The Best Director

Chapter 319: Now I’m Afraid that Wang Yang Might Be Interested

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“‘Becoming Julia’? Sony has made a move, let’s follow with 5 million.” “What about ‘A Good Woman’? It seems to have Oscar potential, with Scarlett Johansson and Helen Hunt also having a decent box office appeal.” “I only know that not purchasing ‘Leaping Ocean’ will be regrettable.”…

Despite the gradual start of the fall semester at various schools, the area around the Metro Toronto Convention Centre is even more in the spotlight than usual due to the arrival of the Toronto International Film Festival (TIFF), with media reporters and celebrities visible everywhere. Renowned media such as The Globe and Mail, Toronto Star, The New York Times, Los Angeles Times, and others all gathered in restaurants and coffee shops, conducting various interviews and photography, creating quite a buzz.

This year’s TIFF features 328 films, divided into 16 sections such as “Canada Premieres, Discovery, Masters, Midnight Madness, Special Presentations,” and so on. But unlike the big three European film festivals in Berlin, Cannes, and Venice, TIFF is not primarily competition-oriented. In fact, it doesn’t have a jury, and the festival only has one “People’s Choice Award”, which is given to the best film of the festival as voted by the public. ‘Crouching Tiger, Hidden Dragon’ and last year’s ‘The Legend of Zatoichi’ have both been honored with this award.

Without awards ceremonies, TIFF attracts even more film distributors because TIFF is known for showing a multitude of films, including arthouse, independent, and quite a few impressive commercial films. Many films find distributors here and make their way to the big screens of North America, going on to either make a fortune at the box office or end up on the Oscar nomination list and award stage; or else they might be hastily pulled from screenings after a week. And without a doubt, out of the 328 films, there are definitely gems hidden among them!

Which film’s distribution rights, North American theatrical distribution rights to negotiate and purchase? This is the topic that distributors are discussing. The opening film ‘Becoming Julia’, ‘A Good Woman’ adapted from Oscar Wilde’s ‘Lady Windermere’s Fan’, Kevin Spacey’s self-written, directed and acted ‘Leaping Ocean’… The People’s Choice Award hot favorite ‘Hotel Rwanda’ is not for sale, as producer United Artists & Lion’s Gate are showcasing it purely to boost its fame.

“‘Crash’, we must secure it.” It is already the second day of the opening, September 10, and the most anticipated films from the “Special Presentations” section are being released one after another. After watching ‘Crash’, directed and written by Paul Haggis, Jon Feltheimer, partner and CEO of Lion’s Gate Films, immediately saw its potential.

‘Crash’ was co-produced by six small production companies like Bull’s Eye Entertainment, Bob Yari Productions, DEJ Productions, and Blackfriars Bridge Films with an investment of 6.5 million US dollars. The 51-year-old Paul Haggis is a well-known television screenwriter, who started transitioning to film scriptwriting after 2000. His current works include the yet-to-be-released ‘Million Dollar Baby’ and ‘Crash’, the former is already scheduled for release on December 15 this year; while the latter’s distribution rights are still vacant.

Although Paul Haggis is well-known for his television work, and ‘Crash’s’ superb script also attracted various stars, including Matt Dillon and Thandiwe Newton to join the cast. To participate, Sandra Bullock even paid for her flight ticket to the set out of her own pocket. However, the initial budget of 6 million, the cost-saving measures like using Haggis’s own house and car for some scenes, and the lack of a distributor up to this point… all these highlight its somewhat awkward position.

It also provided an opportunity for Lion’s Gate. Is it an opportunity? First of all, it has great potential to make an impact at the Oscars and other awards, with social issues like racial discrimination being a very good topic. Don’t forget, ‘Million Dollar Baby’ received overwhelming praise in its screenings. If it can be nominated for a major award, or even win, ‘Crash’s’ global box office won’t be less than 30 million. Is it really so? Thinking about all this, in a corner of the convention center’s coffee shop, Jon Feltheimer speaks steadily, “Theatrical and DVD distribution rights, let’s start the bidding at 2 million.”

