After leaving the booth of Dej Production Company, Navas quickly found the French production company mentioned on the phone according to the assistant. At this time, there were many people in the booth, and the exhibition party could not receive it.

"On there." The assistant came over and pointed to the screen: "It's just this video."

Navas glanced and asked, "Where is Ronan Anderson?"

The assistant said: "He left himself, but someone was left talking."

Navas followed the assistant's finger and saw a familiar young man. After thinking about it, Muran was shocked. Isn't this the person who accompanied Ronan Anderson to watch and buy "The Witch Blair" at the St. Dennis Film Festival?

What is the other party's name? Navas can't remember it, but he can be sure that his relationship with Ronan Anderson is very different.

Could this be another movie like "Blair the Witch"? Navas's heart suddenly became hot, and his scorching eyes immediately hit the video clips on the show.

But after only three minutes of watching, Navas's fiery heart was half cold.

This is not an English movie, not a Hollywood movie, but an overseas movie or a French movie!

Have any French films achieved good results in North America in the past twenty years? Even the French director Luc Besson, who claims to know the North American film market best, has repeatedly failed in North America.

Navas thought of the "City of God" and "The Ten-sided Ambush" he bought before, and the painful lesson seemed to be right in front of him.

This bloody lesson tells him something that makes him realize the inner truth of the world's largest film market. If overseas movies want to succeed in North America, it is like a gambling with a winning rate of less than one percent or even lower.

He has lost twice in bet, and he doesn't want to do it again for the third time.

Although I don't know French, this movie called "The Spring of the Cattle-Growned Class" also looks very interesting, but Navas doesn't want to bet on that low and terrifying success rate.

"Boss?" The assistant saw Navas in a daze and asked, "Do we want..."

Navas learned from the lessons learned from the previous two failures and said firmly: "We won't touch this movie. Lionsgate Film will not touch any non-English movies at this film festival!"

The assistant didn't understand very well, and even was very confused, but he agreed: "Okay, I'll continue to convey it now."

Navas did not leave immediately, but instead stood here and continued to watch the exhibition clips of this video. The more he watched, the more interesting he felt, and he felt that this could become a classic film.

But can Classic Films achieve commercial success?

When Lionsgate Pictures was first established, Navas would definitely say yes.

Now, Navas knows that classic videos have no necessary connection with commercial success.

Because Navas personally purchased and operated "City of God", this Brazilian film almost entered the ranks of the top ten classic films selected by all media and professionals that year, many of which were ranked first.

Even among the top ten movies selected since the century, "City of God" is also among the top.

However, the film's commercial performance has made Lionsgate vomit blood.

Navas resisted the urge to talk to the French about the copyright of "The Spring of the Cattle-Grieving Class" and was about to leave.

The exhibition hall suddenly became chaotic, and another heavyweight movie boss came!

A large Jewish fat man with a short head walked into the exhibition hall, instantly attracting everyone's attention.

Harvey Weinstein!

Miramax Pictures is here!

Seeing Harvey Weinstein walking towards the French, Navas's originally cooled heart heated up again.

But the bloody lesson of foreign languages ​​was right in front of him, and he finally held back.

"Let's go." Navas left the exhibition hall without looking back.

Let Embassy Pictures and Miramax Pictures break the head for this film.

Navas did not look back and walked towards the exhibition halls that he had not yet taken, hoping to find a movie suitable for Lionsgate release.

"The Spring of the Cattle Herding Class" doesn't need to be considered. The movie "Crash" is waiting for news from the producers first, and I'll go and watch it tomorrow if I have time.

In one day, Ronan watched the trading area of ​​the Toronto Film Festival and later saw a relatively familiar film called "Rwanda Hotel".

This is a film about the Rwandan massacre in the 1990s, and its style is very consistent with the awards season.

But Ronan just gave up after a little contact, because the producer offered to pay $16 million in North America distribution rights alone.

For producers, this offer is reasonable because they invested nearly $18 million in production.

But for the issuer, the risk is too great.

North America requires a copyright fee of $16 million. The commercial attributes of the film are better than nothing. It is bound to take the award season award winning route. In addition, the investment in award winning issuance, making it difficult to recover the cost.

For directors and actors, as well as other creators, movies may be an art.

