After Chris Columbus sent his New Year's gift to make up for what Beaver Productions was lacking, Isabella reluctantly forgave him for previously keeping her in suspense.
Since the technicians and professional equipment Isabella urgently needed could be brought in at any moment, the real work officially began. With Spielberg's departure, Isabella had the general manager of Beaver Productions reach out to all parties.
Well, to be precise… just her mom.
Vivian first called Susie, inviting her to serve as vice president of Beaver Productions.
The sudden offer caught Susie Figgis completely off guard.
Once she understood the whole situation, this casting director who personally discovered Isabella, and the most outstanding talent scout in the Commonwealth, sighed with emotion, "Wow, Vivian… you guys have already reached this level?"
"It's all luck," Vivian smiled.
"Oh, then you're way too lucky," Susie let out a long sigh.
She thought it over a bit.
Three days later, she arrived in Leavesden.
Susie's arrival meant she accepted Isabella's invitation and formally joined Beaver Productions.
She would oversee both the film and television departments.
Her salary was made up of a fixed annual base plus a commission.
The former: 500,000 pounds a year.
The latter: 0.5% of total revenue from the two departments.
Meaning that if, say, Beaver Productions film and TV department made 100 million this year, Susie's commission would be 500,000.
Don't think that's little.
Susie's commission base includes Isabella's projects.
For example: Beaver Productions would soon co-develop Prada with Warner. After deducting Isabella's actor fee and producer cut, the remaining company revenue from that project would be included in Susie's commission base.
Once Isabella is basically no longer working on outside projects in the future, Susie's annual salary will easily start at seven figures.
And Susie is receiving revenue commission, not profit commission.
Isabella felt she'd given a fair deal, and Susie had no objection regarding the revenue share.
With the signing of the contract, this energizer-auntie dove into work.
In just three days, she had the company's situation completely figured out.
Since she came to work with her own team, the department formation and staff recruitment were entirely handed off to her assistants.
As for the actual business matters:
She wouldn't micromanage the details of Resident Evil, because Michael Barnathan was already running it.
Plus, distribution on that project was signed to Warner.
Faced with that lineup, she felt all she needed to do was review the final report. To intervene rashly might easily be seen as a sign of "distrust" or "power grabbing."
Where there are people, there are politics.
Isabella felt they could probably work together smoothly.
But…
They're still independent individuals. They'll protect their own interests.
Regarding Nashville and Hannah Montana, Susie had two ideas:
For the former, she wanted to use a "veteran leads newcomer" model.
Meaning they'd invite a seasoned actor from the TV world to play the "washed-up diva" in the show,
then find a newcomer who'd already debuted in TV to play the "rising star."
The reason behind this approach was simple.
When an actor has starred in many shows but never truly hit it big, and then finally gets promoted to film — that actor basically has no future. Using such people would allow them to sign veteran actors at very low cost.
The already-debuted newcomer represents someone eager to rise. Having such a person play the "rising star" is basically just having her play herself. And then, putting this ambitious newcomer face-to-face with someone who's stuck in place…
The veteran they bring in can also play their role naturally.
This method not only reduces production difficulty —
Same old rule: the best acting in the world is just being yourself. Every "performance" is weaker than true authenticity.
But it also generates buzz outside the show —
For example: EXCLUSIVE! The newcomer and veteran actor actually don't get along! The newcomer really wants to challenge the veteran's status! Everything in Nashville is actually REAL!
Yep.
Nashville is a melodramatic soap opera after all.
So if the drama inside steps outside the screen…
Oh yes.
The audience will be thrilled.
"Susie, I think your idea is fantastic."
Isabella's eyes lit up and she nodded approvingly.
The headquarters of Beaver Productions was in London.
So after finishing the project plans, Susie went straight to Leavesden to report to the boss.
Naturally, also to officially show the boss her capability.
"Oh, Isa, as long as you like it."
Susie accepted the praise with a smile, tapped the report in her hand and said, "Then I'll push the project according to this approach? For director, I'm thinking… my brother? Let him find someone to write the script?"
"No problem, they're our people. Easy to work with." Isabella made an OK gesture.
When someone is competent and part of her inner circle, she's very generous.
Right. Competence is the precondition for generosity.
Money doesn't just fall from the sky.
As for the second project, Hannah Montana, Susie wanted to cast Margot Robbie.
She thought the Montana concept was excellent. If done right, it might launch an A-lister.
So rather than making others rich, better to make themselves rich.
But Isabella rejected that.
She'd already arranged for Margot to star in Transformers.
Compared to Transformers, Montana is nothing.
So…
"Then we'll need to hold open auditions in America."