“2 million probably won’t be enough to secure it. Miramax is also interested, and…” Tom Ortenberg, with a cup of coffee steaming in front of him, had a very stern expression and no mood to enjoy his coffee, said: “Now the fear is that Wang Yang might be interested.”

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In recent years, Lionsgate has been constantly outmaneuvered by Firefly, repeatedly failing in the competition to acquire films, and the few successes often performed poorly. To avoid sparking bidding wars, the shrewd Firefly often played coy during acquisitions, pretending to lose interest on several occasions, causing rivals to overpay massively. They would sometimes spend over a hundred million dollars on a movie out of ‘affection,’ without promoting or screening it, simply to increase their library’s volume by releasing it on DVD; of course, they also made unprofitable deals, but under the long tail theory, these turned into ‘baiting small fish with a long line.’ All of this made it difficult to discern where their gold mines were.

At the mention of Young-Wang, Jon Fildymer’s face changed, and he involuntarily took a deep breath, “If he’s interested, that would be… terrible.” Was it possible to intercept Firefly’s acquisition team and prevent them from watching “Crash”? Such a weird and childish idea crossed his mind, and Jon Fildymer laughed at himself, then said firmly, “All we can do is wait and see how things unfold, but Tom, you should know, I am very determined this time.”

He sipped his coffee, excitement on his middle-aged face: “‘Crash’ has a very strong narrative. It’s the kind of film that could go wide in its opening weekend. With good upfront publicity, it could become like ‘Fahrenheit 9/11.’

‘Fahrenheit 9/11’ is now in its 11th week, grossing 110 million in North American box office and nearly 200 million worldwide. It was Lionsgate’s most beautiful victory since ‘Paranormal Activity,’ and maybe ‘Crash’ would be the third. Tom Odengberg nodded, his determination was strong too, and the success of ‘Fahrenheit 9/11’ was enough to justify their actions to the board. If an old friend came along, they would see about it!

“Yang, are you at the Toronto film festival right now? I recommend you go see ‘Crash,’ because the script is just too good. If it’s a good movie, you definitely can’t miss it!”

The excited voice from Sydney, Australia, came through the phone. Heath Ledger had once discussed joining the cast of ‘Crash’ for the role of “Hanson,” who was later played by Ryan Phillippe. “No way, we’re about to buy the distribution rights.” Wang Yang pocketed his phone, took the Jessica by the hand who was beside him, and headed to a screening room at the convention center: “Let’s go watch ‘Crash’!” Jessica blinked curiously, “Is Firefly planning to buy it?” Wang Yang nodded, “We’ve decided on it a long time ago.”…

“Firefly Films joins the bidding race for ‘Crash’ distribution rights, rumored to have bid 4 million.” — Reuters.

“What!? 4 million…” Hearing this news, Jon Fildymer immediately furrowed his brow, the old friend was still showing up, which was not at all surprising. How could the magical Yang not recognize the potential of ‘Crash’? The good news and bad news – the good news was that ‘Crash’ might be even better than previous evaluations; the bad one was that it might be difficult for it to enter Lionsgate’s film library now. The starting bid was 4 million! Coming back to his senses, Jon Fildymer couldn’t help but curse, “Damn it! That kid is getting too excessive…”

4 million was almost the limit for Lionsgate without competition from Firefly, and now Lionsgate’s finish line was Firefly’s starting block. This was trouble. Although they were indeed very determined, their opponent was the crazy and magical Yang – and one who had just made a splash in the IT world at that. Was his money getting anxious? Were they going to lose ‘Crash’ just like that? Jon Fildymer’s scalp suddenly tingled, No! ‘Crash’ definitely had enormous potential! He pondered for a moment, and then told Odengberg, “Let’s raise our bid to 4.5 million.”

“‘Crash’ distribution rights competition heats up, multiple renowned distributors engage in the game.” — Toronto Star.

As soon as Firefly Films announced a bid of 4 million, Lionsgate responded with 4.5 million. Now with the “Magical Yang seal of approval,” Miramax confidently offered 5 million, Sony Classics followed suit with 6 million… Then Firefly Films made a second bid, 8 million. “How much?” “What did Magical Yang say?” As Don Cheadle, the one communicating with Firefly, hung up the phone with a stunned look, the other producers – Robert Moresco, Bob Yari, Paul Haggis – all asked at once. Cheadle slowly started smiling, “He said, no matter what, Firefly Films will distribute ‘Crash,’ 8 million.”

