Shelley Stuart
Adventures in Hollywood
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The rules have changed
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Mood:
Still hopeful
Well, another meeting, and perhaps another step closer to a deal. I'm very glad we took the time to get together, because it proved that we were working under different assumptions. It's no wonder that the counter was such a shock. You have to have the same foundation in order to make decisions or conclusions.
John now wants to make the picture for less than $5 million, which puts this as a low-budget film for WGA. Is that a reasonable budget? Beats the helloutta me. But I don't think that John's lying about what he thinks he can do and for how much.
That one detail changes my expectations as far as this project goes. Now that we're talking low budget, the fee scale changes drastically, and it actually puts his counter offer at above WGA minimum. That, with the potential for the sequel rights, makes it a very attractive offer.
To me, that is.
Now, what's Paul going to think? I don't know. One thing that Tom may suggest to Paul is that he not bother with the writing end of the deal. Let him take his option money for the project, then come on board as a story consultant for a lower cost and for a lower time commitment. The film still gets made and we're further ahead than we were before.
Boy, would I be happy about that. Then I could go back to being the sole writer on the project, which is where I wanted to be in the first place.
Tom's going to talk to Paul tonight and see what he thinks, now that we're talking about a low-budget film. It's all up to Tom at this point. I have no idea how Paul will react. He's had his mind set for large budget (and therefore large fees), but what will he think about low budget? I really hope he goes for the low-budget/consultant angle. I'd be happy to work with him as a cowriter, but happier on my own.
We chatted for a bit about story today as well. I have a good feeling for John's sense of story and visual appeal. He described a couple of scenes, which I immediately visualized, and the impact is great. I think I would enjoy working for and with him on this project.
Keep your fingers crossed.
John now wants to make the picture for less than $5 million, which puts this as a low-budget film for WGA. Is that a reasonable budget? Beats the helloutta me. But I don't think that John's lying about what he thinks he can do and for how much.
That one detail changes my expectations as far as this project goes. Now that we're talking low budget, the fee scale changes drastically, and it actually puts his counter offer at above WGA minimum. That, with the potential for the sequel rights, makes it a very attractive offer.
To me, that is.
Now, what's Paul going to think? I don't know. One thing that Tom may suggest to Paul is that he not bother with the writing end of the deal. Let him take his option money for the project, then come on board as a story consultant for a lower cost and for a lower time commitment. The film still gets made and we're further ahead than we were before.
Boy, would I be happy about that. Then I could go back to being the sole writer on the project, which is where I wanted to be in the first place.
Tom's going to talk to Paul tonight and see what he thinks, now that we're talking about a low-budget film. It's all up to Tom at this point. I have no idea how Paul will react. He's had his mind set for large budget (and therefore large fees), but what will he think about low budget? I really hope he goes for the low-budget/consultant angle. I'd be happy to work with him as a cowriter, but happier on my own.
We chatted for a bit about story today as well. I have a good feeling for John's sense of story and visual appeal. He described a couple of scenes, which I immediately visualized, and the impact is great. I think I would enjoy working for and with him on this project.
Keep your fingers crossed.
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