Director in Hollywood

As time passed, by the end of November, *The Shallows* had earned over $40 million in North America, reaching a total box office of $40.516 million.

The film's box office potential was nearly exhausted, but this result was enough to satisfy Universal Pictures and brought significant attention to director Gilbert.

Gilbert later gave an interview to Sarah from the *Los Angeles Business Journal*, sharing anecdotes about his growth and the details of his 'relationship' with Gwyneth Paltrow, including the breakup.

Of course, these were mostly fabrications.

However, Gilbert did reveal news about his new project during the interview, attracting the attention of fans who had started following him after *The Shallows*.

At that time, online communication and chats were still underdeveloped, mostly limited to face-to-face meetings and discussions.

Such discussions were often small-scale, lacking the ability to create public opinion waves, and couldn't be compared to the later self-media era.

Moreover, directors in this era were typically behind the scenes, and unless they were top directors, they did not receive much media or public attention.

Relatively speaking, due to Spielberg's support and the media buzz around his romance with Gwyneth Paltrow, Gilbert received a higher level of attention.

However, this attention was not lasting. As the popularity of *The Shallows* in North America waned, Gilbert also faded from the public eye.

For the industry, Gilbert's new work remained noteworthy.

With one successful film under his belt, it was plausible that Gilbert might succeed a second time.

Indeed, Universal Pictures, as the investor and distributor of *The Shallows*, actively engaged with Gilbert, while Gilbert handed the negotiations over to Sina Boone.

"Our demands are not excessive. Director Gilbert's fees as both director and screenwriter amount to $1 million, which would be considered part of the film's investment. Additionally, we require a 10% share of the box office. Director Gilbert will also serve as the producer and will have final say on the editing."

Despite facing Universal Pictures' high-level executives, including Vice President Lew Wasserman, the young former CAA agent Sina Boone spoke confidently, showing no signs of nervousness.

During the making of *The Shallows*, Gilbert had proven his skill in editing.

Thus, it was reasonable to request leading editing rights this time.

However, Universal Pictures found the high fees and box office share unacceptable.

"Ms. Boone, we at Universal Pictures are very positive about *Final Destination* and aware of Director Gilbert's capabilities. But the fees and share you're asking for are quite high, and it's difficult for us to agree to this, let alone convert the fees into investment," Vice President Lou Wassell frowned.

"Ladies and gentlemen, please consider this: *The Shallows* has already earned over $40 million in North America. From what I know, the film has performed well overseas, with over $30 million in box office so far. Furthermore, it is continuing to enter major global markets, and this is far from the end. This suggests that *The Shallows* might very well exceed $100 million worldwide. What does it mean to have a debut director's work reach $100 million? I'm sure you understand."

Sina Boone spoke passionately in the Universal Pictures conference room, trying to make them recognize Gilbert's value.

It proved effective. Faced with such solid facts, Universal Pictures had to take Gilbert seriously.

It wasn't so much about Gilbert's past achievements—after all, he only had one hit film, and who knew if it was a fluke.

But with the success of *The Shallows* and the submitted script for *Final Destination*, Universal Pictures had to consider Gilbert's potential.

Lew Wasserman said, "Ms. Boone, we at Universal Pictures certainly value the collaboration with Director Gilbert. But with investments in the millions of dollars, we need to be cautious."

Sina Boone switched from a demanding tone to a softer, more persuasive one: "I understand Universal Pictures' operating rules. I just hope you understand that Director Gilbert is looking forward to working with Universal Pictures again, given how pleasant our last collaboration was."

Whether the collaboration was pleasant or not was debatable, but Sina Boone demonstrated the professionalism of a skilled agent.

She was unflinching when arguing for interests, like a fierce lioness, and soft and persuasive when seeking goodwill, like a gentle kitten.

In fact, agents serve as a bridge between the talent and film companies, facilitating communication and negotiation while avoiding conflict.

If Gilbert were to negotiate his interests personally, it would likely lead to arguments with high-level executives, making things uncomfortable for everyone.

But with an agent as an intermediary, conflicts between the parties could be avoided.

Friendship and business are separate.

Of course, agents typically take a commission.

Gilbert and Sina Boone's agreement specified that Sina Boone would receive a 5-8% commission on each project.

This commission was already low. Agencies like CAA and ICM, which offer packaged services, often take commissions as high as 10-15%.

The negotiation process was not smooth, with significant differences between the parties.

However, this was just the preliminary contact. The strategy in negotiations is to start with high demands and then gradually negotiate down to the desired terms.

Afterward, Lew Wasserman and distribution head Levitt Gold returned to their office.

"Levitt, do you think we should agree to Gilbert's terms?" Lou Wassell asked.

Levitt Gore did not directly answer but mentioned, "The script for *Final Destination* was unanimously approved by the review committee, and the marketing department estimates the film's investment and profitability index as A-level."

He continued, "The script somewhat inherits the thrilling horror style of *The Shallows* but is more daring in its ideas. Gilbert has proven his proficiency in making such films."

"So the chance of another success is high?"

"Exactly," Levitt Gore nodded. "As far as I know, Robert Iger from TouchStone pictures has been in contact with Gilbert, and Warner and Paramount also have high hopes for him. Although Gilbert is young, he already has one successful film under his belt. According to Hollywood's past experience, Gilbert is in a rapid ascent period. Directors in this phase have great potential, as you must understand."

"Indeed," Lew Wasserman sighed. "One can't help but wonder if Gilbert might become another Spielberg in the future…"

Currently, Gilbert could not compare to Spielberg, but he was young! Spielberg was 29 when he made *Jaws*, and Gilbert was only 21 before the new year had even begun.

The career lifespan of a director is quite long; Gilbert could easily work into his seventies or eighties.

What he could achieve over a fifty- or sixty-year career was hard to predict.

Nevertheless, Gilbert's potential remained a matter for the future.

Hollywood is full of instances where someone became famous overnight only to fade away, so Universal Pictures was unlikely to agree to Gilbert's excessive demands.