Actor in Hollywood

Indeed, Anson, having lived through two lifetimes, possesses advanced knowledge that allows him to see further than both Sony-Columbia and William Morris. He can foresee a future that neither of them can fully grasp.

However, Anson also has his own blind spots. His understanding of the film market comes from 2023, a time when the industry's norms have advanced by two decades. If he's not careful, he might overlook the fact that it's not 2023 yet.

Anson neglected something very important:

Why wasn't box office bonuses the first choice for actors and agents in 2000?

Is it because they didn't want to increase their income? Of course not.

The real reason lies in the capacity of the film market.

Ten to fifteen years later, the North American film market entered a period of prosperity, with films grossing $300 million domestically and $1 billion globally becoming commonplace. But at the time, the North American film market was still in the "$100 million era," where a movie grossing over $100 million was considered a huge success.

Given this context, box office bonuses weren't that attractive.

First, the international market only began to be fully tapped in the late 1990s. Even Hollywood's major studios didn't have well-established overseas distribution channels. As a result, when a film was released internationally, it often partnered with local distributors, who took a share of the box office.

So, when actors and producers discussed box office bonuses, they didn't include the international market; the focus was only on North American box office. This remained the norm for a long time, with only a very few exceptions where studios were willing to share a small slice of the international box office profits—James Cameron being one such exception.

Second, because the North American box office market was still in the "$100 million" range, the potential earnings from box office bonuses were clear-cut.

Even if the bonus was based on the gross North American box office and not net profits, a 10% bonus would only amount to $10 million.

This leaves a simple math problem:

Is it better to choose a flat fee as part of the "$20 million club," or take on the enormous risk and pressure of potentially earning a base salary plus $10 million in box office bonuses?

The choice wasn't hard to make.

Here, there's another detail: Is 10% the highest possible box office bonus for actors and producers?

Generally speaking, yes.

The reason is straightforward. The box office revenue of a film is typically divided among three parties: 40% to the production company, 30% to the distribution company, and 30% to the theaters.

Of course, the exact figures can vary depending on the specific project and the negotiations between the parties, but that's the general breakdown. Hollywood's major studios often handle both production and distribution, which allows them to take a larger share of the profits.

The bonuses given to directors, actors, screenwriters, and producers come from the production company's 40%, so there's naturally a limit to how much can be offered.

However, there are exceptions.

Take Tom Cruise's "Mission: Impossible" series, for example. He declined to work with major directors or big-name co-stars, choosing to produce the films himself to ensure he remained the absolute core of the production. With no one else to share in the box office bonuses, he negotiated to take nearly 40% of the profits, despite not taking much of a base salary.

Later, Paramount realized that when they produced and distributed "Mission: Impossible 4," they earned less than Tom Cruise did. It was as if the studio was working for the actor. Paramount, in frustration, shut down the project and refused to work with Tom Cruise. Cruise, in turn, left the studio.

It wasn't until three years later, when Tom Cruise's career hit a slump—after four consecutive box office and critical failures—and Paramount also found themselves in dire financial straits, that the "Mission: Impossible" series was revived, and both sides returned to the negotiating table.

Let's bring the focus back.

That's precisely why, at this stage, almost no talent agencies are actively pushing their actors to negotiate for a share of box office profits. The ultimate goal for them is to get their actors into the "20 Million Dollar Club." This is the benchmark used by actors, the media, film studios, and industry insiders to gauge status in the industry.

From Edgar's perspective, he doesn't think it's possible to secure a 10% share of the box office profits for Anson. Even 5% would be difficult, and such a deal wouldn't be worthwhile.

Not only might the upfront salary be low, but it would also come with significant risks and pressure.

Anson is a newcomer. Edgar is optimistic about his potential, but in Hollywood, Anson still hasn't proven his box office appeal.

If they pursued a share of the box office profits, it wouldn't just be a problem if the movie failed. Even if the movie succeeded but didn't break the $200 million mark or surpass expectations, Anson's position as a fresh-faced newcomer could become awkward in the industry, which wouldn't be good for his future career.

Anson could sense Edgar's concerns.

He thought for a moment, especially about the "$200 million" mark. He quickly realized his own blind spot and couldn't help but chuckle to himself.

But Anson couldn't exactly tell Edgar, "Hey, buddy, trust me, the movie is 100% going to be a hit"—that would just make him sound like a lunatic with blind confidence.

Moreover, Anson and Edgar had just started working together. Trust needed to be built gradually; otherwise, their partnership wouldn't withstand the pressures of big business.

After thinking it over, Anson finally spoke up, "Captain, we should approach this from a different angle."

"Instead of saying we're negotiating for a share of the box office, we should frame it as us being fully committed to the project's success."

"Look, I'm confident in the project and am 100% committed to it. I'm willing to take a lower salary—not by much, but enough to ensure every dollar of the production budget is well spent. In return, we take our chances with box office participation, sharing both the risks and the rewards with the project."

"I'm willing to stand with the production team through thick and thin."

With this slight adjustment in the objective and intention, Anson's position and attitude shifted entirely.

Regardless of the movie's outcome, Anson's reputation in Hollywood would be established:

If the movie succeeded, it would prove Anson's keen judgment. If it failed, at least they could spin it as Anson giving his all, which would mitigate the responsibility he'd have to bear as the lead actor.

In this way, the entire situation changed dramatically.

Edgar's eyes lit up. "Just like when John Travolta starred in 'Pulp Fiction.'"

Anson nodded slightly.

But then, Edgar looked at Anson again. "So, we're really not going to push for a higher salary?"

"Anson, in Hollywood, salary benchmarks are crucial. Whether you're in the $3 million or $8 million range determines how producers and directors perceive you."

"I'm thinking maybe we should seize this opportunity. Even though it's your first time leading a movie, you should use the salary to establish your position."

A manager, after all, has a manager's concerns.

Anson agreed but had a slightly different perspective. "As you said, this is my first time as the lead actor. Even if we manage to negotiate a $5 million or even $8 million salary, what do you think will happen next?"

"If the movie fails, then no matter how high the salary is, it won't matter. We'll be starting from scratch."

"But what if the movie succeeds?"