Exploiting Hollywood 1980.

Chapter 1600: The Artistic Rebirth of Lianyi

“Congratulations on acquiring United Artists, the most unique studio in history, so my first question is, why?”

After confirming the deal with Kerkorian and Credit Lyonnais, Ronald's DDH and they jointly issued an announcement. This acquisition did not cause much reaction on Wall Street, because Disney's acquisition of ABC and Westinghouse Electric's acquisition of CBS were both worth tens of billions, while United Artists' acquisition price was only a little over 200 million.

But in Hollywood, this news still received some attention. United Artists was the first studio in Hollywood founded by artists, which was fundamentally different from other studios founded by capitalists.

This is a studio established by popular stars such as Charlie Chaplin, Fairbanks, and Mary Pickford during the golden age of Hollywood. After that, the ownership changed hands several times, but the director has always been given considerable creative freedom. It is the producer and distributor of many first-class films in Hollywood history.

Such a studio was kicked out by its parent company after the failure of Heaven's Gate in the early 1980s. The original management team founded Orion after leaving United Artists, which also went through bankruptcy reorganization a few years ago.

So after entering the 1990s, although United Artists and Orion were still struggling, one was merged into MGM, and the other entered bankruptcy reorganization procedures but still worked hard to release a movie that won an Oscar for Best Actress, but this kind of film studio that gave creators great freedom has become extinct.

Whether it is Miramax or other medium-sized film companies, none of them can provide a stage for various types of films like United Artists and Orion did in the past.

Just when art film enthusiasts were becoming increasingly discouraged and maverick directors were having no chance to make films, Ronald spent a huge amount of money to acquire United Artists and reactivated the label, which brought about a lot of associations in the industry.

Therefore, the Los Angeles Times, Variety Magazine and other media outlets arranged a joint interview with Ronald, hoping to hear from the new tycoon himself about his plans for United Arts.

“In fact, my thoughts are a bit like those of a movie fan. I really like the movies produced by United Artists in history. In addition to the well-known Charlie Chaplin movies, there are also many classics. Watching old movies is one of my biggest hobbies.

One day I suddenly realized that movies nowadays rarely have the flourishing characteristics of the past. Major studios also focus on large-scale productions with high investments, and the number of medium-sized investment movies is decreasing.

Don't get me wrong, I'm not saying big productions are bad, I like big productions, which you can't see on TV. But I always feel a little regretful that I can't see those movies with exquisite structure, exquisite performance and unique plot in the cinema.

I happened to be meeting with the CEO and other management of DDH, and they told me that acquiring United Artists would be a good investment, so I started negotiations. Fortunately, everything went smoothly. If nothing unexpected happens, the United Artists label will be back in theaters in the second half of this year."

"How do you plan to deal with this studio? Will you restore United Artists' unique director-responsibility system?" Another senior reporter asked a question that many people are interested in.

"Ah, let's be realistic. In today's Hollywood, every movie has very strict production management. This includes micromanagement of the production progress and shooting shots. It's impossible to shoot each shot thirty times like in Heaven's Gate, or spend a month shooting a shot of a large group of people coming to skate." Ronald once again slandered Cimino, the culprit who had caused the sale of United Artists.

“But I think United Artists has a glorious tradition after all. If I just shoot the common movies that Hollywood has now, there is no need to spend money to revitalize a company like United Artists.

We will reach an agreement with the director through careful preparation and discussion beforehand, but during filming, we will give the director some creative freedom from the old United Artists era. This is a necessary condition for producing a film with a unique style that can be passed down through the ages.”

Ronald spoke eloquently and laid down the rules for the new United Artists production company.

First of all, it is impossible to give directors absolute freedom like in the 1970s. The old generation of managers in the big studios have died, and the new bosses don’t know how to make movies, so they give directors more freedom than ever before.

But despite the release of masterpieces like The Godfather, failed movies have exhausted the bosses' last bit of patience. As an industry insider boss who knows the business, Ronald has a mature production management team that has been trained for ten years. Directors should not think of secretly putting the production budget into their own pockets like Michael Cimino did.

However, New United Artists does have some differences from existing studios. Ronald promised to open the door to any director, as long as you have an idea, you can come and show your movie dream.

Moreover, New United Artists will not specialize in one type of film like new small and medium-sized film studios such as Miramax.

For example, Miramax is only interested in films that can win awards at European film festivals, while New Line Cinema, acquired by Turner Media, focuses on horror films.

In addition, film studios such as Castle Rock Pictures and Amblin Pictures are dedicated to serving their bosses, famous directors, and at most only invest in films directed by other directors who have close relationships with their bosses.

However, most directors with ideas in the industry find it difficult to get the opportunity to shoot medium-sized films with a budget higher than low-budget films, like United Artists or Orion did in the past.

They either make a small-budget B-grade film like Roger Corman, and only after they succeed will they have the opportunity to work with major studios.

Moreover, with the gradual demise of medium-sized film studios and the reduction in the number of medium-sized productions, not only are new directors unable to get training, but even genre films are showing many signs of reaching the end of their life cycle.

More and more movies seem to be following certain formulas and only selecting top stars.

If you want to make an action movie, you first ask Tom Cruise. If Cruise is not interested, then ask Bruce Willis. If Willis is not interested, then ask Keanu Reeves.

For a romantic comedy, go to Meg Ryan. If Meg doesn’t like your script, go to Demi Moore. If she doesn’t like it either, well, you can ask Diane Lane…

This kind of rigid rule, coupled with the fact that each star will modify it to suit his or her own characteristics, means that the prosperity of the 1970s and 1980s, with new types of renovations every year, is no longer seen.

