So what was the film about Dave? “I have not,” he said in that warm, creamy accent, “the faintest idea.” “I couldn’t afford to move out,” he said. He lived in Bristol with his mum - his father died when he was aged five - until he was 28. “At 17 I bought a Charles Atlas course to build up my knees. “As a kid I had suspected TB and was in hospital for about a year,” he said. He had humour and honesty about himself and his abilities. All I could hear was this strangled Somerset accent emerging from behind the wonky black costume. He was, I was told, the villain called Darth Vader who was going to intrigue and terrify audiences when the film was released in 1977. He was dressed in what looked like black bin liners, stitched together, and had a black helmet which seemed to be made of cardboard. Can you imagine the hedlines if Darth Vader sued George Lucas? In short, if you have net participation on a film that has grossed hundreds of millions, you may get some dough, but you'll have to sue to get it.I FIRST met Dave Prowse in Elstree Studios on June 22, 1976. Plus, the ensuing publicity would be embarrassing to Lucasfilm. Extremely reluctant because of how incredibly embarrassed studios have been in the past when they have made the mistake of doing this. And on a film like Return of the Jedi, Lucasfilm would be extremely reluctant to open its books in open court. You see, as you can tell by the above, the accounting is utter bullshit. Prowse would be wise to use the FORCE, aka a lawyer, to get Lucasfilm to cough up. If George Lucas utters the words Star Wars and he's spending money, they're putting it on the red line for one of those films. Well, 26 years after the release of the film, the accountants at Lucasfilm are going to charge $86,000 to the costs of Return of the Jedi. from room service and used the hotel phone to call Bahrain to make prank calls. And he stayed at the Ritz Carlton, ordered sushi at 3 a.m. How do they do this? Well first, imagine that George Lucas decided to go to New York tomorrow to talk about showing Return of the Jedi in 3D. Very few films have ever shown a net profit on the books. Studios almost never pay on this clause, as they claim nearly any and every expense possible to keep the film from showing any actual profit. Prowse relates what is almost universally the case with a net profit clause. In fact, this can be so profitable you will sometimes see big stars forgo any salary at all except union minimum just to get these points. But if you have them and your film hits big, you make millions. Therefore, you are guaranteed to get paid since the studio can't hide anything. You get a percentage of profit based on the gross of the film – how much it makes before any costs. Gross profit is what you get if you are a big enough actor or producer to demand this. Film reader Seth posted the following in the comments: Hollywood contracts are notoriously one-sided, but I'm pretty sure Prowse must be mistaken about that letter and what might be owed to him for Return of the Jedi, right? Sometimes, with net profit, with all the expenses and so on, it seems like you end up paying them." It is a huge difference in just one word. "There is a big difference between having a share of the gross profit and having a share of the net profit.
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