Echoes of Hollywood

Back at Stanton Studio, Murphy flipped through Jordan Belfort's autobiography once again. He had lost count of how many times he had read it by now. To write the script and prepare the project plan, he needed to be thoroughly familiar with the material.

In addition to the autobiography, Murphy had gathered a large amount of third-party information about Jordan Belfort for himself and the Stanton Studio's writing team to use.

For this script, Murphy was again using his approach of providing an outline template while other writers handled different parts of the content. As long as communication channels were smooth, this assembly-line style of scriptwriting could actually benefit the future film's production.

An individual might overlook details, but collective brainstorming could yield significant advantages.

During his work, Murphy inevitably overlooked some aspects, not just in the scriptwriting but also in other areas.

While drafting the script outline, he had overlooked Leonardo DiCaprio's fame and its impact on the original author, Jordan Belfort.

"Director Stanton, I hope to reclaim the film adaptation rights to my autobiography, 'The Wolf of Wall Street.'"

Standing in front of Murphy was a middle-aged man with dark short hair, not tall, but looking very shrewd. "I will compensate you appropriately."

Murphy poured a cup of coffee for Jordan Belfort, who had come specially, and sat down on the sofa beside him. "May I know why?"

"You know my situation."

The former financial fraudster didn't hide anything. "I need money urgently. Someone has offered a higher price, and besides the copyright fee, I can also get a significant share of the box office and DVD sales."

Although Belfort didn't say it explicitly, Murphy could guess who was behind this.

Since Belfort was straightforward, Murphy didn't beat around the bush either. "Are you planning to break the contract?"

"The film adaptation rights to 'The Wolf of Wall Street' were sold to you, but no film has been made." Belfort knew that reclaiming the rights wouldn't be easy and was prepared for a confrontation. "Given the situation, I have the right to reclaim the adaptation rights. I hope we can reach an agreement rather than take this to court."

Murphy frowned. "My studio is preparing for this film."

If possible, he didn't want to have an irreconcilable conflict with the original author, Belfort.

Belfort thought for a moment and said, "I want Leonardo DiCaprio to play me in the film. He is the most suitable actor."

"But I don't think so," Murphy rejected outright. "This project is still in the initial scriptwriting stage, but I can assure you, Mr. Belfort."

Seeing that the matter couldn't end simply, Murphy was no longer as tactful. "No one else will dictate my film!"

Belfort, who wasn't exactly a nice guy, shrugged as he stood up. "Then I'll see you in court."

"Mr. Belfort," Murphy reminded him one last time, "I hope you consider carefully. You know a lot about the financial market, but Hollywood and North American copyright laws aren't what you think they are."

Of course, someone as self-assured as Belfort wouldn't heed such advice and left directly.

A film adapted from a novel or other literary work can encounter significant trouble if it doesn't have the author's support, especially if the relationship with the author sours. However, Hollywood has had precedents where this didn't stop the film's production and release. For instance, "Forrest Gump" was made despite the author's, Winston Groom's, opposition.

Belfort's case differed from Groom's. The latter wrote fiction, while the former's work was based on his own experiences.

Belfort might not be fully aware of the legal nuances.

In U.S. entertainment law, it is clear that the facts on which a film adaptation is based do not fall under the protection of copyright or trademark laws. Individuals do not have rights over the facts of their experiences.

While production companies often use "authorized by the subject" as a promotional gimmick, federal law doesn't mandate obtaining the subject's authorization for films based on true stories.

Making a movie is the freedom of Hollywood and production companies, as long as it doesn't infringe on personal legal rights. For artistic and commercial reasons, films might disclose private aspects of the subject's life or fabricate eye-catching scenarios, which can lead to conflicts and lawsuits if not handled properly.

Murphy initially acquired the rights to avoid unnecessary troubles. Now that trouble had arisen, Stanton Studio's film could proceed based on factual adaptation rather than strictly following the autobiography.

His lawyer, Robert, who had extensive knowledge of entertainment law, would continue to serve as the future production's legal advisor to navigate these issues.

Having decided to push forward with the project, Murphy had Robert prepare contingency plans in advance, particularly for potential issues that Belfort might cause.

In U.S. judicial practice, complaints against production companies typically follow predictable patterns.

First is defamation. If the adaptation includes fictional or improperly used scenes that negatively impact the subject, such as extramarital affairs or drug use, harming their reputation or social standing, it constitutes defamation.

Next is invasion of privacy. Adaptations often include unknown information about the subject to enrich the story and attract audiences. If such information is disclosed without consent, causing mental distress, it constitutes an invasion of privacy.

While drafting the script, Murphy tried to avoid these pitfalls. If Belfort did take action, Murphy wouldn't sit idly by. Just like those who claim blockbuster films infringe on their copyrights, Hollywood has systematic measures for such scenarios.

Defamation accusations target fictional scenes, while true facts are a defense against defamation. The U.S. Constitution protects "truthful speech," and if the film's events are proven true, defamation liability can be avoided.

Freedom of speech also offers privacy exemptions. The First Amendment protects freedom of expression, and films, as a form of expression, are naturally covered. If a film's material comes from public records, such as news reports or official registries, it is not restricted.

Moreover, obtaining authorization from journalists who reported on the events can also secure legal protection.

These considerations allowed Robert, an experienced lawyer, to make appropriate arrangements.

Belfort's visit undoubtedly signaled the formal breakdown of negotiations between Murphy and Leonardo DiCaprio.

In Hollywood, many directors are willing to make concessions if the original author insists, but DiCaprio apparently didn't realize that Murphy wasn't among them.

Even without Belfort, Murphy couldn't work with DiCaprio due to his exorbitant salary demands.

Murphy's directing fees were already a headache for many Hollywood studios, but his films consistently provided high returns for investors, ensuring he never lacked for collaboration opportunities.

However, the high salaries of stars were a constant thorn for Hollywood.

Murphy wasn't just a director; he was also an investor. Last year, he took advantage of the economic crisis to invest in several films. Stanton Studio had been collaborating with other companies on the "Saw" and "Game of Thrones" series, where actor salaries were a significant concern.

The "Saw" series was manageable as main characters didn't last long, but "Game of Thrones" was different. The series made many actors famous, making them representatives of their roles, and brought the inevitable issue of substantial pay raises for hit shows.

Actors like Jessica Alba and Margot Robbie were now earning tens of thousands per episode. For the latest season of "Game of Thrones," cast salaries accounted for 30% of the total production cost.

But this was a common phenomenon in Hollywood, even a norm in the industry, beyond Murphy's control. Actors are human too, with desires, and wouldn't work for free for the sake of art.

While this was manageable, dealing with superstars like DiCaprio was another story. Their salaries were exorbitant.

However, such demands couldn't exist without willing parties. Despite their high fees, companies were eager to use them. That's the power of a superstar.

Their names hold magical sway in Hollywood, influencing producers' decisions. It all boiled down to money. With their involvement, investors were willing to fund projects, and audiences were willing to buy tickets, driven by market forces.

Thus, Hollywood stars' salaries kept breaking ceilings, with basic fees reaching $20 million, plus box office shares of up to 25%, making Hollywood increasingly frustrated.

For example, Keanu Reeves topped the all-time star salary list in 2003 with "The Matrix Reloaded" and "The Matrix Revolutions," earning $30 million plus a total revenue of $156 million from box office shares. Arnold Schwarzenegger earned $20 million plus 20% of the box office from "Terminator 3," with a global gross of over $430 million, a significant portion going to Schwarzenegger.

This is the ongoing game between labor and management.

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