Before going overseas, Ronan must first handle two things. "Born's Identity" is being prepared and there are many key tasks to be implemented. After all, this is directly related to the next trip to India.

The second thing is to continue to collect and analyze Indian information. As the location of Bollywood, Mumbai is the first goal of his trip to India.

Ronan had contact with people from Mumbai before, especially two Indian private investment institutions that wanted to invest in DreamWorks to make big movies. Robert would also go to Mumbai in a while. Originally, Polykin Pictures had an Indian branch in Mumbai, but now it is under the Embassy Film Company. They will assist Robert in doing more preliminary preparations.

In addition, "Born's Identity" must also make corresponding preparations.

The more the crew can highlight their advantages, the more attractive they are to invest.

This time, Luo Nan is preparing to attract investment in a daze.

Ronan, George Clint, Paul Greengrass and screenwriter Tony Gilroy are currently forming the crew's decision-making team.

"The script is generally good, and it is more suitable for this era than the original one."

In the small conference room of Warner Studios, Ronnan flipped through the script and said to the other three: "It is undeniable that the story written by Robert Lu Delun, known as the father of modern thriller novels, is wonderful enough. But this is a novel from the early 1980s, and I am very satisfied with Tony's drastic transformation."

Strictly speaking, the script and the description of the original work are quite different.

For example, Jason Bourne in the original work is very old, but the script is much younger, and the background era has been almost completely changed to adapt to the new era.

After all, this is my old novel or a novel that is closely related to the real society. It is very important to adapt to the times.

Tony Gilroy smiled and said, "Paul has also participated in the script adaptation and has put forward a lot of good suggestions."

Paul Greengrass has the director's consideration: "I'm not doing much, I just better integrate the old-fashioned spy film mode with action scenes, so that the script looks like a whole, rather than a separate individual."

Ronan nodded and said, "There is one thing that needs to be improved on the script. We are not shooting separate works. There will be adaptations of "Borne's Hegemony" and "Borne's Ultimatum". Can the script add some shots or clips related to the latter based on the existing ones? It doesn't take many. As long as the audience can understand at the end, Bourne's story has not been finished yet."

Tony Gilroy thought for a while and said, "Okay, I'll do it when I look back."

Perhaps because of his continuous work of writing scripts according to other people's ideas, Tony Gilroy is very clear about the positioning of the screenwriter and understands that the screenwriter is the executor of the producer's will most of the time.

"There is also the heroine." Ronan looked up and asked, "Is this a lot of changes to my settings?"

The heroine set by Ronan in the outline is a typical Hollywood-style vase, which is also a common routine in Hollywood commercial movies. The main function is to sell face and figure.

However, the role of the heroine in the script is much more important than that set by Ronan.

Paul Greengrass responded: "This is my advice."

Ronan is the kind of person who can listen to the advice, and it is very normal for the movies you have watched to have memory deviations. Even those who have watched too many movies will record the plot of the movie here as being from another movie.

"Tell me," said Ronan.

Paul Greengrass explained: "We have had the same view before. This film must have a bullet-like rhythm and a breathtaking action scene, but it is impossible for the whole film to maintain such a state. It must be urgent and slow. I think the heroine must play an important role in easing her emotions."

Ronan listened and thought carefully, and it was not difficult to find that what Paul Greengras said was very reasonable.

A movie that keeps the audience tense will definitely cause fatigue, emotional fatigue, and even aesthetic fatigue.

Seeing that Ronan had no objection, Paul Greengrass said: "I want this heroine to become a very natural female partner. From the first encounter between Jason Bourne and her at the U.S. Embassy in Zurich, the relationship between her role and Bourne can be relaxed and natural. Just as Bourne is a key character in the plot, Mary is also a very important role, and her relationship with Bourne can be contrasted with the cold assassination professor and the CIA commander to give the film a vivid power."

This can be said to have fundamentally overturned Ronan's setting for the heroine and strengthened the heroine's role in soothing the transitional plot.

Ronan would not be blindly arrogant. After thinking carefully, he asked George Clint: "What do you think?"

George Clint said the truth: "I think Paul makes sense and should be good for the film."

"Okay." Ronan made a decision after considering it: "Paul, this character will be shaped as you said."

