"Director Rosenberg, there are rumors circulating that you plan to adapt the Broadway classic ’Chicago’ for the big screen. Is this true?"
As Duke just walked out of the Los Angeles International Airport, a large group of reporters surrounded him, bombarding him with various questions related to ’Chicago.’
"Duke, doesn’t ’Chicago’ differ greatly from your past style?"
"What are your thoughts on this? Why choose a musical that has already fallen out of fashion?"
"Are you going to make an explosive and gun-filled version of ’Chicago’? Are you planning to have the two female leads shoot at each other with Chicago typewriters?"
The scale of the reporters blocking him and their specific presence here indicated the significant impact this news had on the industry. After all, an explosive filmmaker wanting to direct a musical seed unbelievable, and others might think Hollywood had gone crazy, but the source of the information was reliable.
Duke Rosenberg was indeed going to make a sophisticated musical film! When the journalists received the news, they felt as if the apocalypse had arrived.
Of course, Duke wouldn’t tell the dia and reporters that the news had actually been released by Panny Kellis to promote and publicize his new film, now confird to be called ’Chicago’!
The chaotic scene caught the attention of airport security, and soon soone ca over to maintain order. However, the reporters remained encircled around Duke, insisting he wouldn’t leave until he gave them a clear response.
Duke raised a hand, and the reporters quieted down, eager for a response.
"My next film is indeed a musical based on a Broadway play!"
As soon as he said this, the paparazzi surged like sharks sensing blood, unable to stay quiet any longer. Questions flew at him from all directions, and the tumultuous atmosphere no longer allowed Duke to say much. With the help of security personnel, he finally managed to break free from the reporters’ encirclent and dove into the waiting car.
In the passenger seat, Panny Kellis gestured for Tina Fey to start the car quickly. Turning to Duke, she said, "Looks like it worked pretty well."
"Doing this occasionally is fine," Duke replied, straightening his disheveled clothes. "If it happens too often, I’ll go crazy."
"Hollywood, and indeed the entire North Arican film industry, has gone crazy!" Panny Kellis remarked aningfully. "I feel this world is very mad!"
"Is it really that exaggerated?" Duke had anticipated so strong reactions but hadn’t expected it to be this crazy, especially since there were other directors transforming in Hollywood. He thought of Spielberg, who, while directing a series of comrcial films, also created ’Empire of the Sun.’
"Because no director in Hollywood has such a distinctive style and has been this successful!"
Panny Kellis turned to look at Duke. "If I hadn’t been continuously hypnotizing myself to believe in you, I might have..."
She shook her head, not finishing her thought.
Duke understood that such a drastic style change was indeed significant. No wonder the people around him found it hard to understand.
But he didn’t feel the need to explain anything. If the future film failed, any explanations now would just be jokes; if it succeeded, what would those words matter?
It wasn’t just Panny Kellis who found Duke’s approach crazy; many in Hollywood felt the sa.
In Century City, at the Fox Building, distribution head Charlie Adam hurried past the secretary’s desk, greeted the CEO’s secretary, and walked to an office door. He knocked lightly twice, pushed the door open, and sat down across from Thomas Rothman’s desk.
"I just received exact news from a reporter at Fox Television." Without any small talk, he imdiately brought up the hot topic of the past two days. "Duke Rosenberg has confird at the airport that his next film is ’Chicago’!"
Thomas Rothman seed unable to believe it, asking, "Is that certain?"
"Certain!" Charlie Adam said helplessly. "What is Duke Rosenberg thinking?"
"Perhaps only he knows." Thomas Rothman frowned. For the past three years, Duke Rosenberg’s projects had been cash cows for collaborators. Now this cash cow was going to produce a more artistic film, which had significant implications for future performance. How could he be happy about that?
Charlie Adam wore a grim expression as if the absence of Duke’s comrcial projects would an bankruptcy for 20th Century Fox.
"Should we invest?" he asked tentatively.
Thomas Rothman didn’t respond directly; instead, he asked about other matters to bolster his confidence. "What’s the box office for ’Saving Private Ryan’ so far?"
"There are still 897 theaters in North Arica, with a cumulative box office of $275.82 million!"
These numbers related to Duke seed deeply engraved in Charlie Adam’s mind. Without thinking, he recited, "Globally, the total box office adds up to $541.77 million. Based on Wall Street and our own research, the film’s total worldwide box office might exceed $600 million!"