“He’s a black hole!” “It’s infuriating!” According to gossip media, the Weinstein brothers of Miramax Films lashed out at Firefly in a café after learning the latest price, cursing Wang Yang furiously. A reporter nearby overheard it clearly and even snapped a photo.

Indeed, it’s no wonder the Weinstein brothers were so enraged. Ever since their relationship with Disney CEO Michael Eisner had soured, they’d been harboring plenty of frustration. Despite still being able to produce and distribute hits like “Chicago,” “Cold Mountain,” and “Kill Bill,” Disney was blocking their plans to expand the company and make more big-budget films; Disney also rejected their proposal to join the bidding for “Artisan Entertainment,” resulting in Firefly, backed by ample funding, beating Lionsgate to acquire what has become an increasingly enviable film library. Previously, Disney had also killed Miramax’s plan to invest in “The Lord of the Rings” trilogy, and this year, Michael Eisner prohibited them from producing and distributing “Fahrenheit 9/11,” leaving Lionsgate the last one laughing…

Now! The $8 million surpassed Disney’s licensing price for “Crash” by a large margin, meaning Miramax would be bowing out of the bidding. After venting their anger with a few choice words, the Weinstein brothers also firmed up their resolve to break free from Disney and start their own independent film company!

Thus, Wang Yang earned yet another moniker in the industry from the Weinstein brothers, the “Black Hole,” with no one knowing what its mass limit is or just how crazy it could get.

“Yang, you know how the media loves to exaggerate. ‘Crash’ is a fantastic film, and we had to back out. I couldn’t help but let out a sigh, and it turned into cursing, ha ha! I hope you won’t take it to heart,” the Weinsteins, ever sociable, knew how to proceed, calling Wang Yang personally to explain things, especially since they were determined to start an independent film company and more than ever needed to maintain good relations with independent filmmakers, given that competitors can become collaborators at any time.

Wang Yang, of course, didn’t mind the minor incident, and responded to the Weinstein brothers with a laugh, “I understand, it’s no big deal. I do indeed resemble a black hole sometimes, especially when my wife prepares a feast.”

“Hello, Mr. Chow, I’m so delighted to meet you, I absolutely love your movies!” The Toronto Film Festival was already into its sixth day, and on September 14th, dozens more films premiered, including the Hong Kong movie “Kung Fu Hustle.” Wang Yang, accompanying Jessica and the Firefly film crew, arrived outside the premiere hall for “Kung Fu Hustle,” where he happily shook hands and introduced himself to Stephen Chow, dressed in a white kung fu outfit. Jessica watched him with a smile, fully aware of his genuine fondness for Stephen Chow’s films, having dragged her to watch DVDs of “God of Cookery” and “Shaolin Soccer,” among others.

“Pleased to meet you! Thank you, thank you very much!” Stephen Chow’s face broke into his signature hearty laugh, appearing equally thrilled, “Mr. Wang, everyone says that. I really enjoy your movies too, you make them so well.”

After introductions, Wang Yang seemed to already be quite familiar, asking Stephen a bit accusatorily, “Why didn’t you ask us to invest? Tell me honestly!” He said a sentence in awkward Cantonese, laughing, “When will we have an opportunity next time?” Stephen Chow was slightly taken aback, “Uh.” Wang Yang continued half-seriously, half-jokingly, “I’ve always had an idea, what if we put you and Jim Carrey together in the same comedy? The two funniest guys, what do you think?” Stephen hesitated and uttered another “Uh,” and Wang Yang already said, “Think about it! I have a plan.”

Although Miramax had only garnered a US box office of $489,000 from the North American release of “Shaolin Soccer” this year, “Kung Fu Hustle” already had a distributor since its production budget of $20 million US dollars included contributions from names like Huayi Brothers, Beijing Film Studio, Star Overseas, and the mainstay, Columbia Pictures. Its North American distribution rights naturally fell into the hands of Sony Classics. Firefly inquired about the possibility of Columbia relinquishing the distribution rights, but was met with a flat rejection: “Absolutely not possible.”

