….
Regal had finally unveiled the studio backing his long-anticipated [Harry Potter] adaptation.
And while some headlines framed it as a surprise, anyone paying close attention knew this move had been simmering beneath the surface for months.
The announcement came late in the day, but its ripple effect carried well into the next morning.
By sunrise, articles had already gone live:
"Red Studio to Produce First Two Films of the [Harry Potter] Franchise"
The headline wasn't exactly earth-shattering, and anyone familiar with the behind-the-scenes chessboard would have guessed the outcome.
The deal was orchestrated by Deonte Maravich, President of Red Pictures Distribution - a man who had been circling Regal for months with increasing intensity.
Deonte had been circling Regal since early in the SDCC buildup, showing more persistence than tact at times. He wanted in - badly. From the moment he saw the early whispers of Regal's campaign, he recognized it for what it was: a power move.
Regal declined the initial approaches, multiple times.
Cordially, but firmly.
That didn't stop Deonte. Each time he returned with a sweeter offer - higher production budgets, increased distribution reach, expanded marketing guarantees. The man wasn't going to walk away empty-handed.
Eventually, a deal was struck, lawyers from both sides were called, went over the terms multiple times making sure there was no loophole, and once everything was clear they publicly announced their collaboration.
The structure of the deal, once revealed, raised plenty of eyebrows:
- Red Studio would cover 89% of the production costs.
- Regal retained 5% control, along with all creative authority.
- Everleaf Press, the literary rights management firm tied to the books, held the remaining 6%.
On paper, it looked like a classic high-budget delegation. Until you looked at Regal's payout.
- $10 million upfront as writer and director
- 14% share of the box office gross.
Combine that with his director fee, and Regal was set to earn 19% of the film's total revenue.
The reaction across the industry was swift - and incredulous.
"Fourteen percent of back-end share??!" One exec reportedly blurted out during an emergency strategy call at one of the other big five studios.
Was it normal? Not even close.
From the world Regal was from once - Christopher Nolan, one of the few directors with that kind of pull, had reportedly secured around 20% of first-dollar gross for both [Tenet] and [Oppenheimer].
Peter Jackson achieved similar numbers with [The Lord of the Rings] and [The Hobbit], but even then, his take was split with his production company.
For most directors, even the big names, the standard deal is a flat directing fee with a modest performance bonus - maybe a couple points on the back end, if they have real clout.
Regal's deal? 19%(5+14) total, when you count his backend and upfront salary - while also retaining IP ownership.
Unheard of for a new-age filmmaker.
Exceptional, by every metric.
To say Red Studio showed nerves of steel would be generous.
They were taking a leap - shouldering nearly the entire financial burden of a film that could either become a generational landmark or a costly misfire.
Sure, if the film becomes a success both parties gain, but despite that Regal clearly holds the leverage.
He retains creative control.
Keeps ownership of the rights.
Gains financial upside from box office.
Gets paid as a director and writer.
Of course Deonte wasn't dumb and pushed many other things -
In fact, before settling on the production agreement, he made a far bolder move: he tried to buy the rights outright.
His offer? $200 million - for the first two books, along with perpetual rights to all future entries.
The money would have been delivered in installments with interest, a package structured to make Regal an instant industry kingpin - before a single frame was shot.
But Regal didn't flinch.
He said no.
Flat out.
And that decision spoke volumes.
At one point, the negotiations had grown so tense it was no longer a matter of business - it was personal.
Voices raised, tempers tested, lines drawn. It was a clash between two men who knew the stakes, and neither wanted to blink first.
In between the notations on its final stage.
During the final stretch of talks, Deonte rubbed his forehead, visibly worn. "...God, you are infuriating. So stubborn it hurts."
Regal said nothing.
Deonte stared at him, then leaned in, his voice quieter now, not as an executive - but as a man who had played this game too many times. "Look, I am saying this with all my business tricks set aside. If I go through with this deal - if I let you have this much control - then you become the target. Understand?"
Regal finally spoke, calm and unshaken. "I am not tactless, Deonte. I know exactly what I am doing."
A moment passed. Then Deonte exhaled, hard. "Alright. Fine. We will do it your way. But listen to me - whatever you do after this... stay out of my domain. Because if you try to muscle in on distribution, the Big Five will unite. Not to compete. To crush you."
Regal tilted his head, then smirked. "Crush me first… and then go back to stabbing each other for scraps?" He chuckled. "That is how you all have lasted this long?"
Deonte didn't even deny it. "Yes." He said plainly. "Exactly that."
Because that's how the game has always worked.
The Big Five.
They battled each other with lawsuits, leverage, backdoor deals, blacklists - anything to claw a little higher. But the moment someone new entered the arena, the fighting stopped. Temporarily.
First, destroy the outsider. Then resume the civil war.
A cycle.
Regal understood that now. He wasn't yet strong enough to rewrite the rules.
Which is why - for the moment - he was playing by them.
That's why he hadn't just opened his own distribution company yet.
But he had a different plan.
If a new player can't enter the game…
Then take someone already on the board.
That wouldn't break the rules. Not technically.
