"Which toy movie adaptation rights does Sony Entertainnt want to buy from Hasbro?"
Compared to novels or gas, toy movie adaptations have been almost nonexistent, and even the few that do exist, such as Mattel’s Barbie, aren’t true films but more like promotional tools for selling toys.
Duke knew that a toy series movie could dominate the world in the future!
He definitely rembered the series, but due to the lack of popularity for toy movies and the focus on series like The Lord of the Rings and Harry Potter, he hadn’t rushed into it. To his surprise, soone had already made a move.
What was even more surprising was that the person making the move wasn’t DreamWorks or Paramount.
However, Tina Fey’s words made Duke feel at ease.
"It’s the G.I. Joe series," Tina Fey recalled, saying, "I’ve heard that Sony Entertainnt has already reached a preliminary agreent with Hasbro."
Duke nodded, thinking for a mont, and wasn’t too surprised by this developnt.
Just like Hollywood’s strict project approval process, the major companies weren’t foolish. While consolidating their current positions, they were also expanding their reach. Sony Entertainnt’s focus on the G.I. Joe series wasn’t unexpected.
First of all, it was a true Arican toy, not like Godzilla, which was imported.
Secondly, G.I. Joe was once Hasbro’s best-selling toy and had a huge influence in North Arica.
Lastly, Hasbro’s other flagship toy, Transforrs, was too difficult to adapt, requiring astronomical sums for a live-action film, whereas G.I. Joe could be made with a relatively low budget.
Duke’s fingers curled as he gently tapped on the table in front of him. He pondered for about five minutes before speaking slowly.
"Tina, have Nancy contact Hasbro," he said.
"You want us to join the race for the G.I. Joe rights?" Tina Fey clearly misunderstood.
Duke shook his head. "We don’t want G.I. Joe. Have Nancy talk to Hasbro about the rights to adapt Transforrs."
Though still sowhat confused, Tina Fey quickly pulled out her work log and jotted it down. Then she asked, "You want to make a live-action film?"
"Not right now." Duke picked up his coffee cup and, before drinking, said, "This is a future plan."
With current filmmaking technology, it was not impossible to make a Transforrs movie, but the cost would be astronomical. Even in a few years, creating CGI robots would still be an incredibly expensive endeavor.
There was also the issue of the director, who seed to be at the peak of his career. It would be better to wait a few more years.
Of course, in Duke’s mind, even if the film changed, it would still be a story about humans and Transforrs. Without human involvent, the movie’s imrsion would be a huge problem.
Moreover, if most of the scenes involved only the Transforrs, the production costs would skyrocket into the billions of dollars.
This film wasn’t just about letting Optimus Pri and gatron appear whenever they wanted. Every special effects scene would burn through huge amounts of money.
Just like Harry Potter and the Sorcerer’s Stone, its special effects relied more on sets and props. Many of the scenes in Hogwarts were fild using models, and the sole purpose was to save costs!
Duke didn’t go to the Hilton after his flight but directly headed to the studio in Northampton, where the set for Harry Potter and the Sorcerer’s Stone was just beginning. The various buildings at the studio were only in their preliminary stages.
If they wanted to make the Harry Potter series a truly profitable industry chain, the movie project was the key. To make the film popular and widely noticed, they had to ensure the quality.
The script was being written by Joanne Rowling and a professional screenwriter together, ensuring that it adhered as much as possible to the main storyline of the book, while also adding appeal and marketing value.
"Rowling’s on the other side, working on designing the house crests and the school uniforms."
In the office at the studio, after eting Robin Grand, Duke didn’t waste any ti with small talk. Grand imdiately started discussing the current work of the production team. "The casting call has already begun. The application and selection process are happening simultaneously. Especially for the child actors, there are so many applicants. Even after eliminating ninety percent in the first round, we still have over a hundred people in the running."
He handed over a list, and Duke glanced through it. The choice of child actors didn’t matter much. Even if he didn’t see Emma Watson’s na while flipping through, he didn’t comnt. After all, this was a movie where the character would make the actor, not the other way around.
"So actors recomnded by agents or familiar nas in the UK entertainnt circle didn’t make the list," Robin Grand added. "Chris and I are more inclined to go with the recomnded candidates rather than those with less experience."
