"Hey, Duke."
Just as Duke walked into the VIP lounge at the Hollywood Chinese Theatre, soone ca over to greet him. Standing behind Duke, Tina Fey glanced at the newcor and imdiately stepped closer.
"That’s Andy Hill, the deputy director of the distribution departnt at 20th Century Fox," she whispered. "Those close to him just call him Andy."
Thanks to his assistant’s tip, Duke warmly extended his hand and shook Andy’s as he reached out. "It’s been a while, Andy."
"Yes, the last ti we t was at the screening," Andy said warmly, unaware of anything amiss. "That was an amazing film! This is going to be another successful collaboration between us."
After exchanging a few pleasantries with the Fox executive, Duke moved on. Whether due to the massive success of *Independence Day* or the positive reception from the film’s screenings, many people ca over to greet him, many of whom he didn’t even know. Thankfully, Tina Fey, having been trained by Panny Kellis, was always ready with tily reminders.
The VIP lounge was glittering with stars. Tom Hanks and Eno Martin stood in the corner, their eyes constantly following Duke’s movents.
"Tom, you saw the film at the screening," Eno Martin smiled and asked Hanks, "Are you at ease now?"
"Except for the box office," Tom Hanks replied with his characteristic good-natured smile.
Eno Martin shook his head. "I think the box office is the one thing you never need to worry about with Duke’s films."
"That’s true."
Hanks clearly agreed with his agent. His reasons for participating in this film went beyond just liking the script and the role; Duke Rosenberg’s comrcial success was also a big factor. To truly solidify his position in Hollywood, two Oscars weren’t enough—he also needed strong box office appeal.
Collaborating with a successful comrcial director was undoubtedly a good choice.
"The film won’t achieve the sa astronomical box office as *Independence Day*," Tom Hanks said softly. "But the reviews shouldn’t be a problem. A lot of people were worried Duke would turn it into a World War II version of *Independence Day*. The content will surely surprise them."
"A director known for making popcorn movies suddenly creates a film with deep intellectual substance," Eno Martin said, still watching Duke. "And does it so well. I wonder how the critics will react."
"How will they react?" Tom Hanks said with a hint of sarcasm in his voice. "Criticize it harshly? Let’s not forget that this year marks the 50th anniversary of the end of World War II, and the film is releasing near morial Day. If they attack the film’s the..."
Hanks scoffed coldly and shook his head. If soone were foolish enough to criticize the film’s the or the ideas it presents, they’d be bringing trouble upon themselves.
"The critics might not let Duke off the hook," Eno Martin picked up the conversation. "They’ll probably focus on technical aspects or any errors in the film. The smartest move would be to stay silent."
As Irene walked into the VIP lounge, she was surrounded by familiar faces, many of whom were big nas in Hollywood. Unfortunately, being an outsider, Irene knew them, but they didn’t know her. She had no intention of mingling with the stars anyway; she was here to introduce her friend to the young director.
"Anna, over here."
Scanning the lounge, Irene spotted the person who had invited her to the premiere. She grabbed her friend’s hand and walked over.
"Miss Irene is here," Tina Fey whispered, prompting Duke to turn around just in ti to see Irene and another blonde woman walking toward him. He raised his hand in greeting.
"Duke, this is my friend, Anna Prinz. She’s an assistant director at a production company in Hollywood," Irene introduced. "Anna, this is Duke, the director of *Saving Private Ryan*."
After shaking hands with the young director, Anna discreetly observed him as he chatted with Irene. Having been in Hollywood for so ti, though this was her first ti eting him in person, she’d heard many stories about this rising director.
With the massive success of *Independence Day*, Duke Rosenberg had shot to fa like a cot over the past few years, becoming sothing of a Hollywood legend. He was a role model for aspiring directors like Anna, soone who dread of making it big.
Success might not be replicable, but examples can still be followed.
While Duke continued his socializing, at the entrance to the theater, many were queuing to enter.
Film critics Kenneth Turan of *The Los Angeles Tis* and Todd McCarthy of *The Hollywood Reporter*, longti friends, arrived together. Though the organizers provided no free services, they had found ways to secure tickets to the premiere. They wanted to see Duke Rosenberg’s latest work as soon as possible and prepare for their reviews.
