In the Skydance Media conference room, Matthew, David Ellison, Helen Herman, the bald CEO, and two department heads gathered to discuss matters related to the newly acquired rights.
"Good news, everyone." David Ellison, brimming with confidence, sat at the head of the table and spoke in a booming voice, "Yesterday, we successfully acquired the sequel rights for the 'Fast & Furious' series from Universal Pictures. This is a brand-new development opportunity for Skydance Media. Our next phase of work will focus on this series."
After speaking, he looked around the room, seemingly expecting an enthusiastic response.
The conference room remained quiet, except for the sound of the bald CEO's pen scribbling in his notebook. Everyone, including Matthew, appeared clear-headed because they all understood one principle.
Helen Herman voiced it directly, "Acquiring the rights is just the beginning."
Matthew nodded, adding, "We have a long way to go before reviving this series."
"No problem." David Ellison was very confident, looking at Matthew. "We have you, don't we?"
Matthew spread his hands, saying, "I'm not skilled in film production."
This wasn't modesty. He could definitely handle being the lead in an action film, but producing a movie would be a disaster.
He said seriously, "David, the first thing we need is a qualified producer. Neither of us is up to it."
David Ellison, no longer the rookie he once was, nodded. "I understand."
Helen Herman interjected, "I recommend Jack."
Matthew and David Ellison exchanged glances, knowing she was referring to Bearded Jack, the producer of "300."
"Alright," David Ellison agreed after a look from Matthew. "We had a successful collaboration with him, and Jack is experienced and capable."
"Discussing other matters is premature," the bald CEO suddenly said. "Matthew, David, what kind of film do you want the 'Fast & Furious' sequels to be?"
He added, "Universal Pictures' trilogy was a mid-scale production with limited impact."
David Ellison looked at Matthew, "You must have some ideas, right?"
"If I said I didn't..." Matthew joked, "David, would you kill me?"
Turning serious, he continued, "I can only outline the theme and concept. We need professionals for the specifics."
This was his first real foray into film production, and he wasn't overly confident. He could remember the main plot of the "Fast & Furious" films he had seen but not the details.
The people in the room focused on Matthew. Everyone knew that Skydance Media's acquisition of the "Fast & Furious" sequel rights was largely due to this famous Hollywood star.
Matthew took on a rare serious tone, saying, "First, we need to determine the production scale." He glanced at David Ellison, "David and I agree that the 'Fast & Furious' sequels must be top-tier commercial productions."
David Ellison nodded in agreement. "That's also my view."
"Our goal is to create a series," Matthew continued. "This series won't just be a trilogy. As long as there's enough profit potential, we'll keep making sequels. We're not just stopping at one series; we're building a world, a unique 'Fast & Furious' universe."
Even Helen Herman was surprised at Matthew's ambition.
Matthew smiled, "You all know that sequel films are the most profitable in Hollywood."
This was common knowledge. "So, when making the fourth film, we need to leave room for future sequels. At the very least, we need a coherent and self-contained story for the next trilogy."
David Ellison added, "Unlike other films that rush to make sequels after the first one succeeds, Matthew and I believe in planning from the start."
A department head asked, "What if... the first one doesn't do well?"
"As long as there's no huge loss," David Ellison said firmly, "we'll proceed with the sequels. I trust Matthew's appeal."
The two directors looked at Matthew, gaining confidence. Even poorly received films like "Mr. & Mrs. Smith" and "Dawn of the Dead" succeeded with Matthew. As long as the "Fast & Furious" sequel met basic standards, the box office wouldn't be an issue.
Matthew ignored their looks, "Pre-planning is crucial. We need an excellent writing team to craft the script. The film will be an explosive car action movie. Each film should dedicate at least a third of its runtime to car and action scenes—fighting, gunfights, chases, crashes, drifts, races—all produced to Hollywood's highest standards!"
Helen Herman realized that Matthew was preparing to enter the production field, a common move for superstars, often retaining significant influence as producers after their acting careers declined.
Tom Hanks was a typical example.
"But speed and action alone can't sustain such a film." Matthew continued, "A good story and distinctive characters are essential. I've already contacted Paul Walker and Jordana Brewster, and they're willing to return."
He took a sip of water and went on, "My idea is to form a character team centered around the male lead, emphasizing teamwork and infusing the film with friendship and family themes, creating a 'we are family' concept among the main characters."
The bald CEO took notes, recognizing why Matthew's films were box office hits. His understanding of commercial cinema and market appeal was profound.
Promoting friendship and family, combined with star power and intense action, was a winning formula.
He understood that speed alone couldn't support a film. The "Fast & Furious" films needed strong story elements and high-quality production to achieve optimal entertainment value.
"Speed represents the allure of cars, providing visual appeal but not the soul of the story," Matthew said, summarizing his insights from the original series. "Universal Pictures made three films without understanding why the first succeeded and the third failed. We need a good story and unique character appeal."
Given that the transaction with Universal Pictures included the rights to "300," of the $15 million paid, $10 million came from Matthew. He would also need to raise half the production funds for future films. A failure would hurt financially, if not ruin him.
Whether for Vin Diesel or the contract, he needed to succeed.
Matthew would star in the series and outlined his requirements for his role at the meeting's end.
"Someone who walks between the law and the underworld, unpredictable yet with a soft side. He treasures family and friendship, often risking his life to protect loved ones, embodying the values of a common hero in American cinema."
"He has little interest in money, drugs, or women, only seeking the thrill of racing and crime. He needs a moral balance that the audience can relate to."
Finally, Matthew said, "We should introduce new characters in the sequels, balancing the gender ratio. Acting skills are secondary; male actors should be distinctive, and female actors should be sexy and beautiful."
The bald CEO noted Matthew's comments, essential for recruiting the writing team.
Matthew's points were valid, encompassing elements crucial for a successful commercial film. Expressing them was one thing; achieving them was another.
Matthew knew this was challenging. The investment risk was significant, much higher than simply choosing roles based on past film memories.
But high risk brought high rewards.
Previously, he lacked the capital. Despite appearing wealthy, it was insufficient for film investment.
Now, things were different. Through years of effort, he had earned significant money from salaries, bonuses, and endorsements. Additionally, Apple was set to announce a new creators' conference and launch the first iPhone.
Apple's stock was skyrocketing.
These factors gave Matthew the capital to take risks. Even in failure, it wouldn't be a disaster.
"Paul Walker and Jordana Brewster are returning..." a film director asked, "What about Vin Diesel's character?"
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