Chapter 128: Facilitating a Three-Way Collaboration

Chapter 128: Chapter 128: Facilitating a Three-Way Collaboration

Suppressing the secret in her heart, she analyzed clearly.

"First, the two competing films in June are both big-budget productions with strong IPs. Our advantage lies in a tight plot and visual innovation, not in going head-to-head with spectacle and special effects. Instead of fighting a losing battle during the summer season, it is better to choose a period with no competition."

"Secondly, the awards season window in October holds little significance for us. The positioning of The Italian Job is that of a commercial blockbuster. Its core goal is box office revenue, not awards.

There is no need to take the risk of being squeezed out of a release slot for the sake of elusive award possibilities. Moreover, at the end of the year, audience preferences lean towards heartwarming, healing, or epic works, making our crime genre seem out of place."

She paused, picked up a pen, and circled April 15th. "Looking at April, although it’s the tail end of the spring season, there are no competing action films in that window.

We can launch our publicity campaign two months in advance, promoting the concept of the ’First Blockbuster of Spring’ to precisely target the 20–35 age group.

This demographic isn’t affected by seasonal trends. As long as the film’s quality is solid, word-of-mouth will allow us to break the box office curse of the spring season."

Irene’s eyes sharpened. "More importantly, after the April release, we will have a sufficient long-term screening cycle. By avoiding the congestion of blockbuster films in the summer and at the end of the year, we can actually allow the film to stay in the market longer."

Shelly immediately chimed in, "I agree with Irene’s judgment. The publicity costs for the spring season are lower, so we can invest the saved budget into offline activities and social media promotions to accurately reach our target audience.

Furthermore, an April release will coincide with the short-trip travel boom during the May Day holiday, which might even lead to a small peak in cinema attendance in some cities."

Baird and Adelaide exchanged a glance, expressions of contemplation on their faces.

Adelaide opened the market analysis report beside her and flipped through it quickly. "What you said makes some sense, but the historical box office record for action films in the spring season is nearly 50% lower than in the summer season. We must consider this risk."

"Risk and opportunity coexist. If we choose June or October, we might struggle to even break even. But in April, we have a high probability of becoming a dark horse in that release window. Fox is an industry giant, and I trust your promotional capabilities. As long as we are aligned, we can certainly create a surprise." Irene appropriately flattered them.

Baird was silent for a moment, then suddenly smiled. "I must say, your analysis is very persuasive. Moreover, the success of Mean Girls has already proven your market judgment, and we are willing to trust you."

He picked up his fountain pen and put a checkmark next to April 15th. "Then, let’s set it for April 15th. We will provide the first draft of the promotional plan within a week. Afterward, we will need your cooperation to complete actor interviews, trailer filming, and other tasks."

A look of relief appeared on Irene’s face. "Pleasure working with you."

The strength of the four hands clasped in the center of the conference table had not yet fully faded when Baird stood up to adjust his suit jacket, and Adelaide closed her folder, preparing to leave the conference room.

Just as the two were about to step across the threshold, Irene suddenly spoke up. "Mr. Baird, Ms. Adelaide, please wait."

The two turned back at the sound, a hint of surprise on their faces.

Irene walked quickly to them, her gaze sincere. "There is something I would like to take this opportunity to officially discuss with you. Regarding the Pirates of the Caribbean project I had Shelly submit to Fox previously, that is an original IP I developed independently."

Baird raised an eyebrow, clearly not expecting her to bring up this project suddenly. This project had indeed caused much controversy within Fox, but he showed nothing on his face.

"Pirates of the Caribbean? We did receive the proposal Shelly sent. The fantasy adventure setting is very innovative, but the market risk for pirate themes is too high, and the estimated production cost is not low. It is currently still in the internal evaluation stage."

"I know Fox’s concerns." Irene immediately responded, while signaling Shelly to hand over a supplementary proposal.

"Shelly also sent a copy of this proposal to Disney. Disney’s executives highly recognized the potential of the subject matter and even praised the script’s fantasy setting for filling a market gap.

However, they explicitly stated that because I have only led teen comedies like Mean Girls before and lack experience in managing large-scale action-adventure films, they are unwilling to work with me directly."

This statement made both Baird and Adelaide reveal looks of understanding.

Hollywood has always been like this. Trust in newcomers is often built on past success stories. Although Irene had earned plenty at the box office with Legally Blonde and Mean Girls, she indeed did not yet have enough say in the field of large-scale productions.

After all, The Italian Job had not yet been officially released, and they at Fox could not guarantee that this film would definitely be a massive hit, so everything was still in a wait-and-see stage.

"This is exactly the core proposal I want to raise today. I hope Fox can act as the lead party to spearhead a three-way collaboration: Fox, my Echo Pictures, and Disney." Irene’s eyes became sharp.

Adelaide subconsciously frowned. "A three-way collaboration? This is even more complicated than a two-party joint venture. Disney is always aggressive. If they agree to join, they will inevitably vie for creative control and promotional resources, and profit distribution and the division of rights and responsibilities will be thorny issues."

Irene calmly analyzed, "But Disney’s resources are irreplaceable. Their theme parks, merchandise channels, and appeal in the family audience market can maximize the commercial value of Pirates of the Caribbean."

"And Fox is adept at action film production and overseas distribution. Coupled with my original vision and control over this IP, the three parties will perfectly complement each other."

Shelly added at the right moment, "Irene has been polishing the script for Pirates of the Caribbean for a whole year. From character settings to plot structure, she knows it inside out. This is her core advantage."

"Disney is worried about her experience in managing large productions, and Fox can exactly make up for this. I believe you have already held internal test screenings for The Italian Job and have a certain understanding of Irene’s abilities. As long as Fox is willing to endorse it as the lead party, Disney’s concerns will naturally be dispelled."

Irene changed the subject. "More importantly, Disney has already clearly expressed their optimism about the subject matter. Even if they don’t cooperate with us, they will likely start their own project from scratch.

By then, Fox and my Pirates of the Caribbean will face direct competition. It’s better to take the initiative and join forces now to seize the market advantage."

Baird stroked his chin, lost in thought.

He had to admit that although Irene’s proposal was bold, it hit the key point.