He also said: "However, in the future, the shooting must follow the overall style of the film. Paul, you are good at realistic style and give the film a documentary-like taste. In some cases, you use a handheld camera to shoot, try to avoid using any G special effects, and all the special actions in the film are shot in real life."

This is what Paul Greengrass wants, and immediately responded: "Okay."

The four people discussed more details, which involved shooting. The style of the film determined that it must be shot in Europe in real scenes.

Ronan also asked George Clint to contact Brian, the location manager of "The Death is Coming", and asked him to join the crew of "Borne's Identity" and continue to serve as the location manager.

This position must be joined to the crew as soon as possible and have enough communication with director Paul Greengrass so that the crew can choose a location, even a backup venue before filming.

Then there is the actor.

"I have sent an invitation to Matt Damon, the hero." Ronan said: "He replied to me some time ago and will talk to me before making a decision. I will talk to Matt Damon and his agent first, and then decide depending on the specific situation."

Paul Greengrass thought about Matt Damon's appearance and said, "The appearance is not outstanding, but it has its own characteristics, which is very consistent with Bourne's setting."

Ronan said again: "The age is also more appropriate."

Originally, Paul Greengrass proposed to let Russell Clowe or Sylvester Stallone play Jason Bourne, and Ronan rejected it. Not only was the age not suitable, but the pay was not suitable.

"Where is the heroine?" asked Paul Greengrass.

Ronan thought for a while and said, "Let's solve it through the audition."

The success of this series has little to do with the candidate for the heroine. The actress who doesn't even remember her name is much less important than Matt Damon.

After the meeting, George Clint followed Ronan to Embassy Films, and signed a distribution contract for "Borne's Identity", which is the distribution of "Spy Shadows", with Embassy Films, on behalf of Shahai Entertainment, to sign a distribution contract for "Spy Shadows", which will be responsible for the North American and overseas distribution of "Spy Shadows".

This is not just a theater distribution, but also home entertainment, TV stations and all derivative peripheral distributions.

Subsequently, Embassy Pictures announced the initial release date of "Spy Shadows", which was set in mid-May next year, which is the beginning of the traditional summer season.

Originally, the Embassy Film Industry wanted to avoid the fierce competition in the summer season and let "Spy Movies" be released in October or November. Ronan directly rejected it. At this time, the North American film market will inevitably fall into a super low in recent years. How much will the audience feel to watch such a film that smears its own government nature?

Maybe it's possible to fail.

The release date is naturally the farther away from September, the better. Paul Greengrass promises to complete it according to the plan, so it will be put in May.

Of course, the sequels of "Purge of Humanity" and "Reaper is Coming" will also be released by Embassy Pictures.

As long as Embassy Pictures can successfully release a movie overseas, the channels will be guaranteed.

Ronan also considered that when he waited for the Cannes Film Festival in May, he would look for any suitable films, and buy them and hand them over to the Embassy Film Industry to practice first.

Embassy Films is very important, even surpassing Shahai Entertainment. Recently, it has been improving the company's various rules and regulations. Most Hollywood distribution companies use similar general systems, and Ronan will not engage in any company revolution in a mess. Just like Hollywood commercial movies, since there is a successful model to find, adding something suitable for him on this basis is enough for the time being.

Ronan has a clear understanding of himself and knows that he cannot become a great innovator.

On the other hand, after Robert went to Mumbai, India, he faxed a lot of information, especially two Indian foundations that he had contacted with DreamWorks before.

These two foundations, one is called the Falchi Foundation and the other is called the Mountain Fund, both of which are similar to Western foundation operating models.

They are not specialized film funds, but they also invest in other industries. However, film investment is a very important business. They have invested in more than 20 movies in Bollywood.

However, Indian movies cannot leave India for a while and profits are relatively limited. The attention of these two foundations has also fallen on Hollywood, the center of world commercial movies.

Previously, both foundations had contact with DreamWorks and wanted to invest in DreamWorks' big movies, such as "Gladiator", but DreamWorks imitated six major companies everywhere. Large projects that are expected to be profitable will not easily accept foreign investment. Most of the investment projects provided to Indians are TV series.

This is also the main reason why DreamWorks has not reached investment intentions with Indians so far.

Ronan specifically called Robert and asked him to stay in Mumbai for the time being, focusing on these two foundations that are interested in entering Hollywood.
Chapter completed!