Chapter 95: Chapter 95: Variability
After Simon's detailed explanation, Robert De Niro felt an epiphany.
Compared to the memorable films and characters in movie history, the young man in front of him appeared even more ambitious.
He aimed to create a complete fictional world, to convince viewers that every character in this world truly exists, and to engage the audience's attention seamlessly into this world through an unconventional plot structure, incessant dialogue, and extraordinarily rich details.
It was conceivable that if such goals were achieved, who could say this film wouldn't become a classic in cinematic history?
Robert De Niro had already experienced his most glorious years with films like "The Godfather," "Taxi Driver," "The Deer Hunter," and "Raging Bull," which had brought him immense acclaim. He had thought it unlikely for a film to spark his interest greatly again.
However, the ambitious project of this young man rekindled his desire to perform.
Moreover, as a method actor, Robert De Niro realized that the role of Butch Coolidge would be a fascinating challenge for him.
Butch Coolidge was entirely a fictional character from an absurd world. To build this character, he couldn't prepare as he did for "Taxi Driver" by driving cabs, nor could he box as in "Raging Bull." In fact, he would have to construct the character from scratch and fully believe he was living in the absurd world of "Pulp Fiction."
Mulling over these thoughts, once Robert Redford's figure had vanished, De Niro no longer hesitated and said directly, "Simon, let's talk about the salary."
Simon promptly responded, "A base salary of $2 million, plus 15% of the net profits from North American box office. Bob, 'Pulp Fiction' has only an $8 million budget, so that's the best offer I can make."
Robert De Niro didn't hide his emotions, shaking his head, "That's a bit low."
Over the years, although his box office performance was the least impressive among the famed quartet of actors, De Niro's stature ensured his starting salary was at least $3 million, and the budgets of the films he starred in seldom dipped below $10 million.
For instance, the recently released "Angel Heart," which debuted alongside "Lethal Weapon," had a production cost of $17 million.
As for profit-sharing, due to Hollywood's accounting practices, where films seldom show a profit on the books, stars usually consider such promises as mere formalities.
Since "Run Lola Run," and now with "Pulp Fiction," Simon insisted on a direct share of the box office receipts to avoid the 'Hollywood accounting' as much as possible.
Hearing De Niro's response, Simon explained earnestly, "Bob, here's how the net profit sharing works: Orion splits the revenue 50/50 with the theaters, they only take a 15% marketing fee, another 35% of the total North American box office, minus the $8 million production budget, is used as the base for net profit sharing, from which you would get 15%. According to this formula, if 'Pulp Fiction' hits $50 million at the box office, your total salary would reach $3.5 million. 'Run Lola Run' is projected to surpass $200 million in North America; I can't guarantee my next film will be that successful, but $50 million should be easily attainable."
Robert De Niro still shook his head slightly, "Simon, by this formula, if 'Pulp Fiction' makes $100 million in North America, I'd only make $6 million."
Simon earnestly added, "This may sound presumptuous, Bob, but you really need a blockbuster film now. So, if 'Pulp Fiction' indeed reaches $100 million in North America, you'd gain far more than just a $6 million salary."
Robert De Niro fell silent.
His recent films hadn't done well. "Angel Heart," with a $17 million production budget, was nearing the end of its run with just over $14 million in North American box office; last year's "Falling in Love," with a $25 million budget, made just $17.21 million; and "Once Upon a Time in America," with a $30 million budget, had fared even worse at $5.32 million.
Entering the 1980s, none of his films had grossed over $20 million in North America, yet all had been produced with budgets typical of major blockbusters.
Hollywood is brutally pragmatic; regardless of one's status or Oscar count, without profitability, you are expendable.
In fact, before this meeting, De Niro had already faced a setback.
He had been interested in a project called "Back to the Future" being prepared by Fox.
Director Penny Marshall had wanted him for the lead role and had recommended him to the studio. However, due to his increasingly tepid box office results,
Fox was willing to cast him, but their offer was even stingier than Simon's.
The role had since gone to a rising star named Tom Hanks.
Undoubtedly, Robert understood he was in a precarious position, needing a successful film to prove his box office draw.
After pondering for a moment, De Niro finally made up his mind, stood up, extended his hand to Simon, and said, "Then, Simon, I hope we have a pleasant collaboration."
Simon also stood, shook hands with De Niro, and smiled, "It will be a pleasure to work together."
With Robert De Niro on board, "Pulp Fiction" had all its key actors in place.
Earlier, Amy had secured John Travolta.
After his peak in 1978 with "Grease," the top-grossing film in North America that year, Travolta had enjoyed a few good years. However, the disadvantages of a teen star's shallow roots soon became apparent. After another big-budget failure two years prior, the now 33-year-old Travolta, in an attempt to reinvent himself, had even starred in a TV movie the previous year.
Thus, after some negotiation, Travolta quickly accepted a deal for $1 million plus 5% of the North American net box office profits.
Like "Death Comes to Us All," "Pulp Fiction" was entirely under the control of Daenerys Pictures, with Orion only responsible for financing and distribution. Beyond the $8 million budget, Orion had also given Simon a total of 20% net profit sharing to attract actors.
Having secured Travolta and De Niro, Simon had spent $3 million in salaries and all his share of the net profits.
According to the preliminary budget, at least $3 million was needed for location and equipment rentals and staff salaries. For the other roles in the film, Simon had just $2 million left.
While the cast was extensive, this amount, carefully managed, was actually sufficient.
Robert Redford's agreement to make a cameo as Mr. Wolf introduced some variability.
Unlike the currently declining Travolta and De Niro, Redford was a top-tier actor who could firmly command over $5 million per role, even for a cameo. Simon couldn't afford to be stingy.
This issue would definitely need to be discussed with Orion next week.
Simon continued discussing details with De Niro before the two left the mansion to join the party in the courtyard.
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