At that time, you can invent space epics, children's special effects films, action comedies, and even female action films and female workplace films...

Most of the scripts released by the studios now can only be classified as Cruise type or Meg Ryan type. Audiences are gradually getting tired of this and no longer have the surprise of seeing new types of movies like in the last decade.

If the audience is confined to this limited genre and does not get new innovative movies in the long run, then when this group of stars grow old, the existing moviegoers may completely lose interest in the art form of film. Hollywood will also die.

So, when Ronald proposed that he wanted to restore the traditions of United Artists and Orion and start shooting some new films with innovative directors, senior journalists in the industry were excited.

After all, Ronald himself is an expert, and his ability to judge a director's level is much better than that of the then new boss of United Artists and the boss of Orion, who were laymen.

Is it possible for a new large studio to emerge and, while ensuring quality, be able to produce new types of movies that the audience will love, so that others can follow the path they have blazed and Hollywood can be revitalized?
"The industry is currently in the midst of change. What challenges do you foresee and how do you plan to address them? Will the new United Artists establish its own international distribution network?"

A reporter realized what Ronald wanted to do and asked the question that other studio CEOs were most concerned about: Do you also want to become a giant media group like Disney, Viacom, Turner, or Fox, integrating film production, distribution, and television networks?
"Of course, United Artists had its own distribution network before the merger with MGM, but after many years of merger, the distribution teams of the two labels are not so clearly distinguished. I think the main task of United Artists Distribution now is to restore its distribution capabilities in China.

As for the international distribution you mentioned, that is an area that requires huge investment of funds and manpower. New United Arts will not start work on this right away. I think we will cooperate extensively with other well-known large studios, use their international distribution network, and strive to let audiences around the world see our new films..."

Ronald's answer can be said to have dispelled all the doubts of the current executives of the major studios. As for whether United Artists will be able to create its own distribution channel in the future, even if it is possible, it will probably be after their term.

Ronald also promised to establish a fund specifically to support independent filmmakers who want to break through boundaries, and to include the original project to support college students.

He told the outlet that it could be seen as a return to United Artists' roots - supporting visionary creators who might be seen as too experimental by traditional studios.

The difference from the historical United Artists and Orion is that the current new United Artists has a far more mature and creatively familiar team of producers.

Not only will Daydream's mature production team headed by Michelle Cannold move as a whole to United Artists' label, but the former CEO of TriStar Pictures, Michael McDavoy, will also join United Artists and become vice president providing consulting services to all United Artists projects.

"What will happen to United Artists' existing projects and relationships?" This question is mainly about whether there will be any changes to the new 007-GoldenEye and other films.

"All existing commitments will be honoured. I have met with our commercial partners to ensure the smooth completion of existing projects. Of course, we have also discussed cooperation on new projects, and everything seems to be going smoothly at the moment."

Ronald obtained the distribution rights for GoldenEye. The domestic distribution was originally dominated by the MGM/United Artists distribution network. Now United Artists and MGM have separated, but the construction of the distribution network cannot catch up for the time being.

Therefore, this film will still use the original MGM/United Artists distribution team. By the way, in the process of completing the distribution of this film, DDH's management team will also evaluate the strength of the original distribution team and invite those who are truly capable to join the new United Artists.

The overseas distribution of this film will comply with the contract and be handled by America International Distribution (an overseas distribution company jointly established by Paramount and Universal).

This is a very good distribution company. Except for some parts of China and Japan, they will operate the rest of the world.

By the way, Ronald also held separate meetings with new Universal executive Ron Mayer and old Paramount acquaintance Shirley Lansing, promising further cooperation with them.

If the box office of GoldenEye can satisfy them, then more films of New United Artists can be distributed overseas by the two companies.

This is a very cost-effective deal, because if the movie produced by Ronald does well at the box office, it is a godsend for the two executives. If the box office is not good, then they will not be blamed, anyway, Ronald is the producer, even if the box office is not good, usually after the United States to do overseas distribution, it will not lose much money - just invest less.

If United Artists wants to quickly restore its status as a founding member of the MPAA, join the board of directors, and have the ability to influence film ratings, it is essential to establish good relations with existing board members within the next two years.

If United Artists and they jointly produce films, or if Ronald produces films with box office potential and they are handed over to them for distribution, these are actions that can increase the performance of their executives.

Although the MPAA's board of directors nominally belongs to the major film studios, the people who actually represent the companies at board meetings and vote and make decisions when issues are discussed are still senior executives such as the studio's CEO.

Sometimes, their opinions are more specific and useful than empty company opinions.

Paramount and Universal, who had made a movie for free, were both satisfied. They asked Ronald to hold a preview of 007's latest film, GoldenEye, as soon as possible to decide how much budget to invest in the release.

However, 20th Century Fox and Disney, who were left out, were a little unhappy.

As for Disney, since Ovitz had just taken office, they had not yet discussed the cooperation with Ronald. But on the 20th Century Fox side, the CEO Peter Chernin could not sit still and took the initiative to contact Ronald, hoping to shoot a joint venture film as soon as possible.

Ronald agreed to meet him, but as the chairman of New United Artists, Ronald did not plan to shoot any big productions. Since he inherited the name of United Artists, of course he had to start with medium-sized films and give some new directors opportunities.

Coincidentally, 20th Century Fox also established a new department last year, called Fox Searchlight. They also felt the stagnation of Hollywood innovation that Ronald felt, and just like Disney's acquisition of Miramax, they also planned to establish a new department to specialize in small and medium-sized independent productions.