Hollywood and Me: The Complex Art of Caving In

My producer connection in Hollywood is having a tremendous year. One of his projects is coming out and it looks really good. That means his stock is up, and the list of places he can go with a project is way up too.
Not that he didn’t have access from God before. If nothing ever happens to me on these script deals, it was not from lack of access. We had the keys to the palace. This wasn’t a matter of getting my foot in the door. The door was opened wide, and they let me in; then they read my script, and tossed me back out.
Things weren’t progressing until one of the biggest directors in Hollywood said that the title of my script was the best he had ever seen.
That fired my producer back up. Suddenly I was a misunderstood genius again, as opposed to a nutcase loser. A protracted search went up on both ends of the L.A.-Portland connection for the original contract. I had placed some rather exorbitant bonus clauses in there, and they got through. This time around as we work on the new contract, they are meeting strong resistance. Indeed, some of the new bonus triggers appear to be so high that it’s like not having a bonus clause at all. On the plus side, the realism indicates a better chance, so how should I negotiate?
On the one hand, I have no leverage, track record, or operating margins. On the other hand, I’d hate to be another in the long list of players who are out of the money when the project hits big. This is my dilemma today, and I’ve decided to risk all, and not back down completely. Of course, if it doesn’t work, I am prepared to back down completely. But that is my final offer.