Behind The Spotlight Chapter 106
1997 ended, and it was now January 1998, a fresh start to a new year.
"I remember this is also the month when we pitched the project to Uni-versus Pictures two years ago, back in 1996. I was a bit nervous at that time," Henry said to Wyatt.
The director shook his head slowly.
"We made a deal with Uni-versus Pictures in December 1995. I remember it was three days before the Christmas holidays," Wyatt reminded him.
"You're right. Looks like my memory's a bit cloudy these days, probably from juggling two projects," Henry nodded.
After a serious talk, Henry decided to work with Wyatt for the second time. He had read the script and found the theme funny and entertaining, with its absurd humor and playful jabs at the horror genre. Still, he felt the movie might offend some people due to its unapologetic comedic style, maybe even provoke a lawsuit.
However, after contacting Wyatt's entertainment lawyer, Henry's worries disappeared almost instantly. The lawyer explained in detail all the legal protections in place. The movie was a parody, fully protected by law. Relieved, Henry could now focus purely on the creative aspects.
That day, the two were scheduled to meet the executives to pitch the project in one of Uni-versus Pictures' largest conference rooms. Depending on their schedules, they might also meet the Chairman and CEO.
Unlike last time, both men were more confident when facing the executives. They had already proven themselves capable of delivering massive results, and they knew they were no longer people to be taken lightly. Their names now carried weight in Hollywood.
The fact that their last collaboration, Week On A Cruise Ship, had grossed over $468 million worldwide was an achievement few could claim in their entire careers. They were proud of what they had accomplished. Uni-versus Pictures was also pleased with the box office results.
Naturally, the studio was eager to keep the collaboration alive and tap into Wyatt's creativity once again.
By the way, the North American box office for Week On A Cruise Ship was $277 million, and Wyatt received a 5% share of that amount. The cast also got bonuses, Brody Paige earning half a million, and Axel Gunner and Cross Pinger getting $300,000 each, which they happily accepted.
Wyatt's accountant worked tirelessly, contacting Uni-versus Pictures every single week to secure his share and ensure there were no payment delays. After paying the accountant, Wyatt pocketed about $12 million from the box office share.
No wonder Wyatt didn't work last year, he didn't feel the need to rush into another project when he could simply enjoy his earnings.
Only mentally ill people would love making a film every single year without taking a break. That kind of workload would be too much to handle both physically and mentally. The pressure alone could destroy a person if they didn't know how to pace themselves.
Do you even know a director who loves filming one movie per year? That director is crazy.
Wyatt wasn't that kind of person. He preferred working every two years, taking time to recharge his inspiration by exploring new ideas, traveling, and watching other films. In fact, the idea for The Frightening Movie came from late-night horror movie marathons.
He thought it would be hilarious if something ridiculous happened while the killer chased the victims, like a female victim's fake breasts falling off while running away, or a masked killer tripping over his own shoelaces.
Unfortunately, despite having plenty of vacation, Wyatt still couldn't find a proper relationship free from ulterior motives. He had dated two women last year, but neither relationship lasted more than a few weeks. Both were only interested in starring in his films and saw him as a stepping stone rather than a real partner. Mind you, neither of these women was even a professional actress, they just wanted quick success.
Aside from looking for a girlfriend, Wyatt spent his time enjoying delicacies at high-end restaurants. He gained a couple of pounds without even noticing and now weighed 185 pounds. Perhaps his weight was one reason women didn't take him seriously, or maybe that was just an excuse he told himself.
Anyway, Wyatt and Henry arrived at the conference room where the executives were waiting.
Almost every seat was filled, a clear sign the executives were taking this pitch seriously. Wyatt and Henry were pleased, it showed the studio valued their work.
Only CEO Berry Cruz was present; Chairman Noah was busy with other business.
Wyatt had sent copies of the script to Berry and Noah a few days earlier, and both personally called to ask him to deliver a formal pitch in a meeting, a sign of personal investment from the top. Their reactions suggested they found the script worthy of another collaboration and potentially profitable.
Wyatt and Henry began their presentation, speaking confidently as the executives listened attentively, occasionally nodding and jotting down notes.
Week On A Cruise Ship had been one of the top four highest-grossing movies of 1997, below Gentlemen In Black and above Agent 008: Tomorrow Didn't Die. In such a competitive market, it was no surprise the studio took this meeting seriously.
However, unlike last time, when they made a decision on the spot, the executives told them they would call in a few days to confirm after conducting due diligence.
Were they unsure about Wyatt's script despite their positive reactions?
Not at all, the script was promising and had made them laugh multiple times during the read-through. But parody was a tricky genre and could easily cross legal lines. The executives wanted to consult with the legal team to ensure the script was safe from lawsuits.
Two days later, just as Wyatt and Henry were receiving calls from other studios hoping to collaborate, Uni-versus Pictures called to approve the project without demanding any major rewrites. They also agreed to Wyatt and Henry's proposed $40 million production budget.
With that, negotiations began, and Collin stepped in to fight for Wyatt's salary.
This time, there was little trouble. Wyatt's track record spoke louder than any argument, he had already delivered two back-to-back box office hits. There was no reason to make the talks messy or drag them out.
Collin secured $15 million for Wyatt, plus 10% of the North American box office gross, more than double what he earned two years ago, a testament to how far they had come.
The fact that more than a third of the movie's budget was going toward Wyatt's salary was shocking, but understandable given his proven profitability. If the budget fell short, Henry might have to request more from the studio or rely on product placements, especially if they wanted big-name stars for The Frightening Movie to draw box office attention.
Henry also negotiated an $8 million salary for himself, less than Wyatt's, but still more than fair given his role. He knew working with Wyatt a second time was the right decision, both financially and professionally.
But he also knew rest wasn't an option. Director Esteban's project was still ongoing and required his presence on set. For now, Henry had to juggle both productions, a tiring and mentally draining task.