These people are at the forefront of the Hollywood industry chain, especially directors, producers, actors and screenwriters. They are exposed to scripts very frequently. Some may be swept by and not impressed by them. Some may be that even if no company is willing to buy them, they have left a deep impression on them.

The people Ronan wants to mobilize have a close cooperative relationship with Relativity Entertainment and rich experience in their work, which can make them feel interesting scripts and projects, and the possibility of production value will be higher.

More people will have a wider range of contacts and will see more scripts and projects.

And just asked them to recommend it, Ronan himself made the final decision.

George Clint and Jessica Felton both agreed with Ronan's proposal that, under the premise that the script cannot be separated from the human review, this is undoubtedly a good way to expand the selection.

“I have some classmates and mentors who are working in Hollywood,” Jessica Felton said. “You can also target them.”

Ronan nodded slightly: "Yes." He said to George Clint: "You are responsible for it. You and Jesse count a list, sending letters or emails, plus my signature."

George Clint said: "Okay, I'll go and make arrangements when I go back."

Ronan also said: "We have established a project blacklist within Relativity Entertainment. The recommended related projects or scripts are included in the blacklist, and then we choose projects that can be cooperated for screening."

He specifically emphasized: "The blacklist is not necessarily the best original project. Adaptations or other types are possible. If we can impress our collaborators, it means that there are advantages."

A picky group is moved, stimulated, and interesting story at least not bad.

George Clint was thinking, adding: "I think the company can systematically implement this measure, and subsequent partners can also bring in."

Ronan nodded: "Yes."

Capital can bring higher efficiency to the cultural industry.

"If the opportunity is right, we can also hold events like the Nickel Script Competition," Jessica Felton said.

Ronan said: "It's okay to have the right opportunity in the future."

If there are online collections of email recommendations from insiders who have worked with, Jessica Felton's method is to supplement offline.

Hollywood also has scripts and screenwriters activities similar to selection, and it is also a good opportunity for some new screenwriters to make their debut.

Generally speaking, there are three ways for a new screenwriter to make a name for himself in Hollywood.

The first one is very common. After creating a script, you print a lot of copies and deliver it according to the mailboxes published by various film companies to get lucky.

Although the proportion of winners is outrageously low, it is not unique.

There are also lucky scripts that have been bought, but there is no possibility for non-screenwriters union screenwriters to sell at high prices. The various minimum security regulations of screenwriters union are for members, and the access conditions of screenwriters union are quite high.

The second type is to participate in some Hollywood script competitions. The most famous one is the You Nikkor script competition hosted by the School of Film Arts and Sciences. If you can enter the top 20, you will not only have a bonus to get, but you should receive a call from the film company.

Compared to the first type, the second type is more reliable. Every year, new screenwriters appear through such competitions.

Of course, the so-called new screenwriter here refers to screenwriters who have no signed works.

This type of screenwriter may have been working in Hollywood for many years.

The third type is to find a Hollywood director, producer and senior film company executives often go to work part-time, find ways to make connections and expand the circle, and perhaps after getting to know them, send the script to these people, and they will take some time to read the script.

Hollywood is a closed system.

This ensures that Hollywood has a relatively independent creative style, but it also brings a rigid selection model.

Ronan's move did not break the Hollywood model. As a vested interest, too much changes would do more harm than good for him and Relativity Entertainment.

This is entirely based on Hollywood's traditional script selection channel, and it is just to use the connections formed by filming and production of Relativity Entertainment to expand the horizons when choosing, not limited to Relativity Entertainment.

In fact, James Huang recommended Wen Ziren and James Cameron recommended his special effects director, which has already taken the prototype of this model.

At the end of the discussion, the three of them determined many specific details, and even the list of future recommended projects was confirmed - called the "real-time blacklist"!

It is specifically implemented by George Clint. It is not difficult to get the support of some people with the appeal of relativity entertainment.

Besides, this is not a free recommendation.

