"Movies can be divided into comrcial and artistic categories, which form the two primary types of Hollywood films. Countless historical examples, particularly the brilliance of the Golden Age, have proven that only artistic films can create enduring classics and propel Hollywood to the center of the global film industry."
"Film art deserves respect. The comrcial and entertainnt aspects of movies must first adhere to artistic principles. However, since the 1990s, comrcial elents in Hollywood films have grown increasingly dominant, with a flood of superficial movies becoming mainstream. Especially during this period, directors like Jas Caron and Duke Rosenberg have abandoned coherent storytelling, well-rounded characters, and profound thes. Instead, they pursue visual spectacle and sound effects, significantly lowering Hollywood’s overall film standards."
"Even more lantable is that such movies are becoming more prevalent. Nowadays, throughout North Arica, the number of thought-provoking, humanistic, and artistic films in theaters has diminished, replaced by a glut of visual garbage, leaving audiences with no other choice."
"Fortunately, we still have the Oscars and the Academy of Motion Picture Arts and Sciences. The Oscars continue to adhere to artistry as the standard for evaluating films, and the Academy’s judges consistently reject comrcial films, focusing more on artistic works. This is sothing worth celebrating."
"As the authority of the North Arican film industry, the Academy has always strived to maintain Hollywood’s final artistic bastion. They have not succumbed to comrcial pressures in the past, nor will they in the future!"
"The Academy must hold firm to the defense of art, resisting the encroachnt of comrce. The Oscars remain the last artistic stronghold in the increasingly comrcialized Hollywood. For the sake of film art, we must defend this territory!"
—Roger Ebert
The internet is not just a tool for Hollywood; conservative-minded film critics like Roger Ebert have also noticed this erging dium. Many prominent critics, including Ebert, have launched their own online columns.
Shortly after the Oscars concluded, critics led by Ebert published their articles online, praising the results of this year’s awards. Simultaneously, they subtly reminded the Academy’s older mbers to uphold artistic standards in next year’s selections.
"When it cos to comrcial films, the Oscars must remain vigilant. For filmmakers, there must be a balance between imdiate profits and a sense of responsibility toward film artistry. Certain directors who lack this sense of responsibility are utterly undeserving of the Oscar statuette. In this era where everything can be trivialized for entertainnt, the Academy’s rejection of such directors is an urgent necessity."
—David Denby
In their columns, these critics almost explicitly stated that Duke Rosenberg was unworthy of winning the Best Director Oscar.
"It seems the conflict between film critics and Duke Rosenberg is heading for an all-out confrontation over The Return of the King."
Closing several web pages, Martin Bob couldn’t hide his schadenfreude. "Roger Ebert and his group have already set their sights on The Return of the King."
"We must also keep an eye on The Return of the King!"
Michael Ovitz stood by the floor-to-ceiling window, overlooking the distant City of Angels. mories of his heyday in Hollywood surfaced. Now, he found himself pressured by a director barely over thirty, unable to confront him directly. "If anyone makes a mistake, we must strike imdiately!"
"Should we reignite the rumors about Billy Boyd and Ian McKellen?"
"No!" Ovitz raised his hand to interrupt Martin Bob. "Those are outdated and useless now. Keep an eye on the main cast of The Lord of the Rings and dig into their past!"
"Hmm..." Martin Bob nodded. "Our people are already on it."
"The Lord of the Rings crew is enormous. Not everyone is as clean as Duke Rosenberg, whose only ’scandal’ is his romantic escapades!"
At this, Ovitz turned, a cold smile on his face. "Hollywood is full of people waiting for Duke Rosenberg to fail. If we provide the right opportunity, plenty of individuals and companies will be eager to trip him up."
"The best way is still to get dirt on Duke himself," Bob sighed. "He used to have scandals we could exploit. Now, he’s turned into a loyal boyfriend..."
He shook his head, acknowledging that Rosenberg defied conventional expectations.
Hollywood had seen directors more talented than Rosenberg, but none matched his market acun. Directors who understood the market couldn’t match his filmmaking. Those who made excellent comrcial films lacked his knack for grabbing headlines.
Such a director had never appeared in Hollywood before.
"A good man?" Ovitz sneered. "Martin, do you really think there are good n in Hollywood?"
Before Bob could respond, Ovitz continued, "Perhaps there are good n here, but Duke Rosenberg, a master of charm, isn’t one of them."
Bob thought for a mont and nodded in agreent. "With his status, the temptations in Hollywood are endless. He may be loyal to Ivanka Trump now, but the future is uncertain. Once the novelty wears off, there will be plenty of gossip to enjoy..."
He paused, joking, "Michael, maybe we should send so attractive actresses from our company to tempt him, causing a breakup with Ivanka Trump. That could distract him and impact his work."
"Wait!"
Bob’s words seed to spark an idea. Ovitz paced by the window, rubbing his chin. "Martin, have you heard of Michelle Braun?"
"Yes."
Bob nodded, a hint of embarrassnt on his face; he had once been a client of hers.
"You’ve probably read about Rosenberg’s rumored ’type’ in the tabloids, right?"
Thinking for a mont, Bob replied, "Yes, blonde or brunette, long legs, slim waist..."
He understood Ovitz’s implication. "Michael, you an..."
"Exactly!" Ovitz said. "If there’s no opportunity, we create one. Contact Michelle Braun!"
"But The Return of the King is only a month away. Isn’t it too late?"
Ovitz waved dismissively. "We’ve been at war with Duke Rosenberg for nearly a decade. I can wait a few more years."
As Bob prepared to make a call, Ovitz reminded him, "And don’t forget to monitor the rest of the Lord of the Rings crew!"
Although there was no direct competition among the projects, they wouldn’t sit idly by while a longti adversary continued to succeed unimpeded.
Returning to his office, Ovitz picked up the phone and dialed a number in Burbank. The call was transferred to Michael Eisner, Chairman and CEO of Walt Disney.
Once childhood friends, Eisner and Ovitz had beco bitter rivals during their ti at Disney. But as ti passed and direct conflicts diminished, their relationship gradually softened. While it would never return to its forr state, they occasionally aligned on issues of mutual interest.
Listening to Ovitz’s words over the phone, Eisner’s expression grew serious. "If you find an opportunity, Disney’s dia outlets will support you!"
After hanging up, Eisner walked to his window, gazing toward the distant Warner Bros. building. What he had hoped to acquire had once again fallen into Rosenberg’s hands.
Following the success of Harry Potter and the Sorcerer’s Stone, Eisner had devised a grand plan, never shared with anyone. His team had been in contact with J.K. Rowling, aiming to bring the Harry Potter franchise under Disney’s umbrella. The series’ appeal to children was perfectly aligned with Disney’s platform, which could maximize its potential.
He had even envisioned integrating Harry Potter rchandise into Disney Town and creating a Harry Potter-thed section in Disney parks. With the series’ influence, his position at Disney would beco unassailable.
Unfortunately, after Rowling signed a new deal with Warner Bros., all these dreams evaporated.
While these failures and the Pearl Harbor fiasco were frustrating, another matter had made Eisner regard Duke as a potential enemy.
Although Disney had withdrawn from Harry Potter, Rosenberg had not retracted his interest in Pixar.
Since October of last year, Rosenberg and Steve Jobs had been eting frequently. Eisner, knowing Jobs was also an adversary, realized their discussions likely centered on Pixar, not Apple.
Eisner understood the stakes clearly: if Pixar left Disney during his tenure, the shareholders’ fury would cost him his job.
"If you won’t back off, then I’ll push you away!"
Eisner was waiting for the right mont.
....
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