In the reception room of the Ritz-Carlton Hotel in London, Ronan met Judy Kramer, who was nearly fifty years old. After hearing his feelings, the female producer responded very happily.

"Mr. Anderson, I have always wanted to adapt Mamma Mia into a movie," Judy Kramer looked at the famous producer from Hollywood and said directly: "But I have limited abilities and can't find a suitable entry point. I'm very happy that you can take a fancy to this project."

Ronan said seriously: "If I own the copyright, I can start preparing for this project tomorrow."

Judy Cramer knew who Ronan was and said, "I have no doubt about this." She sighed: "I have made a lot of efforts to adapt this project into a movie. Just looking for a suitable screenwriter, I took two years to find a movie script adapted by Katherine Johnson. As a result, it took nearly three years to promote the project, but no one accepted it."

Ronan could see that Judy Kramer had invested a lot in the adaptation of the movie "Mama Mia", not only in terms of energy, but also in her own emotions. So when the long-cherished wish that several years ago could be realized, she not only did not set up obstacles, but actively cooperated.

Judy Kramer continued: "I spent a lot of money to get the copyright of the movie adaptation of "Mamma Mia" at that time. Most of my working capital was almost all on it, which directly hindered the development of my company. If I hadn't been lucky, my company might have gone bankrupt."

Ronan could hear the subtext in this sentence and said, "Ms. Cramer, don't worry, I will give you a satisfactory transfer price."

It is one thing to realize the long-cherished wishes and feelings of this project, and it is another thing to realize the actual benefits.

Judy Cramer has his own company, and it is more of a businessman than a producer with little experience.

"My requirements are not high," Judy Kramer said so implicitly before, and was afraid to scare away the only potential buyer today: "As long as you can recover the investment from that year, it's fine."

Ronan did not respond immediately, but asked, "Can you know how much money you spent to obtain the copyright?"

Judy Cramer did not answer, but opened the briefcase, took out a contract and handed it to Ronan, saying: "This is a copy of the authorization agreement signed that year, with a specific price on it, the copyright of the movie adaptation I bought for £1 million and some other authorizations."

In this move, Judy Cramer is not only showing sincerity, but also proving that the copyright of "Mamma Mia" is in his own hands.

Ronan quickly flipped the copy of the contract. With his current professionalism, he naturally could see that there was no problem with the contract.

"Ms. Kramer." Ronan closed the contract and gave Judy Kramer, saying, "You can offer a price."

The other party has a strong desire to sell the copyright, and he doesn't want to cause such trouble, so he just makes it straightforward.

Judy Cramer pondered for a moment and said tentatively: "1.5 million pounds?"

Ronan cut the mess with a quick knife: "Okay, then 1.5 million pounds."

Hearing this, Judy Cramer breathed a sigh of relief. Although taking into account the currency value and the time cost of occupying funds, the 1.5 million pounds is just a return, but the movie project that has been staked in his hands for such a long time can finally be exchanged for important working capital.

Ronan said again: "Copyright transfer details..."

Judy Cramer was a little anxious and said, "I'll inform my lawyer now and let him come here."

Ronan nodded, pointed to Connie who had been sitting next to her and said, "This is my assistant, and she is responsible for receiving your lawyer."

"Yes." The key transaction price has been agreed, and Judy Kramer has no objection.

Connie smiled at Judy Cramer, left the reception room, and also contacted the lawyers of the British branch of Embassy Films to prepare for the next negotiations and signing of the agreement.

Judy Cramer didn't move, and seemed to have something to say.

Ronan talked to her about topics such as unnutritious London weather. Judy Cramer asked again: "Mr. Anderson, you know I am a producer, but you have always lacked practical experience. Can I participate in the movie adaptation of "Mama Mia"?"

She worried that Ronan's misunderstanding might affect the transaction, saying, "These are just some of my personal requests and have nothing to do with our copyright transactions."

Ronan pondered for a moment and said, "Ms. Kramer, as you said, you have no practical experience, so you can join the crew in the future, but it is impossible to serve as a producer. You can only hold a name for executive producers and join the crew as an individual."

The meaning of this is very clear. Judy Kramer has no power in the crew, and will not engage in joint venture filming with her or anything like that.

Judy Cramer replied: "No problem."