Susie said, "We can only use a total newbie for this project. We must hold her talent contract ourselves."
Isabella approved that idea.
But…
"Before the auditions, reach out to Amblin and Lucasfilm."
"If Steven or George recommend someone, as long as she fits, then it's okay?"
Isabella blinked.
"Spielberg?" Susie raised an eyebrow.
"Yeah."
"Okay, Isa. I get what you mean."
Indeed. Isabella's meaning was clear.
If something promising shows up, take care of your own people first.
Don't talk to her about fairness.
When someone complains that something isn't fair, odds are they're just mad the 'unfairness' didn't favor them.
After discussing the two projects, Isabella had a clear grasp of Susie's capabilities.
At this point, she could safely hand the film and TV departments of Beaver Productions over to her.
Just as Susie was about to leave, Isabella remembered something…
"Oh, right, Susie. We might also develop Prada this year."
"On the surface, Warner is leading the project, but you know they're actually listening to me."
"So… any thoughts?"
"Uh, regarding personnel?" Susie looked at Isabella.
"Yeah." The girl nodded and pointed at the file in Susie's hand. "Your thinking is great."
"Well—about Prada—I've looked at it—and if I were in charge—I'd say—"
Susie paused, then said, "I'd have Maggie Smith play Miranda in the film."
"Why?"
Vivian, who had been listening, was intrigued. "Maggie doesn't really fit, does she? Isa and Maggie have worked together too much."
"When they're on screen together… wouldn't the audience disconnect?"
In practice, most of the time productions avoid having the same two independent actors collaborate too frequently on non-series projects, because it risks distracting the audience.
Susie of course knew that.
But she had her own thought—
"From how things stand now, Isa can't escape the identity of Hermione Granger no matter what film she makes, because… personally, I think Hermione Granger is a role that could compete for the best in film history."
"That character is extremely well crafted. Near flawless."
"Since Isa might never escape Hermione in this lifetime, embracing it openly is the best move."
"Or rather, that embrace could actually reduce the times the audience gets pulled out while watching."
"For example: if Maggie plays Miranda, and she tells Andy to seek out the Harry Potter manuscript?"
"Then we could write her line as: 'Dear, did anyone tell you back in school that you looked a lot like Isabella Haywood? Since you're practically sisters with Hermione Granger, I'm sure you can get the HP manuscript. Just give J.K. Rowling a call.'"
"If that kind of line appears, the audience will think it's funny, because they know Isa is playing Andy now, not Hermione Granger. That awareness lets them actively separate Isa and Hermione. That audience-led separation works much better than a forced 'Isa has already transitioned' narrative."
"Especially…"
Here, Susie stretched her voice and looked at the girl.
"Isa, you actually aren't suited for a transition."
"And, uh… speaking as a friend, I don't think you need to transition."
"This has nothing to do with your wealth. It's simply because… Harrison Ford is proud to say he is Han Solo and Indiana Jones. Arnold Schwarzenegger will say his most successful role was the Terminator. Sylvester Stallone, when speaking of his achievements, mentions Rocky and Rambo moving the world…"
"You know, what gets remembered forever is what's classic. A replaceable chameleon is never truly famous."
"Oh, Susie—we think the same." Isabella nodded with a smile.
She felt Susie made perfect sense.
If someone has even one classic in a lifetime, that's already great. So… transitioning?
The most delusional thing someone can do is mistake their luck for talent.
But whether they invite Maggie Smith to join Prada still depended on Chris Columbus.
Because he was the director of Prada.
And he's tough enough to carry big, ugly blame.
Heh.
After Susie left, Vivian made a second call.
This one to Disney.
Upon hearing that Isabella's side was ready, Robert Iger sent over Chris Sanders and Dean DeBlois. They also became vice presidents of Beaver Productions, specifically in charge of the animation division.
Their salaries were also a base of 500,000 pounds a year each, plus commission.
The latter involved departmental commission and project commission.
For departmental commission, the two of them would share 0.5% of the department's revenue, so individually it meant 0.25%.
For project commission, each person could take 2% of the box office bonus for any project they personally handled.
Example:
If the two of them worked together on the Beaver animation project, then 4% of the project's box office revenue would be their bonus, 2% each. But if only one of them participated and directed alone, that person would take the 2%, while the other would get nothing.
Of course, this was only the basic project bonus clause.
Once the project's box office reached a certain level, their commission would increase further.
This really wasn't Isabella being blindly generous, it's simply that the quality of an animated film relies entirely on the leading director.
The director's salary is the biggest cost of the entire project.
If you give them a lousy deal, they'll hand you a steaming pile of garbage in return.
