Hollywood's pay has been rising steadily, but the main driving force is the collaboration between the three giants, namely the innovative artist economy company, William Morris Agency and International Innovation Management Company, which has led to the continuous increase in actors' pay since the 1980s.

In 1988, Arnold Schwarzenegger not only received a pay for the film, but also participated in the box office dividend, which also opened a new chapter in the payment method of actors' pay; in 1989, Jack Nicholson participated in the role of "Batman" as a supporting role. He completely gave up his pay and got the reward in the form of dividends, but the condition was that no matter how much the box office was, he could share the share according to the contract signing ratio, without a lower box office limit, and even the peripheral sales of affiliated products also participated in the share. In the end, Jack received a $50 million salary based on this movie.

From then on, Hollywood actors’ pay opened a new era: basic salary plus box office dividends.

Actor pay has always been a topic that people will never get tired of, and its popularity is probably second only to scandals and scandals among artists. One of the important reasons is that these numbers are too large and are out of reach for ordinary people.

In fact, the media reports on actor pay are quite rumored. On the one hand, it is because actor pay involves internal competition in the industry and can be used as a commercial secret without being published to the outside world. On the other hand, studios and actors are in certain special purposes and may deliberately exaggerate or reduce the actual reward. Generally speaking, exaggerate is to show off, and reduce it is to deal with the tax department. The most important reason is "deliberate simplification". In real life, the pay of an actor may not be clearly explained by a number, but for media and movie fans, the most impactful thing is a number composed of many zeros on the right.

In Hollywood, the pay for actors is originally very simple, which means that the producers pay the actors a salary just like paying their wages and then finishing the filming. That's all, but when the list of box office dividends also includes actors in the feasible range, it becomes complicated because the so-called box office dividends are already very complicated.

Due to the restrictions of the antitrust law in the North American film market, production companies, distributors and projectors are often different companies. Generally speaking, after the production company produces a movie, it is handed over to the distribution company for operation, while the distribution company contacts major theaters for screening.

There are two ways to distribute dividends from the issuing company and theater chains. The first is that the issuing company pays a certain amount of rent for theaters. After the release, the theater chain will receive commissions every week. The first week is 10%, which will gradually increase, but will not be higher than 40%. The second is that the issuing company does not pay the rent, and theater chains will directly receive commissions. The first week is 30%, which will increase gradually, with a maximum of no more than 50%.

Generally speaking, the box office earned by theater screenings accounts for 40% of the total box office that a movie can create. In other words, the box office that is left to the production company and the publisher divides is only 60%.

This 60% can be divided into two situations. One is a large production company that owns the distribution department itself, so 60% belongs to the production company; the other is that the production company handes the distribution rights to a professional distribution company, so that the two must divide this part of the interests. Generally speaking, the production company accounts for 30 to 35%, while the distribution company takes 25 to 30%.

Whether it is the first or second type, the profit of the "producer" obtained by the production company is about 30% to 35% of the profit, and this part of the profit needs to be divided up by the production company itself, director, producer, and screenwriter. Now there is another actor added to the list of accounts.

Twenty-five percent is the maximum share that Hollywood large studios are willing to leave for actors, directors, producers and screenwriters. It is the combination of everyone participating in the dividend distribution, not everyone. In other words, what ends up in the hands of the production company is 10 to 15% of the box office of a movie.

In fact, for large film production companies, the profit from box office revenue has never been their most important source of income. The income obtained from family entertainment projects such as TV, cable TV, video tape, and other household copyrights, as well as the income from surrounding copyrights, is the real source of income for film production companies, up to more than 80% of the profits of production companies, and even higher than the box office of the movie itself. Of course, outstanding box office will also drive other copyrights and surrounding income, which complement each other.

The share ratio that directors, producers, screenwriters and actors can get together is about 20% to 35% of the box office, of course, there are occasional exceptions, but that is all after the 21st century. Before the 1990s, the proportion was almost at this level.