So, the question wasn't if anymore.
It was who.
Red Studios? Nhaa… he isn't that heartless to stab on the back, who provided him the first chance.
Pixy Studios? Well, he would love too… but that ain't enough.
Apollo Pictures? Could be proven tough, with such historic franchises like [Star Wars] in their library.
Vista Crown International? Great foreign pipelines, but old money, resistant to change.
Whitebridge Studios? Dying… but with history. Good bones.
He might joke to himself that he will pick one by writing names on slips of paper and drawing blind…
But who is he kidding?
He already knows which name is going on every slip.
That's the kind of man Regal is.
And the first step of his entire play?
It was already in motion.
Red Studios?
They are just the bait.
….
Soon it was time to point things out, and work on the script of [Harry Potter] first film.
•-------[ITEMS]-------•
» [Movie : Harry Potter and the Philosopher's Stone] x 1
ⓘ User can directly consume the book by clicking on it.
•---------------------•
…..
[Harry Potter] film saga.
If Regal had been asked honestly about his opinion regarding them - he would say the films didn't do justice to the books.
Yeah, overall the franchise is successful.
However, the earlier films, particularly the first two films - featured just subpar CGI for their time.
The studio's pragmatic strategy in toning down the production values clearly reflected their cautious approach given the uncertainty surrounding the franchise's potential success.
Of course, Regal who also produced his films twice understands this restraint for a children's film series, from a business point of view.
However, he believes it may have inadvertently created a divide in its audience.
Those who discovered the films in childhood forged a lifelong bond, their nostalgia anchoring devotion. But newcomers, or later generation audiences, often found the dated visuals or underwhelming scope at odds with the books' vast imagination - and drifted away.
Fortunately, Regal doesn't have to worry about that uncertainty.
So from the get go, he intends to invest fully from the outset, prioritizing exceptional storytelling and cutting-edge production design.
The goal?
To make [Harry Potter] adaptations that resonate not just with the current generation, but also with later generations, delivering a cinematic experience that honors the magic of the world while setting a new standard for fantastical filmmaking.
…and of the most cruel aspect to make that happen?
Battles.
Magic battles to be more particular.
Undoubtedly, the fight sequences in [Harry Potter] films are arguably one of the most underwhelming aspects of the series.
Compared to the epic battles seen in franchises like [The Lord of the Rings], where the Battle of Helm's Deep showcased a breathtaking blend of strategy and spectacle, or the Marvel Cinematic Universe's - [Avengers Endgame] with its meticulously choreographed team fight against the Thanos army, the [Harry Potter] battles often felt lackluster.
Even when stacked up against the intense combat in anime like [Attack on Titan] or the dynamic action in web series such as [The Boys], the wizarding world's battles failed to reach the same heights of excitement and engagement.
Regal, with his future knowledge of anime and web series, on top of his World Class [Director] skill - he is sure that with the right fight choreographer, he could transform these sequences.
He envisions battles that aren't just simple set pieces but have their own life and purpose.
Each battle should be a visual spectacle, yes, but more importantly, it should carry an emotional weight that resonates with the audience, no matter the scale.
Whether it's a small skirmish or an all-out war, the emotions of the characters should drive the action, making every spell, every dodge, and every clash meaningful.
The goal is to create battles that not only entertain but also deepen the viewer's connection to the story and its characters.
…..
Meanwhile [The Hangover] - was slowly turning into an R-Rated Glory at the Box Office.
Right, despite its R-rating, [The Hangover] stormed into its fifth week with commanding dominance over every new release, widening its lead with each passing day.
It has already shattered multiple records for R-rated films, and at this pace, there's little doubt left -
[The Hangover] is on track to become the most successful R-rated film of all time.
Interestingly, the film debuted without a single A-lister in its cast.
Yet it launched with A-list energy, thanks in large part to a clever and effective promotional campaign that centered around the hit track [Right Round], along with early buzz from a niche but vocal fanbase of Regal and Keanu Reeves, both as individuals and as a duo.
Once the positive word-of-mouth kicked in, the film exploded.
By the end of its first week, it had already set a new record for the highest-grossing debut week for an R-rated film, pulling in an astonishing $132.9 million.
Box Office Performance:
- Week 1: $132.9 million
- Week 2: $101 million
- Week 3: $88 million
- Week 4: $79 million
Total Gross After 4 Weeks: $400.9 million
Industry insiders now confidently predict the film will cross the $500 million mark by Week 6, with final lifetime projections sitting between $600 million and $620 million.
And all of this came on a production budget of just $30–35 million - which means the film is already generating profits nearly 20 times its cost.
This success also marks a personal milestone for Regal, who narrowly missed the half-billion mark with his previous film, [Death Note], which closed out its run at $488.8 million - just $11.2 million short.
Now, with [The Hangover], Regal will finally cross that elusive threshold.
For the record, his debut film [Following] still holds its own with an impressive $253.3 million lifetime gross.
…and the result of this news only made Regal's next project more juicy for many people.
.
….
[To be continued…]
★─────⇌•★•⇋─────★
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