Chapter 147: Ownership of Rights

Chapter 147: Chapter 147: Ownership of Rights

Finally, a hint of flexibility appeared on Robert Iger’s face. "Director Irene, we can agree to your request, but there is one condition."

He pushed a document over. "After the rough cut of the film is completed, Disney and Fox have the right to propose revisions. You need to consider them carefully. For issues involving core values and distribution risks, we hope to reach a consensus."

Irene picked up the document and scanned it quickly, feeling a sense of relief.

This condition was within an acceptable range. It preserved her final cut rights while giving the investors a certain degree of say, a compromise that both sides could accept.

"I agree." She signed her name and swept her gaze across the conference table. "Regarding casting, I have a recommendation: Johnny Depp. I believe he is the only choice for Captain Jack Sparrow."

This name surprised everyone in the conference room. Robert Iger raised an eyebrow. "Johnny Depp is indeed an excellent actor, but his acting style is quite unique, and his professional conduct is not very good. He often throws tantrums on set. Are you sure you can control him?"

"Very sure." Irene’s tone was firm. "The blend of madness and romance in him fits perfectly with the character design of Jack Sparrow. Moreover, I have worked with him on The Italian Job. I will use contracts to strictly constrain his conduct. Also, our film will be a series. Before filming officially begins, I will require all lead actors to sign three-picture contracts to keep their salaries within a reasonable range as much as possible."

Jerry Bruckheimer’s eyes flashed with approval. "Johnny’s acting skills are unquestionable. As long as he can integrate into the role, he is indeed a good choice. We can arrange an audition for him to see the results. As for your mention of signing three-picture contracts in advance, I have to say, young people today are truly bold. The film has only just started development, and you are already thinking about future growth."

Irene thought to herself: I have to think about it. The production cost of Pirates of the Caribbean 1 was only 140 million, but the second one jumped directly to 264 million USD, and the third was even more outrageous, reaching 342 million USD.

While it’s true that the special effects and sets improved year by year, the significant increase in the salaries of the key cast members was also one of the major reasons.

You have to realize that by the third film, Johnny Depp’s personal salary alone had reached 50 million USD—that’s what she knew of. How much other undisclosed profit-sharing there was, she didn’t know. The other two leads’ salaries, even if not as exaggerated as Depp’s, added up to about the same. This meant the three leads’ salaries alone might take away 100 million USD.

And Irene only spent 60 million USD to produce The Italian Job.

The reason the Pirates of the Caribbean series became such a huge hit was truly entirely due to the personal charm of Johnny Depp playing Jack Sparrow, which attracted the audience. Disney likely realized this problem later on, so when filming the fourth installment, they simply removed the dragging female lead, Elizabeth Swann, and the second male lead, Will Turner.

Sure enough, when filming Pirates of the Caribbean 4: On Stranger Tides in 2010, even though costs in various aspects had risen, the production cost actually fell back to 250 million USD, far less exaggerated than the third one.

Irene only planned to film the first three. She would shoot the first one first, and after the film was released, she would shoot the second and third ones together. This would save time and control costs.

"Besides Jack Sparrow, I suggest using newcomers for the remaining roles of Elizabeth Swann and Will Turner. Firstly, to save costs, and secondly, I’m afraid that the selected actors might clash with the overall style of the film."

Seeing that everyone had no objections, Irene continued, "Later, I will provide everyone with the specific requirements and style for the actors, and then issue casting calls. If you have any actors you favor, you are all welcome to suggest them."

Aside from Jack Sparrow, who had to be played by Johnny Depp, other roles could be recast. To be honest, this film required quite a large number of actors, and Irene wouldn’t be watching every single one, as long as they were decent enough.

Of course, if Disney recommended Orlando Bloom to play Will Turner this time, she would likely refuse. This time, she was determined to choose a manly blacksmith.

The tripartite meeting lasted an entire afternoon. Core issues such as investment proportions, editing rights, and casting direction basically reached a consensus. The remaining details would be further communicated by the legal teams of both sides.

After the meeting ended, the participants left the conference room one after another.

Irene and Shelly were discussing the details of the follow-up legal coordination with Baird. At the other end of the corridor, Robert Iger called out to Jerry Bruckheimer, who was preparing to leave.

"Jerry, could I take a few minutes of your time?" Robert’s voice was very low, his gaze sweeping past Irene not far away, with clear confusion.

Jerry stopped and signaled his assistant to leave first. The two walked to the lounge area at the end of the corridor.

Outside the floor-to-ceiling windows was the Los Angeles city skyline. Sunlight filtered through the glass, casting dappled light and shadows on the floor.

Robert got straight to the point, his tone filled with confusion. "Why didn’t you stop Irene from asking for final cut rights during the meeting just now? You know very well that Hollywood has always been producer-centric, especially for a big production like Pirates of the Caribbean with a 150 million USD investment. Final cut rights are almost equivalent to the core control of the project. This does not align with your usual style of operation, nor does it serve the core interests of a producer."

As a gold-standard producer in Hollywood, Jerry Bruckheimer has always been known for his strong control over projects. From casting to post-production, he almost always does everything himself to ensure the film meets market expectations.

Robert really couldn’t understand why he would easily concede and hand over such critical power to a young director who was only 20 years old.

Jerry leaned against the window, an unlit cigar between his fingers, a meaningful smile on his face. "Robert, what do you think is the core interest of a producer? Is it to firmly grasp every piece of power, or to make a successful film, let the investors make money, and let the project become a classic?"

He paused, and without waiting for Robert to respond, he continued, "I’ve been a producer for so many years, and I realized a truth long ago: truly excellent directors are not meant to be ’controlled,’ but to be ’trusted.’ Irene is not one of those newcomers who need a producer to guide them hand-in-hand. Her ability has already been verified by the market."

Jerry raised his hand to signal Robert to look at Irene at the other end of the corridor. She was looking down, checking documents with Shelly.

"Mean Girls received an Oscar nomination, and The Italian Job broke 60 million in its opening week, with a cumulative total about to surpass 150 million USD. Such results, even A-list directors in Hollywood might not be able to achieve. Her control over stories, sensitivity to pacing, and understanding of commercial films are all far beyond her peers."