The real earnings of Hollywood heavyweights are actually impossible for outsiders to calculate.
That's because a true big shot's inco is hexagonal—like an Empire-destroying dragon—comprehensive from every angle.
Salary and box office bonuses are just the basics, the most widely known components.
Beyond that, if you're strong enough, you can also get ho video revenue, subdivided into VHS, VCD, and DVD, and in the future, this can even extend to streaming royalties.
However, this must be specified separately—otherwise, the studio won't pay.
Digging deeper, there are other types of revenue to be shared. For example, Arnold Schwarzenegger and Jas Caron once made a short film called Terminator 2-3D: Battle Across Ti. It was an extension of the Terminator series, but also a CGI showcase for Universal Studios' indoor the park rides.
The parks were highly profitable, so during developnt, Universal promised that the governor and truck drivers could earn from the ride's revenue, as long as the project existed. Minimum paynt term: five years.
For a long ti, these two even had Universal's ticket revenue as part of their inco.
Of course, the park ticket royalties were a top-tier privilege. Not even A-list actors often got this; only a few elite IP-generating creatives could enjoy such benefits.
So at the end of the day, box office and ho video revenue are effectively the ceiling of inco most people in the industry could realistically touch. When Warner could offer both in a contract, it already showed great sincerity.
The reason Warner could bundle two projects into a single offer is that Hollywood accounts can be mixed creatively.
Barry yer's secretary thought $20 million per film plus 5% box office was a bit low to bring Chris Columbus back for Prisoner of Azkaban and Goblet of Fire.No problem! I'll give you $10 million plus 7.5% box office and ho video for The Voice—that covers the shortfall!
Hollywood salaries are project-based. Given The Voice's scope, it barely counts as a B-tier project. Even Spielberg wouldn't get $10 million for this baseline salary.
Does it matter? No. The extra money compensates Columbus for the shortfall on Azkaban and Goblet of Fire.
Unless you've worked on the project firsthand, you'd never know if a Hollywood film made or lost money. With Harry Potter as Barry yer's power base, the project had to look profitable, so necessary but unattractive expenses had to co from other sources.
This explains why Hollywood could turn a seemingly profitable project into an epic loss—many costs are carried elsewhere.
This practice had been done for decades. Spielberg had done it multiple tis. A quick calculation told Columbus that Warner's real pay for the last two HP films was roughly $80 million per film.
Baseline $20 million plus 5% of a $1 billion box office equals $50 million, and The Voice's B-tier earnings could cover another $10 million—spread across Azkaban and Goblet of Fire.
Faced with this offer, if Columbus wasn't tempted, he'd be lying.
Yet even tempted, he hesitated—the arrangent was grueling.
Finish Chamber of Secrets and imdiately start The Voice? Then release together at year-end? This maximized earnings but ant no rest.
After The Voice, Azkaban would start.
After Azkaban, Goblet of Fire…
Filming isn't just pointing a cara—you have to prepare!
Thinking of completing four films in the series, unless the box office bombs, Warner would hold his hand through all of them… His head felt like it was about to explode.
It's 2002, and now he had to finalize contracts for six films at once?
How far into the future would this shoot take him?Wouldn't it exhaust him?
Waving off Warner's negotiators, Columbus wanted so private space.
As they left, he "whooshed" to the Haywood family's dorm and knocked.
Catherine opened the door. Inside, Columbus saw the usually mischievous little girl sitting with her mother on the sofa, staring anxiously at the contract on the coffee table.
Seeing him, she suddenly lit up, excitedly inviting him to sit and hoping for advice on Warner's offer.
A normal request, but Columbus wanted to tease her a little…
"Isabella, technically, I shouldn't look at your contract."
"So in practice, can I? Director, I get what you an."
"Uh… technically, still can't look."
"…"
Isabella felt stumped.
Pouting, she asked, "Then why are you here, Chris Columbus?"
Why else would he co at night but to see the contract?
Vivian and Columbus chuckled at her bluntness.
