Hollywood legendary director

The competition started off with a bang.

Johnson was very confident that the task was complete, and with the writers he had met, he felt that there was nothing that money couldn't do, and the reason why the previous person didn't get the deal was because the terms weren't good enough.

So, in Nevada, with an uncapped production budget of $150 million - a sum that could have been finer, with room to improve the texture, and a small amount of money - he was hampered by the value created over the series.

The reason is simple: this is the work ordered by Lyman, for professional ethics, Johnson also held the publication of the original read through, but after all, the characters and the distribution of power is too large, a lot of things are not straightened out, and was asked directly stupid.

From Master George's standpoint, asking each offeror questions about A Song of Ice and Fire was his unique way of screening.

He thought simply: "A Song of Ice and Fire" is his proudest work, his child and the jewel in his palm, and his most thoughtful and unfinished work, so what sincerity can there be if the offeror is not familiar with the work and has pure knowledge of it?

As a side note, George Sr. has been to Hollywood and worked as a project writer on the old CBS TV series "The Twilight Zone" and "Two-Face Max", including a stint as a producer on the fantasy feature film "The Lion" after the series was cut.

What this experience brought to George was that he was well aware of the ecology of the production market, and he was disappointed that some of his best shows didn't get approved.

Later, as a full-time writer, didn't he long for his work to be seen by the public, he longed for it, but he feared it would be spoiled.

In 1980, when Martin's novel Nightcrawler was adapted into a film, he scolded the cast and crew for their discontent in cutting the story to fit the budget. This deepened his obsession.

In other words, George was an extremely clear insider before he was a writer, and he didn't believe any of the crap that was bragged in front of him about having money, lots of money, and being able to make a big budget, big productions, and big special effects, because he knew that after the adaptation rights were given away, he would have nothing to do with the work, and it would be hard for him to participate in it.

There were too many ways to make up for all the good things that had been done, if the producers wanted to.

In contrast, at that time, 2DB was all about talking about the plot, speculating about where it was going, and talking about every character, every detail, every line of dialogue for a long time.

The only thing that always made him hesitate was that 2DB had nothing but enthusiasm, while George Johnson represented Firefly, which he had learned about through various channels, and knew that it was a very daring studio, with a director at the top of the management, a director who loved his feathers.

The dilemma was that things had come to a standstill.

If there was no Firefly, George would have chosen to let 2DB try to represent him in the adaptation of his work after several considerations, but Firefly is full of sincerity, not the kind of cheater who asked for hundreds of millions of dollars and then refused to pay 10 million, Johnson as a professional agent, although not so knowledgeable about the work, but he brought the conditions, but he dared to put in black and white into the contract, and to ensure that he, the author can participate in the shooting as a screenwriter, producer, as long as he is willing to spend time, whenever he wants to come, the right to speak.

The key point, when Johnson didn't get the answer he wanted, he learned his lesson, started with George Martin's circle of friends, slowly infiltrated, and finally by taking in 2DB as one of the writers' group, holding the money, people, and heart, he was able to get George's old man to happily sign, and he had only one condition.

As for the profit, he only takes his share of the author's share, and is not greedy.

The reason is simple: first, he has enough money to support his modest savings, and second, he also understands that the drama is very demanding in terms of costumes, locations, and many key characters, which makes it very difficult to shoot.

Having worked as a producer, he knew that shooting with passion would never last long, so he was willing to take no extra risks, just to get the project into production.

**********

There are many resource traps in the world, and having a lot of resources tends to get people caught up in them, and they are so busy cashing in on them that they lose sight of their deeper commitment and heartfelt love for some of the work.

What is most scarce in the current film and television industry is precisely this kind of love.

Of course, there may be fans of the drama "Power Trip" who are unhappy: after all this, why did the old man George personally choose to let 2DB represent him, and why did it end badly?

The dragon slayers have become the evil dragons they hate the most.

Throughout the TV series, it is obvious that the first 5 seasons are not on the same level as the next 3 seasons, and the characters suddenly let go.

Why?

The huge team of writers is still just as large, although Master George did not write the rest of the content, but very responsible face-to-face 2DB behind the general direction and fate of the characters, there is no dazed ignorance.

The reason for this is that 2DB through the "right to travel" has accumulated a lot of seniority, contacts, too many work opportunities, which still love, and rush to finish it does not smell good, drumming "Star Wars" is not good, drumming other projects their studio can get more share, can be too comfortable, if not by the fans to rush, HBO is also anxious, everyone is busy to realize, is not like the last day before the end of the winter break rush out of the scribbling jobs.

......

After getting the rights to the adaptation, Johnson received a commission, but also misses the behind-the-scenes, actors and the choice of broadcast platform.

This level of production is not something that Firefly's drama department can take, and even if it is made, the major networks will still have the opportunity to hire Johnson for whoever they reach broadcast agreements with.

In addition, in order to gain the trust of George Martin, Johnson, on behalf of Lyman, called out the restriction that the production plan must be executed within two years.

No matter how you look at it, Lyman is not just spending money to hoard IP.

Unexpectedly, Lyman looked up from the file and commanded, "Dude, you've got one more thing to do for me next. He said easily, "Can you scoop up some of the talent on the market who can make video players?"

"Uh ...... Firefly to make a webcasting site? I haven't heard of anyone making a profit on it." Johnson deliberated, "The market is obviously immature, it's a big investment with little results, even Nafty is losing money all the time, and Hollywood manufacturers - not many are making investments in this area."

"They're them, we're us," Lyman smiled, "You can help me search first, find a headhunter to help me poach people."

Johnson seriously thought about it, although every time he handled Lyman's business there was a certain percentage of commission, money to get, but also the opportunity to make contacts, but because of this, he did not want to see Lyman's career lost, "really want to enter the Internet broadcasting, there are many in the market to do the video platform, direct acquisition of one as the basis for the introduction of relevant talent may be able to integrate resources more quickly. "

"Do you have a goal?"

"A more comprehensive structure, the market share to be higher than three percent of the video site there are several bar, choose an equity structure simple, you do not care about a little investment, waving money can attract their founding team to cash out, do this line of work, many are enthusiastic to enter, the results are hit by the reality of the body."

"Uh ...... you're very impressed."

"I've heard a lot ......"