If Miramax had asked, there might have been a possibility; when Firefly asked, there was none.

“Just got the news, Lionsgate’s bid reached $8.5 million.” The packed theater erupted in laughter from time to time, as many local Chinese film enthusiasts in Toronto came to show their support, and it seemed that “Kung Fu Hustle” had the charm to make North American audiences laugh. On the big screen, the landlady chased Stephen Chow, and amidst the laughter, Mark Slant whispered to Wang Yang, who was laughing uncontrollably in the front row, that Miramax had dropped out while Lionsgate, Sony Classics, Fox Searchlight, Focus Features, and Summit Entertainment were still on the track.

By now, all companies in talks had almost promised to provide strong marketing and a wide release for “Crash”. In fact, without promises, the producers such as Bull’s Eye were quite at ease; would they really pay $8.5 million just to keep it in storage? However, there was a disagreement about the release date, whether to release it at the end of this year to aim for the 2005 Oscars, or next year for the 2006 Oscars. Lionsgate preferred next year; Firefly favored this year.

It was not a preference but a certainty, as Wang Yang and Firefly Films were 100% committed to acquiring “Crash.” Business came second; the most important thing was to schedule its release for this year, to be a disruptor at the 77th Academy Awards in 2005, not the 78th. Though the path for “Mr. Hughes 2” at the Oscars wasn’t clear, and it would be a victory just to get several nominations, Wang Yang was very aware of the “Best Picture” potential of “Crash.”

Perhaps “Crash” was too good; or perhaps the Academy voters were still not ready to award Best Picture to a homosexual film. With or without “Crash,” “Munich” was there; anyway, “Brokeback Mountain” had a regretful outcome at the 78th Oscars. Regardless, Wang Yang wanted to try and change the unseen trajectory; as for the uncertain fate of “Firefly,” he didn’t have much to consider, his only luxury was hoping that it was a successful film, a classic.

“Add it on, let’s not dilly-dally, hahaha!” Wang Yang was saying when he suddenly burst into another fit of laughter, even Jessica glanced at him, ready to give it a try, thinking his laughter was too exaggerated! But she couldn’t laugh to that extent. Despite the laughter, Wang Yang did not forget about “Crash,” telling Mark Slant, “But I think it’s time to change the strategy. Let’s make a high bid to buy it outright, like $15 million, $20 million!” Mark Slant shrugged knowingly.

“Isn’t that a bit much?” Jessica also overheard him and couldn’t help but lean in curiously to ask. The production budget for “Crash” was only $6.5 million, and $9 million for distribution was already a miraculously high price. She knew the typical range should be around $4 million. Jessica didn’t doubt his and Firefly’s acumen in film acquisition, she was just a bit wistful, following him for so long she had seen casual investments of tens or hundreds of millions, almost making her forget the frugality she had learned from reading magazines, books, and from her mother, unimaginable.

Wang Yang finally stopped laughing and shook his head, “No, it’s really good, definitely worth the price, hahaha… just hope no one bids a hundred million and steals it from Firefly!” Jessica looked innocently surprised as if she had messed up the household accounts, “I’m sure, there isn’t.”

A hundred million? No one was even following at ten million. Once the news of Firefly Films’ bid of $9 million plus a bonus, and a $20 million buyout option was out, Jon Fildheimer could only swear, “Black hole,” and drop out, resolute to properly package and promote “Hotel Rwanda”! He was already a bit scared that Firefly Films would suddenly back out and play everyone for fools, leaving Lionsgate to pay the $8.5 million acquisition fee.

Almost everyone felt that Firefly’s bid was too high, “Crash” was critically acclaimed, but it wasn’t even leading the TIFF People’s Choice Award; the audience preferred “Hotel Rwanda,” “Becoming Julia.”

The general media and fans thought about it and came up with a plausible explanation: Wang Yang had just made a fortune in the IT industry and was now playing Santa Claus in advance. (