Walking into the theater and sitting side by side, the two chatted while they waited.
"I’m hoping for a pure popcorn movie like *Independence Day*," Todd McCarthy said. "A typical Duke-style film would be ideal."
"You’re not a big fan of that kind of film," Kenneth Turan asked, puzzled. "Why?"
"Because *Independence Day* was too successful. That kind of success can’t be replicated, nor can it last."
Kenneth Turan nodded. "True. Duke achieved the pinnacle of sensory spectacle with *Independence Day*. There’s no way to surpass that."
"So, if *Saving Private Ryan* is just another popcorn movie," Todd McCarthy said, narrowing his eyes, "and it still relies on explosions, people will compare it to *Independence Day*. Then..."
"Audiences will experience fatigue," Kenneth Turan chid in, "and the box office might fall short, maybe even flop?"
Todd McCarthy chuckled. "Haven’t we all been waiting to see him fail?"
"Not , not entirely," Kenneth Turan quickly distanced himself. "I’ve always liked his films. If he hadn’t gone too far last ti, I wouldn’t have joined the..."
"Kenneth, criticizing Duke Rosenberg is a consensus among film critics!"
After his friend’s comnt, Kenneth Turan fell silent and waited for the film to begin. He had heard that Duke Rosenberg had made so stylistic changes in this film. The young director was smart enough to understand the potential problems he faced after *Independence Day*.
*Independence Day*’s comrcial success had been overwhelming. Even now, it was still playing in so overseas markets, and its global box office had nearly reached $910 million, inching closer to *Jurassic Park*’s record.
To Kenneth Turan, Duke had reached the peak of comrcial filmmaking, with a record that might remain unbroken for decades, if not longer. For a director, this was both an honor and a constraint. Without a tily change in style, Duke’s achievents might be limited to this alone.
A few rows back, regular moviegoers continued to arrive. Now working adults, Alan, Jones, and Kunitz had reunited for the premiere.
"Sa rule: no drinks, no popcorn."
Kunitz muttered as he sat down. "Even though Duke’s movies are the definition of popcorn films, they’re the least suitable for eating popcorn during."
Alan and Jones ignored him, whispering to each other, but a nearby student-looking audience mber curiously asked, "Why?"
"Haven’t you seen any of Duke’s movies before?" Kunitz asked, turning to the student, who shook his head. "I saw *Independence Day*."
"Then didn’t you miss any cool scenes while looking down to eat or drink?"
"Uh... yeah, I guess."
"Let introduce myself. I’m Kunitz, a die-hard fan of Duke Rosenberg’s films."
"I’m Owen. I really liked *Independence Day*..."
More and more people filled the seats at the Hollywood Chinese Theatre, eagerly awaiting the film’s start. anwhile, across town at the Shrine Auditorium, another crowd was gathering for a similar event. They too were awaiting the film’s release.
Two massive premieres happening simultaneously highlighted both Hollywood’s glamour and its underlying competition.
Having slipped away from the dia, l Gibson entered the theater and found his agent, Martin Bob. The two quietly moved to a secluded corner.
"All set?" Gibson asked.
"With Paramount and Viacom’s help, it was easy," Martin Bob replied in a low voice. "We got those people tickets to *Saving Private Ryan*’s premiere. They’re already seated in the other theater."
With their theater disadvantage, they had to find other ways to compete. Gibson had no qualms about going up against the young director who had caused him so much trouble. After all, Duke hadn’t hesitated to play dirty behind *Braveheart*, either.
As l Gibson settled in, the screening was about to begin.
Back at the Hollywood Chinese Theatre, the lights dimd row by row. Seated toward the back, Luther stared at the screen, seemingly intent on finding flaws in the film.
He was a Black man, representing a Black rights organization. Today, he would watch the movie with a critical eye, scrutinizing the work of those white directors.
anwhile, a few rows ahead, Rodriguez had similar thoughts. Latinos had made great sacrifices during World War II. How could mainstream society ignore that?
The iconic music began, and the 20th Century Fox logo appeared, followed by the Warner Bros. and Walt Disney logos. Then, an old Arican flag waved in the wind.
.....
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