Listening to Roger Ebert’s endless talk about leading him toward the so-called path of film artistry, Duke found it amusing. He had tried using this trick to trap Tom Cruise once, but it obviously didn’t work. Cruise wasn’t a fool, and after they began working together, the matter was dropped.
Does Roger Ebert really think I’m less clever than Tom Cruise?
For so reason, this thought suddenly popped into Duke’s head, but he quickly figured it out. Roger Ebert overestimated the weight of the Best Director Oscar. Did he really think Duke would turn into a maniac chasing awards just for a little golden statuette?
The Best Director Oscar is undoubtedly prestigious, a dream for many directors. Duke wanted one too, but he would never compromise his foundation in Hollywood to beco an awards-obsessed maniac.
Under the guise of art, Hollywood and its associated industries are all about making money.
Hollywood stars and directors rack their brains to elevate their prestige. For what? Don’t say it’s for acting or cinematic art.
Highbrow moviegoers may look down on comrcial films, but those involved in this ga of fa and fortune have no right to disdain them. Without comrcial films, would Hollywood be what it is today? Would those actors, directors, and producers, who make millions or even tens of millions of dollars, have the sa status they enjoy now?
And let’s not forget, are critics really the paragons of art and taste?
"As long as your films have enough artistic content..." Roger Ebert thought his words had worked when he saw Duke deep in thought. He continued, "I have considerable experience in making films more artistic..."
"Artistic?" Duke suddenly interrupted Roger Ebert. "Does art guarantee an Oscar? Mr. Ebert, may I ask, if artistry ensures an Oscar, how did Gwyneth Paltrow and Shakespeare in Love win over so many competitors to take Best Actress and Best Picture?"
"Uh..."
Roger Ebert tried to say sothing, but Duke interrupted him again. "Artistic? Mr. Ebert, you’re Arica’s most famous film critic, surrounded by accolades. Have you forgotten one thing? You yourself are also a comrcial product!"
Roger Ebert’s face darkened instantly.
But Duke, once he started, didn’t plan to stop. Since the man ca to boast and set traps, why should Duke hold back?
Yes, Duke was soone who paid great attention to manners in public but wasn’t rigid. Otherwise, he wouldn’t have tricked l Gibson at a Golden Globes party.
Duke preferred being the one digging the pit, not the one being buried.
If he had a fixation on the Oscars and let himself be influenced by Ebert’s words, he might have made choices he would later regret.
When dealing with adversaries, Duke was never polite, even if the opponent was the sowhat aging Roger Ebert.
"Art is a very elegant term, one of humanity’s greatest achievents," Duke said, his voice not loud but very fast. "I’m just a comrcial director. My works aren’t worthy of being called art, but neither are you! Do you really think that writing so harsh critiques gives you artistic cultivation? That it makes you an artist? That it qualifies you to guide the film industry?"
Duke smiled brightly. "That’s truly a funny joke."
Roger Ebert took a few deep breaths, staring directly at Duke, and reminded him, "I am a Pulitzer Prize winner!"
"That’s a journalism award, not a film or art award," Duke spread his hands and shook his finger. "We’re discussing art, not journalism. Admit it, Mr. Ebert, your TV shows and review columns are all comrcial activities, not artistic endeavors!"
"Don’t argue!" He didn’t give Ebert a chance to speak. "You’re rely a successful comrcialized film critic! Guide the film industry? Guide a Hollywood director? Please don’t package yourself as so noble and great."
Leaning forward slightly, Duke used his height to create an oppressive aura. "Essentially, we are the sa kind of people—highly comrcialized individuals! Why don’t you like and keep attacking my work? Don’t tell it’s for art. That’s just because I’ve encroached on your territory!"
Standing up, Duke took the coat handed to him by Nancy and put it on. "Don’t flaunt art everywhere. You can ask anyone in this banquet hall whether they think the great Roger Ebert is associated more with comrce or art."
Before leaving, Duke added, "Oh, by the way, I heard you’re planning to publish another book, writing about your views on films from the 1930s to the 1990s? Ah, repackaging old wine in a new bottle—indeed, a great way to make money."