It is precisely for this reason that many big-name actors, such as Tom Cruise, after becoming famous, are unwilling to use front-line actresses to partner with, because that means that there will be more actors participating in dividends, thereby reducing their share share ratio. However, Tom is willing to work with Steven Spielberg because he attaches importance to the box office influence brought by a large director, and the ultimate economic benefits brought by the greater the sacrifice of the share ratio. For any work that actors participate in high share share, the actors will definitely spare no effort to promote them. From the exposure density during the actor's publicity period, the actors can guess the economic interests of the actors to some extent. Of course, this also deeply ties the actors to the box office, increases the responsibility on the shoulders of the actors, and increases the enthusiasm of the actors, which is also positive.

Among the box offices that directors, producers, screenwriters and actors can divide into this part of the box office, the ratio of big names in each position will fluctuate to varying degrees. The proportion of actors' share ranges from 5% to 50%, and the fluctuation range is very large. Influencing factors include whether the co-stars are qualified to pay dividends, the level of the actors' own appeal, the degree of big names in the director and producers, etc. In the final analysis, it is still a question of Hollywood power.

So what kind of role does the agent play in this?

First, it is precisely because of the existence of the three major agency companies that the box office dividends of directors, producers, screenwriters and actors have been achieved, and the proportion of dividends has even continued to rise, which has effectively compressed the voice of the production company and fundamentally changed the direction of Hollywood's power. Moreover, the agency is the decisive factor in being able to become a part of box office dividends.

Next, the agent has a decisive negotiating role in the actor's pay. The most basic ability of an excellent agent is to maximize the benefits for the actors, and the pay and performance benefits are the core link. For example, Lang was able to win a pay of 6 million for Hugo, but Joseph only won a pay of 3 million for Hugo. This is the gap. For example, after Arnold Schwarzenegger and Jack Nicholson set a precedent, there are still few actors who can get dividends, and the agent's tongue-in-law lotus has a decisive role.

Simply put, the broker is a good seller. He has a deck of cards worth three million US dollars. If he only sells three million, it can only be said to be fair; if he sells two million at a low price, it is incompetent; of course, if he can sell six million and even get dividends, this is a truly outstanding broker.

Hugo's current situation in Hollywood is at a crossroads of opportunities. After the "Yihai Shengfeng", the media generally believed that Hugo could become a first-line actor, which was a pay of 8 million US dollars. But the problem is that no production company has offered this pay to invite Hugo so far, so the so-called front-line is just the media's own shouting.

But it is undeniable that after experiencing the preparation of "smelling fragrance to recognize women" and "Yihai's heroic spirit", Hugo had a certain qualification for ten years in Hollywood, so his salary was more than three million US dollars at all, and it was not a problem to return to the six million US dollars during the "Hudson Eagle" period.

However, the pay of six million is not something that can be done by talking. After the Golden Globe Awards, Hugo's sudden situation will not have an essential blow to his pay, but the impact is inevitable. Therefore, whether he can get a pay of six million is the test of Joseph's personal ability!

If things were so simple, Joseph had strong confidence in winning the six million yuan in pay, and he was willing to try his best to make a try for Hugo, but the problem was that the crew of "Seattle Night Without Sleeping" was not a rich team. Although Joseph did not get the exact news, as far as he knew, the budget for this work was only 20 million US dollars.

In addition, Joseph also found out the latest news that the heroine of "Sleeping in the Night in Seattle" invited Meg Ryan to play. Meg is an actor of the same level as Hugo. Although the pay for actresses has always been lower than that of male actors, even 50% lower, even if Meg has been a bit sluggish in the past three years, the pay for her is about 4 million and about 5 million should be no problem.

In this way, if Joseph also asks Hugo for a pay of 6 million, the actor budget alone will account for 50% of the cost of the film, which is almost an impossible task. What's more, Hugo has experienced countless difficulties in getting the "Seattle Night Without Sleeping", and Hugo is full of confidence in starring in this work. So, now Joseph cannot stand up and said to Nora, "Without six million, we won't be able to star in it."

Joseph couldn't help but feel a headache. How should the scale of this pay? This is also the reason why Joseph did not respond immediately when Nora asked about the pay issue, because he did not expect that Hugo would have a successful audition, and he did not expect that Hugo's first work after "Yihai Xiongfeng" was actually a movie with a girl.

"Does it really mean to propose a form of box office share?" Joseph thought that this was not a solution, but the problem was: Hugo had not reached the level of being able to require box office dividends!
Chapter completed!