The Savannah Film Festival hadn't ended yet when the studio and Lionsgate Films officially signed the agreement. All North American rights involved with Zombie Dancer were sold for 2.4 million US dollars.

No need to think about profit-sharing agreements.

For small production B-movies, distributors are reluctant to invest resources in publicity and distribution unless they secure all the rights.

The negotiations between the studio and Europa Corp lasted half a morning, and the latter bought out the European rights to Zombie Dancer, including Russia, for 1.2 million US dollars.

After signing the agreement, Blanco went out of his way to chat with the inconspicuous Martin.

"Your outstanding performance made this mediocre B-movie quite compelling," he told Martin, "If you want to be a star, the film production market in Atlanta is too small."

Martin roughly said, "I'll head to Los Angeles when the film is released."

Blanco smiled, "Looking forward to seeing you in Los Angeles."

Martin mentioned a mutual director acquaintance, "Michel said he has settled in Los Angeles; I'll definitely visit him. We can have a drink and chat about French cuisine and the dark dishes of England."

Blanco laughed even more happily, "I'm looking forward to that day."

The studio sent specialists to accompany the overseas buyers back to their markets.

In Latin American markets like Brazil and Mexico, if the North American limited release results are outstanding, it wouldn't be difficult to sell the rights for a million US dollars.

Adding Australia, New Zealand, and some markets in Asia, the studio anticipated recouping the declared production cost of 6 million US dollars.

For the two main investors of the film, it was considered a complete victory.

Once Grey Media really opened the door to Hollywood and could distribute shared box office revenue, they would produce similar projects and have even more opportunities for financial planning.

Having Lionsgate Films buy the film meant Martin would inevitably become the lead actor in a theatrical movie.

This was a respectable qualification.

On the penultimate day of the film festival, Martin rode back to Atlanta with Kelly.

Kelly was in an excellent mood, "Benjamin talked to me yesterday. He's taking a month off before preparing for a new film."

Martin asked, "Another B-movie?"

Kelly smiled, "He's good at those, I wouldn't trust him with anything else."

Martin vaguely asked, "The financing will operate the same way?"

Kelly crossed her hands on her lap, "Vincent and Sophia are willing to invest, why would I refuse such a good thing?"

Martin casually said, "It seems quite profitable."

Kelly extended her hand, tipping his chin, "I can afford to keep you."

Martin couldn't help but laugh, but he decidedly avoided inquiring how much Gray Company profited from it all.

Kelly, reminded of something, especially warned, "Remember to set aside funds from your pay for the movie and the last water bottle and make sure you have money for tax season."

Martin, thinking of the infamous IRS and the mess of state and federal taxes, said, "Introduce me to a reliable accountant. I've never studied this; I can't figure it out."

Kelly opened her bag, found a business card, and handed it to Martin, "She can take care of it for you."

Martin meticulously kept it safe.

Kelly stretched, her mood uplifted by the fruitful haul, making her want to go on a crazy spree, "Let's call Louise when we get back. Will that slut go crazy enough to blow up Casablanca?"

Martin pinched her chin, "It seems you're the one who's gone mad."

Kelly, recalling last time and craving the thrill, "Don't you think it's exciting?"

Martin thought to himself that those in the arts indeed love to live it up.