35 Well though-out

Until the sun rose high, and lying down became uncomfortable, Lyman finally climbed out of bed. After getting dressed and taking care of personal hygiene in the bathroom, as soon as he opened the door, a scent of food filled the air, lingering in his nostrils.

Upon hearing the sound, René and Thomas, sitting in the living room, looked up and saw Lyman standing at the doorway. They quickly greeted him, saying, "Come and eat, Lyman. This is takeout from a restaurant, not provided by the hotel." The guesthouse they were staying in had excellent decorations and although it was a bit expensive, it was worth it. However, the food was heavy and had a strong flavor.

Lyman's body genes didn't mind the slightly greasy taste, as the French region was known for its love of sweets. But he couldn't accept the food at this hotel. The first time he tried it, the sweetness was several levels higher than the usual sweets he ate, making his stomach unable to handle it.

The hotel's living room was spacious, and the two of them sat around the coffee table, enjoying the delicious food, which also tempted Lyman. Speaking of which, he hadn't even had breakfast today, and his stomach was empty.

"Is that so?" Lyman said, taking a few steps and finding a suitable seat, grabbing a portion of pasta and starting to devour it.

Thomas, who had been focused on Lyman since he appeared, saw him finishing the pasta with a gasp and quickly asked, "Lyman, how did that matter go?"

"No problem at all," Lyman continued, "I met with them again yesterday and finalized the filming team. You will also be a member of the camera crew." Thomas naturally asked if he could handle the camera position in the new project, and Lyman gave a definite affirmative answer.

After seeking distribution and investment that day, not long after they returned to the hotel, they received a call from EuropaCorp, saying that the movie had been approved internally at their company. Naturally, this was a good thing, and Lyman and the other two were extremely happy upon hearing the news.

As a mature and well-established production company, EuropaCorp quickly began the pre-production work after the project was approved. In just four days, most of the filming crew was assembled.

Yesterday, after meeting again, the teams for the camera and set design were also finalized. Seeing that the crew was about to be fully assembled and ready for shooting, Lyman felt a sense of relief. The profound foundation of an experienced production company was evident.

"I told you there was no need to worry. Look at how nervous you were," René teased Thomas. The latter just chuckled and ignored René, still immersed in the joy of being able to handle the camera.

The next day, EuropaCorp invited Lyman to discuss the shooting, stating that they wanted to finalize the details. Lyman didn't dare to delay and rushed to the headquarters building with Thomas and René.

...

"Lyman..."

"Hello, Schubert."

"Hello..."

After a brief exchange of greetings, in a meeting room at EuropaCorp, the heads of the creative team for the film, along with legal personnel, were all present.

Schubert introduced a middle-aged man to Lyman and said, "This is George, the production manager for your film. He has extensive experience in the industry, and you can approach him if you have any questions."

"Hello, director." The man reached out his right hand first. "I've seen your work "Buried", and it left a deep impression on me. I hope we can have a sincere collaboration in the future."

Lyman shook his hand and replied politely, "I believe it will be a pleasant collaboration." As the production manager, George would likely be the spokesperson arranged by EuropaCorp for the filming crew. In other words, he undoubtedly had significant influence, which Lyman was well aware of. After all, it involved a €6M investment, and they couldn't afford to be careless. However, since Lyman had not yet signed a formal director's contract with EuropaCorp, the focus of the next meeting was on his rights and treatment as a director on the set.

"Your director's salary is €200,000," Schubert said first.

"No need, let's settle it after post-production. The filming budget is a bit tight," Lyman calmly replied. The film's production was his primary concern. As for salary, as long as the other party had some intention in that regard, it was fine.

Schubert looked at Lyman and, seeing his proposal, he tacitly agreed to the salary issue. He then continued, "Next is the profit sharing. Our plan is that as the director of this film, you will automatically receive 3%. Any objections?"

"It's a reasonable allocation. I have no objections," Lyman replied firmly. "I hope to have absolute power in choosing the actors, and I also want full control over the editing process."