Vivian thought her daughter hadn't yet learned emotional control—like fireworks, easily ignited.
Columbus found her adorable, leaning back with a smile. "Can't I co?"
"No."
"But you already let in."
"Sis—kick him out—"
Isabella pouted like a small puppy. She found him annoying.
She wanted to focus on business!
Hearing this, Catherine feigned ignorance, while Columbus laughed and waved it off.
"Okay, okay, I'm joking. Don't kick out."
Why did Columbus like making children's films? Because it's easy being around cute kids.
The film crew is a micro-society; negotiating with kids is far easier than scheming with adults.
Stay? Maybe? Even better.
After teasing Isabella a bit and seeing her amused, she reluctantly forgave him, and they started discussing the real matter—Warner's offer.
In Columbus's eyes, Warner's offer for The Voice—£2.5 million fixed salary plus 2.5% revenue—was already sincere.
After all, Hermione Granger's talent only ant one film for Isabella. Industry standards: female actors, even successful, B-tier film pay tops at $300,000.
But Warner offered Isabella £1 million for The Voice!
A statent to the industry: Isabella Haywood is Warner's little princess, recognized as A-list regardless of outside opinion.
Surface-level, an actor's status is determined by box office, but if the studio doesn't approve, it's aningless. You could star in a billion-dollar film but still get underpaid.
Money may seem crude for asuring status, but it's more direct than fan praise.
"I think she can sign."
Columbus finished reading and shared his opinion.
"Oh, Director Columbus, we agree with you," Vivian added. "I also feel this contract is sincere. Warner promises Isabella's future HP pay won't be lower than Daniel's… this is the best assurance."
"Yes," Columbus nodded, smiling. "So what were you worried about?"
He gestured at Isabella and Vivian.
"Oh, Isabella felt selling the rights was a bit of a pity…" Vivian explained.
Yes! Even with sincere offers, the contract is just a standard rights transaction. Sign, and all rights go to Warner.
Industry norm, yes, but…
"Oh my, Isabella, are you savoring what I said before?"
Columbus understood Vivian's aning, amused at the girl. "I said that was the best-case scenario. Given our situation, getting the rights… is very hard…"
Before Columbus arrived, Isabella's hesitation was due to her desire to control rights: script, songs.
Film rights? Not for her. Controlling movie rights is like running her own studio—beyond her capability.
Yet she understood her desire might be greedy, but one must think of oneself. Besides, Warner had wronged her last year! For the largest dia group to play tricks on a young girl—she could hold a grudge.
And she had.
"Director, is there really no way?"
Her eyes sparkled at Columbus, referencing his description of controlling rights as "very difficult."
"There's a way," Columbus liked her cleverness. "But first, answer one question."
"What question?" Isabella perked up.
"Do you want to stay?"
Columbus went straight.
Since Warner wanted them to develop The Voice together, and the script was guided by him, contracts had to be interlinked.
So Isabella saw Columbus's contract.
Knowing Warner wanted him to stay…
"Director, that's a tough question."
She sighed.
"How tough?"
Columbus asked, smiling.
"Very. Everything I have now is thanks to Joanne."
Isabella made it clear: without J.K. Rowling, she has nothing. Before Rowling's opinion, she couldn't decide Columbus's fate.
"If that weren't the reason?"
He knew the truth but wanted her answer. "Let's assu."
"Assu no grudges with Joanne, you were just chosen through procedure, and besides Harry, I don't care who plays other roles. I'm honest—I have no objection…"
"If that's the case, I want you to stay."
Columbus had laid it out plainly. Isabella no longer hesitated. "Not just because we worked well, but because… you're a good person. At least in my eyes."
"Or rather, in our whole family's eyes."
"Ha ha ha ha~" Columbus laughed heartily, tapping the sofa arms.
Vivian hugged her daughter, gently patting her head.
Isabella truly believed Columbus was a good person—not because of what he taught her, but because he maintained professional integrity, separating work from disputes, and executed films well.