Duke handed the list back to him. "You make the decision."
Then, Robin Grand discussed the crucial funding issue for the early preparations.
"The first 30 million dollars for the initial funding is almost gone," he said, sounding anxious. "Duke, I’ve spoken to the Harry Potter studio. The second round of funding from Duke Studio and Warner Brothers hasn’t co through yet. If the money doesn’t co..."
He paused.
Having been involved in the preparation of many films, Duke knew how important funding was. "Don’t worry, Robin. The funds will be in place soon."
He turned to Tina Fey. "Rember to remind to communicate with Jeff Robinov."
After discussing so of the difficulties in preparation, Duke was taken on a brief tour of the studio. The set was still in its early stages, with not much to see yet, but the staff was moving in and out, busy and orderly, clearly preparing everything.
As they passed the entrance to the studio, Duke noticed even more reporters and paparazzi outside than when he had arrived, kept at bay by security.
This was typical British literature—sothing that would attract so much attention from Hollywood and large investnts for adaptation, definitely ant more concern and hype for the British people who had always been proud of their cultural superiority.
Of course, the increase in journalists was also due to Duke. Ever since he left Heathrow, he’d been followed by paparazzi.
In this gossip-hungry, paparazzi-filled country, trying to avoid the dia’s gaze was as difficult as hell. It wasn’t just the photographers stationed at key traffic points and important venues, but also the citizens who actively cooperated. Many Londoners, upon encountering a celebrity, didn’t think of asking for an autograph but rather calling the paparazzi to make so money before rushing up like crazy fans.
"Ever since Harry Potter and the Sorcerer’s Stone was announced, this place has beco the main battlefield for Fleet Street," Robin Grand sighed. "It’s even busier than Downing Street and Buckingham Palace."
Duke nodded. "That’s for the best. As long as we occasionally throw them so tidbits, the film will maintain a certain level of buzz."
Robin Grand agreed, "That’s the only benefit I can think of."
As they continued through the busy set, they entered the costu design room, where Joanne Rowling was. As the original author, she was excited to turn the world she’d imagined in her head into a real one on the big screen. The fact that the filming was taking place in her hotown only added to her enthusiasm.
During their earlier conversation, Robin Grand had ntioned how involved Joanne Rowling was in every aspect of the film’s preparation, especially in designing the costus, wands, and various house crests.
"Hi, Duke."
Joanne, now a star author, had honed her social skills. "It’s great to see you. I’ve been looking forward to your visit and your feedback."
"I’m glad to see you too, Jo."
They shook hands, and Duke’s gaze swept across the various costus and crests hanging in the design room. "You all are doing great work. I have every reason to believe this will be a great movie."
"Thank you." Joanne smiled.
Currently, only the first three books had been published, and the Harry Potter studio only held the rights to those. Although the studio had the right of first refusal for future adaptations, once the film beca a huge success and the surrounding products started selling, Joanne Rowling would easily regain control.
This was an inevitable outco. There was no way she would agree to sign the rights for the sequels under the sa conditions.
Even if Joanne Rowling was foolish enough to agree, her agent certainly wouldn’t!
Business was always complex, full of deception, and although Harry Potter and the Sorcerer’s Stone was just in the early stages, Duke had already considered the future.
After all, once the series succeeded, the potential profits were staggering.
He vaguely rembered that after Harry Potter and the Sorcerer’s Stone was a hit, Warner Brothers made 1.2 billion dollars just by selling licensing rights at a comic convention!
The Harry Potter phenonon later beca a case study not only in the film industry but also in economics, with nurous financial dia predicting that in twenty years, the Harry Potter franchise would generate a value of over 100 billion dollars.
Such a vast industry chain—no one, not even Duke, could resist it.
To say that Rowling would later beco a cash cow for him and Warner Brothers wasn’t an exaggeration.
After chatting with Rowling for a while, Duke then t with Chris Columbus in the adjacent set room. The childlike director was indeed an expert in making family-friendly films.
Before leaving, Duke reminded Robin Grand, "If Harry Potter and the Sorcerer’s Stone succeeds, you’ll need to find a suitable director. Chris won’t stay in London for long, and he’s not the right fit for our future needs."
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