As the production company behind the film, EuropaCorp naturally had the final say in the division of most of the benefits. Lyman didn't want to argue about that. He was just a director, and his main concern was creative freedom. Within reasonable limits, he wanted to negotiate these aspects in advance. These were the two issues he cared most about. Good actors and good editing could completely determine the fate of a film and serve as the best carriers of his filmmaking ideas. If he wanted the film to be shot as he envisioned, he had to be involved.

Schubert didn't seem to have any concerns in this regard. After listening, he smiled and said, "Of course, we will go with your opinion."

Even Luc Besson, his immediate boss, recognized this director. Schubert didn't have any intention to interfere with the film's production and only focused on the company's interests. The appointment of a production manager was genuinely intended to help Lyman with his filming work, rather than to fight for power within the crew.

Lyman breathed a sigh of relief. For him, these were the aspects he cared most about. He didn't want to be just a tool during the filming process. He wanted to shoot the film according to his own ideas, without other factors interfering.

Subsequently, the two of them discussed a series of rights and obligations as a director, combined with Lyman's personal requirements. He would be fully involved in the preparation work, filming, and post-production editing.

Honestly, Lyman hadn't expected to easily gain so much influence within the crew when he first arrived. Just as he didn't understand why EuropaCorp had such a quick change in attitude regarding the project's approval, he also couldn't comprehend Schubert's relinquishing of power.

Lyman focused only on the percentages of profit distribution and not on production-related matters. In Lyman's view, this was completely putting the cart before the horse. Thinking about profits before even shooting the film was wishful thinking, wasn't it? If they ended up in the red, no matter how much they argued, it would be of no use.

In the afternoon, under the witness of legal representatives provided by the guild, the main creative team and Lyman finalized the contents of the formal contract.

As a director, in addition to the crew's rights and obligations, Lyman received 3% and a €200,000 filming fee. Of course, the 3% was calculated after deducting various expenses such as theater fees and distribution fees before additional profits could be calculated. Signing his name on the contract, Lyman felt a sense of disbelief. His negotiation process had gone too smoothly. But these were all good things, weren't they?

Thomas, as a member of the camera crew, also signed a formal contract and received a weekly salary of €900. René continued to work as a production assistant, earning a weekly salary of €1,200. As one of the film's screenwriters, he also received a fixed fee of €3,000. Lyman also suggested that René be credited as a producer, which Schubert agreed to, but without additional compensation.

Now, Thomas had made up his mind to hone his camera skills and strive for excellence. As for his good friend René, besides being proficient in screenwriting and production assistant work, he didn't have any other special skills. Being a screenwriter was the least valuable role in the industry, and there was limited room for growth as a production assistant. Considering his future, transitioning to a producer was the most suitable choice. This way, his screenwriting abilities could be utilized, and he could further improve his influence in handling production affairs.

"The film's budget is currently set at €6M, and it has been secured. You will need to negotiate the outdoor filming locations in India yourselves. We don't have an office there, and many things are inconvenient to handle. You'll have to figure it out on your own," Schubert continued discussing the preparations. He had received instructions from Luc Besson, so he naturally had to explain some related work in advance.

"Do you have information on Indian production companies?" Lyman asked.

"Yes, it's ready. You can consider which company to collaborate with. Remember to discuss it with George; he has previously filmed in India and has experience in that regard," Schubert advised.

"I will." When shooting in an unfamiliar place like India, it was natural to work with a local production company to avoid being completely in the dark.

"Well, that's it then. I have other matters to attend to, so I'll leave first." After organizing the contract, Schubert left the meeting room.

Watching him leave, Lyman chatted with the production manager, M. George, for a few more minutes. After discussing the investigation of Indian production companies, he left with René and Thomas and returned to the guesthouse hotel.

After checking out of the hotel and taking a taxi, they arrived in Cannes. The three of them packed their belongings, preparing for a long battle of work.

On October 26th, the main creative team of the film gathered and set off for the Indian region...