Urgent ADVICES/suggestions for a screenplay deal.

[ApeX]

Dear IndieTalk members,

I hope everyone is doing well. I need your kind advices and suggestions for something very urgent and important.

So, I have written a story. Please don’t take it wrong or make fun of it. A movie based on this story could be very successful and can easily gross 1 billion.
So, now what to do ? I want it big and justified. If I get to sell the story/concept, what should be a fair price range at present days ?

What price/profit should one deserve/demand; if a movie made (story,screenplay,direction) by his, hits billion dollar gross.

Also I need some ideas about real profit regarding successful movies.
So, how is profit calculated ? How is distribution fee calculated ?
In a simple way, what profit amount is expected excluding making budget, distribution fee for a 1 billion hit with making budget 200 million ?

And what price/profit, the story/screenplay and director should deserve/demand in Hollywood these days.

Thank you for reading all this. Now you all good people, please give some advice/suggestions. I need them very urgently.
N.B. Once the deal finalised, I will have some gifts for you. I promise.

Thanks
Ash

 

[FantasySciFi]

Yes, but you are only looking at one side of the coin.

Well, I have been only asking for high priced screenplays/franchises. But what about the others like
$5 million: Deja Vu by Terry Rossio and Bill Marsilii[1]

Terry Rossio has worked his way up through the ranks. Starting in 1986 when he was a "hired gun" helping to edit the script for Disney's "Aladdin" (1986). He worked on a number of assignments before "Deja Vu" on which he is also a producer. Remember, producer's get a larger portion of the pie because it's another hat. Rossio has been involved in a number of high profile titles, like "Pirates of the Carribean" (2006). He didn't just appear on the scene.

$4 million: The Long Kiss Goodnight by Shane Black

Shane Black's first major feature was "Lethal Weapon". His story was taken by his agent to a producer Joel Silver who already had a pretty good record. He and Silver developed the script that was eventually sold to Warner Brothers and made into the movie back in 1986. He had a string of successes that led to his $4 M sale. Having an agent and contacts from UCLA was a major opportunity to starting his career. But at that juncture, his script would not have commanded a large price.

$3 million: Basic Instinct by Joe Eszterhas

Joe Eszterhas has led an interesting life. His first screenplay was "F.I.S.T." (197. It starred Sylvester Stallone who also has credit as the co-writer. In 1976, Stallone wrote and acted in "Rocky" which was surprisingly successful. Joe's "Flashdance" (1983) helped to elevate his status. His connections helped to get "Music Box" made (1989). As many of these films earned awards, he could command higher prices.

$2.75 million: Mozart and the Whale (The Newports) by Ronald Bass. $2 million against $2,750,000.

Again, Ronald Bass was a novelist-turned-screenwriter. His first screenplays were adaptations of novels written by others--"Gardens of Stone", "Rain Man", "Sleeping with the Enemy", "The Joy Luck Club". I'm not putting down Mr. Bass' talent. It emphasizes what I've said before, being a novelist doesn't make a good screenwriter. His skill at translating others' works is a talent. According to IMDB, the estimated budget for the picture was $12 M. It's gross intake from five theaters was $36 K. It's good that the screenwriter was paid upfront.

$2.5 million: The Sixth Sense by M. Night Shyamalan and others

Shyamalan's first two pictures were not money makers. However, Shyamalan had won recognition at the Toronto Film festival. He was both actor, writer and director. His contacts allowed him to get his spec script read by then Disney film exec David Vogel. Vogel made an unprecedented decision to pay him the money AND let him direct. A decision for which Vogel was reportedly demoted. Again, Shyamalan wore multiple hats.

I actually have no idea about film shooting or anything technical.
That's why I am asking so many questions about the budgets and other info of production/distribution company; so that I could set up my own company and engage some talents to turn my idea into reality. But now I am thinking to pause the main(big) idea and garner some profits making some good low budget movies/selling some great screenplays meanwhile building some reputation/distribution contacts/knowledge before going for the big fish. I hope we will meet soon.