A pure love for filmmaking often makes soone kind.
Besides his character, Isabella's wish for him to stay was also tied to her past-life mories.
In her past life, Azkaban was Alfonso Cuarón's work. She didn't comnt on the quality.
He openly admitted he hadn't seen HP before filming—a common Hollywood occurrence, and he was proud.
Later, Goblet of Fire regained quality (or box office), and the remaining three films—Order of the Phoenix, Half-Blood Prince, Deathly Hallows—were David Yates' work. Fans knew why he was dubbed a top offender.
Even without discussing his cara work, HP's last six films weren't as polished as the first two. Isabella genuinely hoped Columbus stayed.
She knew embracing history was the most reliable path to success… but she had loved HP in her past life.
"Okay, let's stop here for today. Rest early; we shoot tomorrow morning."
After laughing, Columbus slapped his thigh and stood, feeling relieved.
Isabella raised a question: "Director, you haven't told the solution yet."
"Huh? You believed just saying that?"
Columbus shrugged, feigning surprise. "Getting rights is serious business. I have no solution!"
"…"
Isabella froze, realizing he'd been teasing her.
She pouted angrily this ti.
Columbus laughed, ruffling her hair, then said to Vivian, "Mrs. Haywood, please soothe Isabella." Next, he glanced at Catherine. "Bye, Kesha."
Not saying goodbye made Isabella pout, but after her mother and sister coaxed her to sleep…
A few days later, the crew's atmosphere shifted.
J.K. Rowling and Warner expanded their cooperation; Warner secured adaptation rights for Azkaban and Goblet of Fire.
David Heyman, who rarely ca to Leavesden, appeared to discuss renewals and ask if everyone enjoyed working together.
"Oh, Bonnie, you're comfortable with the crew?"
"Yes."
"Then do you want this comfort to continue?"
"Of course."
"..."
"Rupert, our collaboration will continue, so which parts of the crew do you think need improvent?"
"Uh… could we have more good food? I want to eat ice cream every day…"
"Of course, I promise that. Anything else?"
"Uh… can we skip howork?"
"No."
"Then that's all."
"..."
"Okay, Tom, do you have any opinions you want to share with ?"
"I don't really have opinions; I think everything in the crew is fine, life is happy, work is enjoyable."
"And if there are personnel changes? Could you accept that?"
"What? You're going to replace people?"
"No, no, no. I an, if so people aren't here for certain reasons, would you…"
"I couldn't accept that. I think the crew's current state is very comfortable, but I respect the crew's choices."
"..."
David Heyman's discussions with everyone were conducted openly and transparently.
So in many people's eyes, his inquiries were just genuine concern.
But Isabella knew he was gathering opinions from the group.
Knowing this, she prepared herself to voice her thoughts, but…
David Heyman didn't co to ask her at all.
Nor did he ask Daniel.
This left the two of them staring at each other, completely confused.
So they weren't considered part of the crowd?
While they were trying to make sense of the situation, that evening, another guest arrived at the crew—J.K. Rowling.
She brought gifts for everyone, as a celebration for the ongoing collaboration.
After having dinner with everyone that night, David Heyman, under the pretense of visiting an old friend, went to Egg Girl's dorm, while J.K. Rowling visited Isabella's room to check if the little girl had been slacking. With the lights turned on…
"Isabella, do you want Chris to stay?"
Rowling sat on the edge of the little girl's bed, smiling warmly at Isabella.
"Joanne, I'll follow your advice."
Isabella's stance was very firm.
Seeing her seriousness, Rowling shook her head, "Dear, I'm here to understand your thoughts."
"I know, you are a grateful child, so no matter what happens, you will stand firmly by my side. But I want to say, I chose you initially because you are honest."
"Your honesty, your straightforwardness, is what I like the most."
"Because it makes feel the rare sincerity in society."
"So, can you tell , do you want Chris to stay?"
"..."
Rowling's gaze made Isabella take a deep breath. After a mont of silence, she nodded, "Yes."