Ronan nodded slightly and said very politely: "I am also very happy that you who know "Mama Mia" like this can help and guide the work of the crew in the future."

Judy Cramer was modest: "I'm a learner."

Speaking of this, she took out a script from her briefcase and said, "This is a few years ago when I looked for a movie script adapted by Catherine Johnson. If I could use it, my previous work would not be in vain."

Ronan was not polite, and took it and watched it. Judy Cramer said: "I did a lot of work at that time. Katherine Johnson created a heartwarming and exciting story. I also lobbyed the famous female director Filida Lloyd, wanting her to be the director of the adaptation of the movie..."

"She didn't agree?" Ronan asked.

Judy Cramer shook her head: "Felida Lloyd is a little interested in the script, but I can't get any investment and I don't have the money to hire Felida Lloyd as director."

Ronan remembered the name Filida Lloyd in his heart, read the script briefly and said, "It's well written, but many places need to be modified."

Judy Cramer continued: "I seriously discussed the idea of ​​creating a movie script with Catherine Johnson, and then I had this story about the different views on love between two generations of women, as well as the two completely different results of frivolous love and mature love, and then interspersed with friendship, identity annotations and wish achievement."

Ronan nodded slightly, the theme and framework of the story were not a problem. Such content settings were relatively easy to resonate in the hearts of most viewers, and could produce an attraction that could not be ignored for any age, regardless of gender, nationality.

Then there is the use of songs, which is the key and soul of musical opera. Judy Kramer did do a lot of work at the beginning, and also obtained the copyright of some songs used and secondary creation of Abale's band. He wanted to create songs suitable for the movie based on this.

When he returns to Hollywood, Ronan will not be completely limited to it. He will find professional musicians to create or adapt songs suitable for movies based on scripts and stage plays.

The framework of the script can be retained, but some of the content must be modified. This is a pure British story. The main market for the future of the movie is North America, and it will definitely be changed to an American story.

Ronan chatted with Judy Cramer for a morning, and the negotiations between Connie and Judy Cramer's lawyers did not end in the afternoon. Both parties needed to formulate a contract and complete a series of procedures such as copyright transfer registration. It was not until the morning of the third day that a formal transfer agreement was signed at the Ritz-Carlton Hotel.

Ronan was extremely efficient by cutting the mess with a quick knife, and he got the copyright of the movie "Mama Mia" before the charity dinner.

Judy Kramer is very satisfied with this transaction. It is not easy for her to sell the projects that have been under her control for many years in exchange for important working capital, and to join the crew of a large Hollywood company.

As for the success or failure of a film project, Judy Kramer thought so. If she succeeds in the future, she can learn from the production experience of successful movies; if she fails, she can learn from the lessons.

This only benefits her, but not harms her.

On the afternoon of the day when the official copyright transfer agreement was signed, Judy Kramer was in a great mood and returned to the company and received a call from an old friend.

"You mean Mr. Tom Hanks from Hollywood wants to talk to me about the copyright of Mamma Mia's movie? What? Are you about to get to my company?"

Judy Cramer was a little surprised. "Mama Mia" was under her hands for many years. When no one cared about it, she couldn't sleep. As a result, not only were people buying it, but each one was bigger than the other.

Fifteen minutes later, Judy Cramer received Tom Hanks and his group in the company, facing Tom Hanks, who was honest and kind, leaving a very good impression on Judy Cramer.

But no matter how good the impression is, no matter how much you like this famous Hollywood superstar, it is impossible to sell one copyright into two copies.

"The copyright of "Mammia" is not in your hands?" Tom Hanks was a little surprised: "But when I checked the copyright the day before yesterday, the copyright of the movie was still in your hands."

Judy Cramer smiled bitterly: "I just signed a copyright transfer agreement with someone this morning and completed the final procedures for copyright transfer in the afternoon."

Tom Hanks was a little amused but didn't show it. He was also curious about who took the lead and Preton and asked, "Ms. Cramer, ask, to whom did you transfer the copyright?"

Judy Cramer didn't hide it: "Ronan Anderson, the owner of Relativity Entertainment, personally asked me."

"Is it him?" Tom Hanks' honest face was a little heavy: "How could Ronan Anderson be ahead of us?"

No one can answer the question Tom Hanks.
Chapter completed!