I am working on the step one for several projects. Will complete soon.
Thanks a lot.

Please realize that for an unknown writer to get instant riches is extremely unlikely. The examples you gave involve individuals who have paid their dues and have held multiple roles--writer, actor, director, producer. If you are looking to start your own company, educate yourself by taking a few film production courses. Not to get a degree, but so you aren't totally reliant on others. It will help you build a better business by understanding it.

Also realize that nobody here can give you perfect advice as there are hundreds of variables dependent on your personal situation. It is better to work with someone close to you who can give you personal advice and who is knowledgeable.

Again, don't be deceived by the big dollar signs. The law clerk is not paid as much as the CEO. Though s/he may work their way up the corporate ladder. I think you're wise to follow that approach. Networking with actors, directors, producers, and even crew is the secret to being successful. Work with independent filmmakers in your area. It doesn't take much to be a production assistant and learn about how the set operates. I have worked lights, sound, shooting, editing, acting and directing. All of those experiences have helped me better understand the industry and helped me as a writer--and vice versa. Being hands-on and educating yourself will save you many headaches later as you start your business and pursue your passion.

 

[ApeX]

Yes, but you are only looking at one side of the coin.

Thanks

How about making an agreement like.....if the movie grosses 1 billion, then screenwriter will get 20m !

 

[2001 Productions]

Trust me, if you write the screenplay for a film that grosses $1 billion, you'll never have to worry about money again, regardless how much the script sold for.

 

[joshythehipster]

Don't write for money dude. Remove money from your mind. Write it up as a screenplay because you want it to be the best thing you have ever written.

 

[wheatgrinder]

don't take me seriously..

https://www.youtube.com/watch?v=gSjLiQxEZlM

 

[Boxt]

Actually, Bill Marsilii wrote the original Deja Vu screenplay and Terry Rossio was brought on to rework it with him. The total the got paid was about 7-8% of the NET budget. That is an average % only just above the WGA minimum. I would guess that Marsilii got a lower % than Rossio who was had a track record. That is not a great deal, it is a standard deal. As you say, they and the other writers mentioned, all have worked as either writers or script doctors before they landed these sales.

ApeX, just to be clear, the amount of money they got seems huge but the sum is related to the overall budget. Usually, a writer will get 3% of the NET budget. Studios and mini-majors will always try to pay this. Agents will always try to get it higher but that only really happens for writers who have a clear track record. The value of that track record depends on whether they succeeded at the box office or at the awards. Usually, that would be optioned, not bought, at 10% of the 3%. Studios don't like to pay out a full purchase price when you do not know if you can get it made. Studios do not go into production with every film they option.

 

[Boxt]

Thanks

How about making an agreement like.....if the movie grosses 1 billion, then screenwriter will get 20m !

ApeX, all production companies work on % of the NET budget as the basis for the fee. The only time you can get away from that is you have a track record as A-list writer.
And, very few movies have made a billion. If the studios were to consider a spec screenplay which they though could have that potential, it would spend years in development and they would hire the best, established writers they could get, as with that budget they would need to have the best screenplay they could afford. Your fee would depend on what the budget cap for writers is and how much the other writers would get.

Also, I saw earlier that someone posted a profit split summary. It is a little out of date. At the moment most cinemas are are taking 50-70% of the ticket price. Sales agents take about 15% of the films sale price, once they have recouped that and expenses, they are out of the recoupment schedule. The distributors take their expenses and profit margin which is currently 25-30%. If a studio picks this up, it may be higher as they charge additional fees and margins as they move between their separate company divisions. This is the hardest money to recoup because the distributors expenses are huge. When they have been paid out, the producer will get a gross payment form which he must pay residuals, and then the writer and directors profit points. Most movies never get here. The only time a writer can get paid a little higher up is if he is really well established.