"Why?"
Rowling wasn't angry and continued, "Can you tell your reason?"
"Because we probably couldn't find a better director than Chris."
Isabella said, "Everyone in the world knows Chris is the king of children; having him direct HP ensures it continues successfully. So, when our task is to present your magical world to fans and audiences as fully as possible, having a talented director who respects the original work continue directing is the best choice."
"Also, I want to say, as long as I play Hermione Granger, I don't want the movies to be ruined."
"This is my career."
The little girl spoke her true feelings.
After her words, the large room fell silent.
Rowling remained quiet, watching Isabella, and after so ti, a smile appeared on her lips.
She patted Isabella's bed…
It was quite soft.
Looking around, she noticed a pile of manuscript papers on the desk…
Even without opening them, she knew they were scripts.
She got up and opened Isabella's wardrobe…
She was a little surprised, "Why did you put the costu back?"
Several Hogwarts cloaks were hanging in Isabella's wardrobe.
"Oh, these are for everyday wear. When it's cold, I just throw one on."
Isabella explained, "Since joining the crew, I haven't gone out much. We do have heating here in winter, but sotis I feel a sweater isn't enough, so… it was just convenient…"
This reason made Rowling chuckle.
She glanced at the wardrobe a few more tis, then closed it and turned to Isabella.
"Isabella."
"Hmm?"
"Jessica will soon have a little brother or sister."
"???"
"At this point, I don't want to fight over anything with anyone, nor do I have the energy to micromanage a project. As you said, Chris really is the best choice right now, especially when I need stability, so…"
Rowling winked at the little girl, "Just cooperate with him in peace."
"I know you support , and I know you want the best, so you don't need to worry about getting upset."
"Lastly, co to my house when you have ti. You know, Jessica and Neil like you, and of course, so do I."
J.K. Rowling is pregnant????
Isabella was stunned!!!!She truly didn't expect Rowling's stance on Chris staying with the crew to be expressed this way!This is… so… absurd!
Hmm.
Isabella had wondered if in her past life, Chris left HP because Rowling opposed him.
Rowling could maintain long-term collaboration with a director, like David Yates.
Ahem.
So if that had been the case, Chris leaving would have been due to historical conflicts.
Because they really had conflicts, Isabella had struggled with managing their relationship in the past.
But now…
"You… you… you…"
She didn't know what to say.
"All sorted."
Rowling understood, smiling and nodding.
With this confirmation, Isabella was truly dumbfounded.
But life is ruthless and didn't give her ti to process this explosive news.
On the third day after Rowling's visit, June 1st, Saturday,
Chris Columbus called the Haywood family out of the crew.
Soon after, the three of them saw Robert Iger at a private restaurant in London.
The Disney COO's appearance made Isabella feel like she was being kidnapped.
She felt like she was sleepwalking.
Yes.
She knew everything around her was moving fast, but she didn't know how it was progressing.
It was very frustrating.
Upon their arrival, Robert Iger greeted Isabella, her mother, and Catherine, then got straight to the point: "I can help you get the rights from Warner Bros., but I have two conditions."
"First, I want to insert soone into your project."
"The older sister character from your script, Disney wants her."
"Because we want to promote soone."
"Second, your next non-HP project, Isabella, must be with Disney."
"We won't sign contracts; it's all verbal agreents."
"As long as you agree, I'll handle Barry yer."
"..."
Okay, now it feels even more like a dream.
What the hell is going on?
How does Robert Iger suddenly claim he can help them get the rights?Sweetie!You're Disney's COO! Not Warner's!
So…
"Look in my eyes."
Isabella looked at Columbus, "Tell , what's going on?"
"It's simple, I'm not lying to you."
Isabella's exasperation made Columbus smile, shrugging, "You wanted the rights, right? I got them for you."
"..."
Isabella went black in the eyes.
She glanced at her mother and sister; good, their eyes were clear too.
"Okay, no ti to waste, it's simple…"
Isabella's bewildered look made Columbus smirk.