When negotiating salary, Chris Sanders and Dean DeBlois were very satisfied.
And when it came to power...
They were even happier.
Because Isabella directly handed full HR authority of the animation department to them. Whoever they wanted to hire, they could. Whatever equipment they needed, just call Industrial Light & Magic. As for studio space, they could pick it themselves, the company would just pay for it.
And after they finish the Beaver animation project, no matter whether the project is good or bad, Isabella will let them make whatever film they want next. Whatever they want to do, they can. Of course, preferably "How to Train Your Dragon."
The new boss's generosity had them thrilled and eager, and once the contract was signed, they went off to work immediately.
And while they were busy moving in their things — they're Americans, after all, but Isabella would never set up the company in the US — Vivian also signed a six-year cooperation agreement with the "trafficker" who brought them over: Disney.
For the next six years, Beaver Productions must produce at least two animated films.
And Disney will handle worldwide distribution.
This "worldwide distribution" doesn't just mean theatrical release. It also includes videotapes and cable TV networks.
Each film's distribution period lasts 20 years.
That's right.
Distribution isn't a one-and-done deal. It isn't just about that short theater run. This is a long-term partnership.
This year, your movie's premiere is handled by me. Ten years later, when the market thinks your movie can be re-released — okay, as long as my distribution rights haven't expired, then I'll handle the re-release too.
As for distribution fees, they're based on a very complicated tiered contract.
Because box office splits with theaters are never fixed.
For large IP films, the first-week split can reach 90%.
For example, Star Wars. First weekend earns $100 million in North America?
Then Lucasfilm gets $90 million.
Don't ask why.
Ask this: because my movie is called Star Wars.
Second week—if it's strong—can get 80%. Third week—70%. Fourth week—60%.
It's only after four weeks that the studio's share drops below 40%.
Harry Potter got this exact treatment.
This is the real reason Barry Meyer likes Isabella. When someone can make a movie earn $300M in just one month, the studio's total share will certainly go beyond $240M. That's real cash flowing in.
So...
Does Hollywood lack traffic?
Don't be ridiculous.
What Hollywood loves most is traffic that drives audiences into theaters within the first few weeks.
When every film's performance varies, if the distributor still charges a fixed rate, that only means the producers got screwed and were total suckers.
In the contract between Beaver Productions and Disney, if Disney manages to secure 90% of box office in North America in the first week, then their distribution fee will be 25% of the first-week box office, normally around 17%.
Other rates and international markets had separate terms.
They'd be getting rich together.
As for IP merchandise development?
Right now there's only a letter of intent.
Disney has the priority right to bid.
The signing of the contract meant "How to Train Your Dragon" was secured.
Isabella didn't even ask about the copyright cost of the book, because Robert Iger bought it personally as a gift for her.
When even he believed How to Train Your Dragon would succeed, and didn't even want to leave any trace of the copyright transaction on Disney's accounts — just so he wouldn't give enemies ammunition — well, naturally, Isabella was secretly delighted.
She wasn't the type to rub salt in someone else's wound after getting a bargain~
Once the Disney people finally left Leavesden, Isabella's life finally returned to normal.
Although she no longer needed to take part in business negotiations or sign company contracts, she only had to meet with visiting allies and chat. But, truthfully, when things that could affect your future keep popping up one after another, these "unexpected interruptions" are bound to affect your current work.
It has nothing to do with focus or dedication.
It's simply because those interruptions are important.
Therefore...
Earlier, when Isabella had a lot to deal with, her condition while filming Goblet of Fire was actually quite mediocre.
Since HP really doesn't rely on acting skills, and Columbus was taught by Spielberg, their principle for commercial films is: "Good enough is fine." So, nobody cared about Isabella "spacing out."
And once she finished her tasks…
January 27, 2005.
Surrey County.
Beside Virginia Water Lake.
Isabella, dressed in her Gryffindor uniform, stared earnestly at a nervous, glasses-wearing Harry.
"Hermione, you have to believe me, I didn't put my name in!"
"Because I'm not seventeen yet! I'm not even old enough to compete!"
"Harry, calm down! Of course I know you didn't sign up."
She pressed her hands downward, signaling him to stay calm.
At the same time, her thin eyebrows lowered then rose slightly, showing full trust on her face.
"When Dumbledore read your name, I was right there. I saw the shock on your face with my own eyes, so I believe you didn't lie to us. So now the question is: who put your name in?"
Her moderate speaking pace and calm tone were like invisible hands that gently pressed down Harry's agitation.