"Clearly, he has demonstrated absolute skill in the action, war, and sci-fi genres..." Thomas Rothman’s voice carried a tone of resentnt and reluctance. "Why would he want to tackle a musical that has little market value and is completely outdated?"
"Perhaps continuous success has inflated his confidence," Charlie Adam suggested cautiously, "making him think he can achieve what others cannot."
He sighed, "If that’s the case, his situation isn’t good. When a director develops such thoughts, it often signals the beginning of failure. Hollywood has seen too many examples of this."
"Do you think we should give up investing in his new film?"
Upon hearing Thomas Rothman’s question, Charlie Adam nodded slightly. "The risks are too high."
Curling his fingers, he lightly tapped the table twice, as if talking to himself, "Jas Caron has requested additional investnt again. Our liquidity is already tied up in his ship, leaving us no strength to consider anything else."
"Fox won’t participate in Duke Rosenberg’s new project!" Based on realistic interests, Thomas Rothman made his final decision.
Not only were Thomas Rothman and 20th Century Fox hesitant; after receiving the concrete news, the managent at Walt Disney was also in doubt. The glory of ’Saving Private Ryan’ made them feel Duke would continue to succeed, but the radically different style of the new film left them concerned.
"I believe we should continue to deepen our cooperation with Duke Rosenberg."
Having just taken over the live-action film production departnt, Robert Iger also had so say. He told the executives, "Live-action film production has always been Disney’s weakness. We have only recently established a cooperative relationship with Duke through ’Saving Private Ryan.’ Many who doubt his new film will exist, and if Disney supports him at this ti, it will undoubtedly..."
"Bob, have you thought about this?"
CEO Michael Ovitz directly interrupted Robert Iger, completely ignoring the displeasure that flashed in his eyes. "This is a musical, an outdated musical! There’s a high possibility this could beco a failed investnt!"
"Michael, before you say that," Robert Iger retorted without backing down, "please first acknowledge the success of Duke’s last three films! Do I need to remind you of the specifics? I recall there were even projects CAA was pessimistic about! Those projects you didn’t believe in, Duke made a success!"
"You..."
Michael Ovitz’s eyes widened. If this were at CAA, the eting room would surely have turned into an icehouse. But Robert Iger was not intimidated; he countered directly.
With two high-ranking executives opposing each other, Disney’s real decision-maker, chairman Michael Eisner, had to step in.
He looked at his childhood friend Michael Ovitz and directly asked, "Is your decision to abandon continued cooperation with Duke Rosenberg?"
In his anger, Michael Ovitz completely missed the trap in the question. "I decide to abandon Duke’s new project."
Michael Eisner nodded without saying anything, and CEO Ovitz’s decision beca Disney’s final decision.
After the eting, as Ovitz exited the conference room, the anger sparked by Robert Iger gradually subsided. He imdiately recognized the trap in Eisner’s wording; if Duke Rosenberg’s project failed, that would be one thing, but if it succeeded, he, as CEO, would bear the responsibility for the decision error...
Could that explosive madman really succeed? He was eager to see the other party’s transformation beco a joke.
Not far from Walt Disney headquarters, another building lood at the front of a wide film set; this was Warner’s West Coast headquarters and the office of Warner Bros.
"’Forever Batman’ hasn’t been as successful as expected."
As CEO, Jeff Robinov was exchanging opinions with several executives. "In recent years, our most profitable film projects have not been from the ’Batman’ series but from our collaboration with Duke. Warner Bros.’ growth is inextricably linked to his films."
"I understand Duke’s importance to Warner," Robert Solomon frowned but still said, "but if we know a project might lose money and still participate, we can’t explain that to the group."
"Perhaps you don’t know sothing,"
Jeff Robinov was not in a hurry to refute; his eyes scanned over the executives present. "Before ’Speed,’ Duke ca to Warner Bros. with a script. I t him, and at that ti, I had the sa thought: to reject... no, we didn’t even pay attention to him, and then I missed what would beco a lifelong regret."
"I don’t want to have that regret a second ti."
The continuous success of that young director was Jeff Robinov’s greatest source of confidence. "We need to keep close contact with Nancy Josephson!"
.....
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