No more teasing, he explained what had happened recently:Since Warner's offer was very reasonable, and Warner, David Heyman, Rowling, and most of the crew wanted him to stay, he chose to stay. But he didn't sign the contract imdiately because Isabella wanted the rights.
For others, this might be difficult, but for him…
Too simple.
All you need are hands.
Earlier, Robert Iger approached Isabella wanting to bring The Voice to Disney?Okay, now let Disney and Warner bid, and have Iger call Barry yer directly, showing Disney's absolute determination to acquire The Voice—willing to match Warner's offer and even increase it, giving up script and music rights, signaling Barry yer to follow the lead. Done.
Because the HP issue was fully resolved!
When Barry yer needs HP, they have no choice but to accept everything!Why not negotiate directly with Barry yer?
Simple: negotiations without competition are just dragging things out.
Ti-consuming.
Negotiations with competition allow for leverage.
You can easily and pleasantly get everything.
Why does Robert Iger help with this bizarre task?"Because Bob wanted to et Jobs, so I called the teacher."
They t at noon, discussing over lunch.
While eating escargot, Chris Columbus vaguely said, "Isabella, rember the movie Dinosaur? The one you took leave to watch? Disney and Pixar had a conflict… and now Bob wants to rebuild friendship with Pixar, and my teacher Steven was originally Jobs' good friend…"
Disney couldn't make computer animation quickly.
After thinking, Robert Iger decided he had to connect with Steve Jobs.
Because only by gaining Jobs' friendship could Disney acquire the space for in-house developnt.
And once he had Jobs' friendship, he had a ticket to the top.
Roy Disney wanted to kick Michael Eisner out of the company?
Okay! Once Roy Disney succeeds, the Disney chairman position opens! With Pixar friendship, he could run for the role!
Most shareholders want results, and with Pixar, there are results!Even if Roy Disney didn't oust Eisner, with Pixar friendship he could challenge the tyrant! Toy Story and Monsters, Inc. are major IPs!
Shareholders won't give up!As long as he brings Disney profits, shareholders support him, and if live-action succeeds while animation is stable?Who's the tyrant? Tell !
The plan is clear; now just execute.
Although he knew Jobs, making friends requires interdiaries.
Who is the best interdiary now?
Of course, Lucas and Spielberg!
Jobs knew them before Jaws premiered!
Lucas sold Pixar to Jobs!
Almost thirty years of friendship—once he intervenes, how can Eisner compete?
So…
When Isabella learned that Columbus only needed to call Spielberg to gain Iger's help, she really wanted to laugh.
Many things seem difficult to you but are just a word to soone else.
This is…
Wait?She seems like a beneficiary now!
So why lant?
Exchanging a look with her mother, Vivian nodded; this ant the cooperation was secured.
Next, Iger called Barry yer in front of them.
Once Barry yer realized Iger was about to stir things up, he didn't hesitate and said the new contract would be sent to the UK within a day.
Then, they'd get everything they wanted.
Ga…
Over.
Notes:① Spielberg's Schindler's List and Jurassic Park are classic bundled projects in Hollywood history. Spielberg didn't earn from Schindler, but without considering rights, he earned $250 million from Jurassic Park. This is normal in the industry.② Only big players can get the park revenue shares; Spielberg still earns from Jurassic Park the park tickets, often more than Universal shareholders. Columbus also has shares from Little Monsters, which has a the park abroad.③ When studios bundle deals to supplent creators' inco, they don't bear project losses. Example: The Voice had a $20M investnt; the giant invested 20% ($4M), then the project is handled by Wall Street as a film fund, and box office losses are shifted out. So don't worry if The Voice's offer seems reasonable; in reality, the giant never lost money on bookkeeping projects.④ Rowling's first son after remarriage was born in March 2003; the text's tiline already accounts for her pregnancy.⑤ Columbus initially wanted to direct seven films; in reality, he said he left HP to return to family, but after leaving HP he imdiately took on two projects, also explained away.
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