Hearing these words, Roger Ebert felt furious, but also a tinge of sadness, because everything Duke said was true.
Without the highly comrcialized operations, would he be the most renowned critic in Arica? Without his repeated repackaging of snarky critiques and publishing books, would he have the luxurious estate in Chicago? If he were to guide Duke Rosenberg in making movies, what kind of ss would it result in? Even Ebert couldn’t imagine it.
Why was he sitting here confronting Duke Rosenberg? It wasn’t due to differences in cinematic philosophy. There was only one reason—interests!
A highly comrcialized individual criticizing comrcialism—it was laughable, even to himself.
Still, none of this quelled the anger in his gaze as he watched Duke leave. "You’ll never win Best Director, I swear!"
"Suit yourself," Duke said dismissively and left the banquet hall with Nancy Josephson.
Roger Ebert’s anger intensified. If Duke had retorted more seriously, Ebert might have felt better. But Duke’s dismissive attitude showed he never considered Ebert worth his attention, neither in the past nor now.
Outside the Regent Hotel, Duke and Nancy got into a car. In the front passenger seat, Tina Fey looked at them and asked curiously, "What happened?"
"Nothing," Duke replied.
Nancy offered a wry smile. "There was a bit of an argunt with Roger Ebert."
Tina Fey glanced at Duke. "An argunt? That’s not like you."
"He tried to set a trap for ," Duke reassured her with a look. "Pretending to be an artist, claiming to stand atop the film industry and guide its course..."
Exhaling, Duke added, "Just seeing him disgusts !"
These critics, still oblivious to their rapid decline, truly thought their reviews were the Bible of the film industry?
Swear to block him at the Oscars?
For the first ti, Duke realized he wanted to win the Best Director Oscar. If soone swore to stop him, he’d ensure they witnessed the futility of their oath in the face of strong comrcial lobbying!
When The Lord of the Rings trilogy concluded, he’d go all out for the Oscars and place the Best Director statuette before Roger Ebert, just to see his reaction.
Hopefully, this narrow-minded critic wouldn’t faint from anger.
After the Oscar nominee luncheon, The Fellowship of the Ring beca a focal point with 13 nominations. Warner Bros. ramped up its promotions for the film but didn’t expand its screening scale. The focus was on its upcoming DVD release.
Before the luncheon, Duke had completed all post-production for The Two Towers. While beginning post-production for The Return of the King, he also made adjustnts to the Fellowship of the Ring DVD version. The release included a $19.99 standard edition and a $39.99 deluxe edition. The deluxe edition featured an extended version and 30 minutes of behind-the-scenes footage.
The DVDs also included a three-minute preview of The Two Towers, specifically showcasing the Battle of Helm’s Deep, edited personally by Duke.
The DVDs weren’t just about making money—they also served as a warm-up for the release of The Two Towers.
And this was only the beginning of the DVD money-making journey for The Lord of the Rings trilogy. Duke had also prepared a 200-minute extended edition, set to be released with exclusive behind-the-scenes content after all three films had premiered.
Other versions, such as online releases and Blu-rays, offered more opportunities for innovation.
A blockbuster film inevitably led to booming DVD and VHS sales, a trend repeatedly proven by the market. The Fellowship of the Ring was no exception.
In just one week, the standard DVD sold over 5.1 million units, while the deluxe edition exceeded 800,000 units, generating $132.5 million in sales.
The Fellowship of the Ring set another record: the highest one-week sales for video products in North Arica since the advent of VHS tapes.
By the ti of the 74th Academy Awards, The Fellowship of the Ring had sold over 12.5 million DVDs globally, generating $257.3 million in revenue. The studio earned a net profit of over $120 million.
In just over a month, the DVDs alone had brought in over $100 million in profit!
anwhile, NBC acquired the North Arican TV rights for the film’s first broadcast for $20 million.
The Fellowship of the Ring transitioned to a broader audience via ho entertainnt platforms, reigniting the film’s montum as it combined Warner Bros.’ promotional campaigns with the Oscars’ influence, setting the stage for The Two Towers.
As expected, The Fellowship of the Ring beca one of the disappointnts of the 74th Oscars.
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