For distribution companies like Embassy Pictures, movies are first and foremost a business.

"Don't you think that movie is a bit like the African version of Schindler's List?" Tony Koch enjoyed the big meal Ronan invited and said, "Maybe I can get back with the Oscar Best Picture Little Golden Man."

But Ronan said directly: "The ones who saved African blacks, not Jews."

Tony Koch instantly felt it made sense and nodded, "You can see it thoroughly." He suddenly asked with confusion again: "Didn't Hollywood black movies perform well in the awards season in the past two years?"

Ronan lowered his voice: "Black Africans are not the same as black Americans. Black Americans never think they belong to the same ethnic group as black Africans."

He said this kind of thing in private that he had a close relationship with Tony Koch.

Tony Koch swallowed the food in his mouth: "I used to know that the Berlin Film Festival was greatly affected by external factors, but I didn't expect that the Hollywood awards season would be the same."

Ronan smiled and asked, "How is your side?"

"Very good, I attracted a large number of movie buyers." Tony Koch said with a smile: "Ronan, your appeal is too great. Many film companies are competing for "Spring of the Cowherd Class". I don't have to bid at all, and they will compete for it themselves."

But Ronan said: "Because that movie is really distinctive."

Tony Koch agreed with Ronan's point of view: "I read it and it really feels good."

Ronan asked: "Has the deal for this film been reached? Who bought it in the end?"

"It's done." Tony Koch thought of the fat man and said, "Millamax Films' Harvey Weinstein obtained the North American distribution rights, and it is said that he spent $7 million in a high price."

Ronan instantly understood: "Harvey Weinstein may run "The Spring of the Cattle Grazing Class" to hit the Oscar for the best foreign language film."

Tony Koch immediately put away his smile: "Become our direct competitor?"

"Well." Ronanyue thought the greater the possibility: "This is the only reason that can make Harvey Weinstein invest heavily in purchasing the copyright of the video."

"We have a strong competitor." Tony Koch has also heard of the famous Oscar pusher.

Ronan frowned: "Add $7 million in copyright fees, plus the investment in operating the Oscars, if you can't get the Oscar's best foreign language film, how many years will it take for Harvey Weinstein to recover the investment?"

Many Hollywood movies can eliminate the losses in their accounts after years of offline operations, but what is the point if this time is extended to ten or twenty years?

Tony Koch asked at this time: "Ronan, how are you doing there?"

Ronan put down the knife and fork, took out the tissue, and said while wiping his hands: "There has been basically agreed, and Embassy Film will sign the contract tonight."

It was another refreshing Canadian morning. Navas entered the trading area of ​​the Toronto Film Festival again. He looked a little serious. Yesterday, he couldn't find a film that could make him decide to sign it.

That French movie looks good, but no matter how outstanding the overseas movie is, it will have a huge doubt in North America. The failure may be far more than success.

Later he also saw a movie called "Rwanda Hotel", but such a movie that reflects Rwanda, Africa, will be distributed in North America for 16 million US dollars, and the producers are really crazy!

Because there was no suitable choice, Navas came to the booth where "Crash" was once again.

Then, he was surprised to find that the director and producer named Paul Haggis, who was interviewed with him yesterday, was taking the staff to pack up the booth, as if he was about to withdraw the exhibition...

What's the situation?

Navas felt something was wrong and hurried over and said hello: "Good morning, director Haggis."

Paul Haggis also saw him and responded with a smile: "Hello."

"You guys are..." Navas pointed to the busy staff in the booth.

Paul Haggis was in a great mood and said, "The copyright of the video has been sold, and we are ready to withdraw it."

"Sold?" Navas asked with a bad premonition, "Ask a pity, which company did you sell it to?"

Thinking that there were no relevant regulations in the copyright transaction contract, Paul Haggis did not want to offend the Lionsgate Films and said: "Embassy Films, a subsidiary of Relativity Entertainment Group." From planning to production to film festival exhibitions and sales, he experienced too many difficulties, and at this time he was inevitably proud of his success: "Embassy Films bought out the entire copyright of "Crash" for $7 million."

Navas was stunned. Embassy Films? Relativity Entertainment? Ronan Anderson? It seems that he missed something again...

"You should contact me again before you sell it." Navas couldn't help but say.
Chapter completed!