As Harry pursed his lips, Hermione frowned and said, "Harry, I think Moody is right. No student could pull this off. No student could fool the Goblet of Fire, or Dumbledore. So I think we need to sort this through from the beginning. Start with when your scar started hurting again. What do you think?"
Her suggestion made Harry nod.
And behind the camera, Columbus happily shouted, "Cut! Good!"
"Isa! You performed well today! You get a chicken leg tonight!"
"Oh—what is that supposed to mean—you're saying I didn't perform well before?!"
When she heard "Cut Good," Isabella was all smiles.
But when she heard "you get a chicken leg tonight," her face instantly collapsed.
Her sulky expression made Daniel grin.
"Isa, you really were a bit off these past few days."
He spoke honestly.
Isabella immediately put on her hood and acted like a gang boss.
"Marge! Marge! Where are you?"
"There's a bad guy here! He's slandering my acting! Drag him away and execute him!"
Isabella's call made Robbie quickly move in, ready to drag Daniel somewhere to chop him up.
Their little skit made the crew shake their heads with laughter.
Meanwhile, Rupert, munching on a prop loaf of bread, added fuel to the fire: "Marge, it's not cost-effective to chop him. The lake is right in front of us. Drowning him would be easier!"
As soon as he said that, Robbie pretended to push Daniel into the water.
Daniel struggled free in panic, jumping around, "Rupert, are you insane?!"
"It's January! Do you know it's January?!"
"It's freezing out here! If I fall into the lake and get sick, are you gonna pay my meds?!"
His panic-filled curses made everyone burst out laughing.
Isabella just put her hands in her pockets and nodded toward Columbus, "Then drown him."
"Anyway, we've got the script, the AD and professional cameramen."
"Letting the director stay in the hospital for two weeks is totally manageable."
Turning the gun toward him made Columbus look like Mr. Bean, wide-eyed, "Isa, don't joke around!"
His frightened face made everyone laugh again.
"Hahahahahaha!"
Since Isabella regained her good condition, Goblet of Fire filming went back on track.
Well, actually, filming had always progressed smoothly. By mid-March, Part 1 would wrap, and they could immediately start filming Part 2. At the latest, it would be finished by mid-November.
Of course, they weren't strictly filming in narrative order.
For example, right now Isabella and Daniel were filming the opening of Part 2.
Because the lake behind them required special arrangements for Part 2. If they didn't film this opening conversation now, then they'd have to wait until after the lake set was dismantled.
Too troublesome.
A cheerful atmosphere always makes time pass fast.
Days went by with laughter.
Although this year's awards season had nothing to do with Isabella, everyone paid attention since it's a big industry event. So Isabella also heard plenty of news from her little portable radio.
For example, at this year's Golden Globes, the irrelevant Hollywood Foreign Press Association awarded Best Drama Film to The Aviator, and Best Comedy/Musical Film to Sideways.
Best Actor in a Drama: Leonardo DiCaprio.
Best Actor in Comedy/Musical: Jamie Foxx.
As soon as this happened, countless media declared Leo was going to run empty-handed again.
Yeah… Leo's bid for Best Actor was known to all.
But when this year's opponent was a black man…
"Wow, Best Actor really did go to Jamie Foxx!"
London Time.
February 28, 2005.
Robbie brought Isabella yesterday's Oscar results on a newspaper.
Staring at that dark figure on the page, Isabella smiled slightly and didn't comment.
Not only because she knew that in her past life, Leo tried for YEARS before he got his Oscar.
But also because she understood: this year's Oscar Best Actor could only be a Black actor.
There's no explanation needed.
If you insist on a reason…
Last year, Foxx's actions caused public outrage.
As America's biggest window for foreign image-shaping, Hollywood must prove to the world that they are free, democratic, equal and compassionate.
So…
Put it this way: magic is never a good thing. It's a double-edged sword that hurts the enemy and yourself.
You want to swing your blade at others?
Okay, please castrate yourself first.
You want to condemn others for racism while being unequal and uncharitable?
You must be dreaming.
So…
This year's Oscar Best Supporting Actor also went to a Black actor: Morgan Freeman, for Million Dollar Baby.
Best Supporting Actress went to Sophie Okonedo, for Hotel Rwanda.
Among the acting awards, the only white winner was Best Actress Hilary Swank, also for Million Dollar Baby.
As for Oscars… Isabella already has four Dragon Balls. If she wants, she could summon Shenron and get Best Actress anytime. So the awards ceremony results were just entertainment for her.
But nobody expected this: the moment she finished mocking the Oscars…
The very next second, she fell silent.
Because on March 4th, 2005, Resident Evil: Apocalypse officially premiered.
And in its first weekend, across three days, its North American box office barely reached $20 million.