After George Clint left, Jessica Felton did not leave for the time being, and said to Ronan: "The company has been withdrawing funds recently. Is there any big move?"

"Yes." Ronan nodded slightly: "Some actions that have been planned long ago need to be implemented."

He wouldn't say it specifically. Even though he knew that Jessica Felton wouldn't disclose it casually, as the company's controller, Ronan could not tell anyone outside the plan.

Jessica Felton is also a smart woman. Seeing that Ronan did not say in detail, he did not continue to ask, and instead said: "I am discussing with the Embassy Films and preparing to let Juno participate in next year's three major European film festivals."

Ronan asked, “When will the filming of Juno start?”

Jessica Felton said: "The filming will start before the New Year, and the time for the Cannes Film Festival is a bit tight, so I should go to Venice."

The theme of "Juno" is not suitable for the Berlin Film Festival.

Ronan never interfered too much in the project "Juno" and said directly: "Just make a decision." He asked: "Where is "Fast and Furious 4", what are your plans?"

"It's better to wait until Fast and Furious 3 is released before making a decision." Jessica Felton was also cautious: "I want to see the market response on the spot and count the audience's feedback data so that timely adjustments can be made."

Ronan said: "Okay, what we filmed and produced was a commercial film aimed at the public, and the market response was very important."

Market research, audience testing, review, modification, renovation and reprocessing are all essential links in modern commercial films.

Jessica Felton said: "I recently got a market survey on the Pirates of the Caribbean series. Data shows that after the first two films were screened, more than 70% of the fans said that as long as Captain Jack Sparrow is there, they will keep watching Pirates of the Caribbean, regardless of the film itself."

She said seriously: "In the future, Captain Jack Sparrow is the core of our inability to avoid Pirates of the Caribbean 4."

Ronan knew what this said: "Don't worry, even if the fourth part is filmed, it will be five years later. Johnny Depp will not be the current Johnny Depp."

Jessica Felton still had a headache: "Who would have thought that a magic pirate film would almost become a pure fan movie."

Ronan smiled and said, "This is Jack Sparrow's charm, isn't it?"

Jessica Felton looked at the watch and said, "I will chat with you another day. I will ask Sofia Coppola to see the location. I guess she will be here soon."

Ronan said: "Precaution this project, if everything goes well, Juno will appear in next year's awards season."

Jessica Felton said: "I understand."

After seeing off Jessica Felton, Ronan finished reading the remaining scripts transferred by Shahai Entertainment, just like most of the time, and there was no type that made him shine.

Ronan has no disappointment, which is a normal situation. It is a surprise to see a valuable script.

Relativity Entertainment will establish a "real-time blacklist" mechanism internally, which may bring some surprises.

If this mechanism can be successful, it may also be able to make a successful business like the former Hollywood script blacklist.

I vaguely remember that the Hollywood person who founded the "Blacklist" later specially established the "Script Blacklist" website, which really turned recommended scripts into a very successful business.

This "blacklist" is far from as simple as it seems.

Although Ronan didn't know much, he had a very deep impression on him.

When the "blacklist" is upgraded from email information to a website, if a playwright wants his works to be seen by more people, he can pay a fixed anonymous professional judges to give advice, including scoring, short evaluations of length and weaknesses, and business possibilities.

A script with high score can be pushed to a good position and is recommended in an email journal.

I guess most people are familiar with this website operation model.

This is also in line with the Hollywood environment. After all, it is a business circle and everything can be operated commercially.

Of course, as far as the perspective of relative entertainment is concerned, this aspect will not be considered for the time being.

Ronan's purpose is to find valuable film and TV series projects in a wider range.

George Clint was very fast and made a preliminary plan that afternoon, which would start to be implemented within this week. It is expected that some feedback will be received this month.

When Ronan was about to get off work, he received a call from Harvey Weinstein. Harvey Weinstein asked again about Disney, especially related to Michael Eisner.

The conflict between the Weinstein brothers and Michael Eisner is well known to everyone in Hollywood, and such a problem seems normal.
Chapter completed!