Although Iron man had a strong reputation in North Arica,it wasn’t comparable to Superman and Spider-Man, on a global scale, Tony Stark’s audience was relatively limited, which to so extent affected the film’s overseas box office. Iron Man was released simultaneously in over 70 countries and regions, earning $110.11 million overseas in its opening week.
If the director hadn’t been Duke, this film wouldn’t have possibly surpassed $100 million in its overseas debut.
No matter how you looked at it, Tony Stark was a relatively unfamiliar character to most audiences outside North Arica, and this was a newly launched production, so it couldn’t possibly have the large audience base that sequels enjoyed.
In fact, apart from the UK and Australia, Iron Man didn’t surpass $15 million in opening weekend box office in any other overseas regions.
Even Duke couldn’t defy the natural laws of the movie market.
Of course, even if he joined forces with Jas Caron, it would still be impossible to go against market laws.
Duke understood very clearly: if this weren’t a comic adaptation film, already having a large fanbase of comic readers, then even with his na in the director column, Iron Man couldn’t possibly have earned over $100 million in its North Arican opening weekend.
Actually, just think about forr films like Titanic, Avatar, and Inception, and you’d easily realize that the opening weekend box office of original, non-sequel films was never too high.
That’s just the law of the market even Jas Caron at his peak couldn’t surpass it.
Maybe one day, Duke could break this pattern, but that would require the right combination of film, theaters, screens, and ticket prices.
After spending ten days traveling around North Arica with the crew, Duke returned to Los Angeles. He had no plans to go overseas the film’s promotion had two major highlights in Robert Downey Jr. and Scarlett Johansson, so it wouldn’t lack attention. Especially Robert Downey Jr. not only did he play Tony Stark, but he was also witty in real life.
Let the actors have the spotlight. That was enough.
In addition, Marvel Studios and Warner Bros. had announced big Marvel-related plans one after another, which also added so buzz to Iron Man.
Duke returned to Los Angeles partly for a short break, and partly because Warner Bros. wanted to have an in-depth discussion with him.
Obviously, Iron Man, a light-hearted and simple popcorn movie, was destined to surpass the dark and realistic Batman in final box office. Now that Marvel had achieved great success, Warner Bros., as the parent company of DC Comics, naturally had further ambitions.
Naturally, Warner Bros. placed their hopes in Duke as the director.
"Doug, I already told you on the phone. I submitted the script outline to the Duke Studio’s editorial board back in March."
This was inside a Warner Bros. eting room. Only Duke and Doug Walter were present. Duke didn’t beat around the bush—his tone was straightforward. "The final version of the script hasn’t been confird yet. You need a bit more patience."
"I have plenty of patience. Otherwise, I wouldn’t have waited until now," Doug Walter said with a bit of concern on his face. "I’ve seen your settings and outline, Duke. I think you’re heading into extres. The Dark Knight is even more inclined toward darkness and reason than Batman Begins. This kind of tone..."
Duke understood what he was worried about, so he explained, "This is a highly realistic superhero story, packaged using the style of a realist cri thriller."
"But..." Doug Walter didn’t finish his sentence. After all, Duke had been too successful in the past.
"Yes, this will be a very heavy film."
There was no point saying more now. Duke simply said calmly, "A $150 million production budget also indeed represents a great risk."
Doug Walter knew he had to make a decision.
This wasn’t just any project it was Batman, whose rights were fully owned by Warner Bros. If the company didn’t approve the project, Duke wouldn’t have any recourse. The Dark Knight was never going to be a lighthearted popcorn movie.
After hesitating for a few seconds, Doug Walter thought of past experiences and finally made up his mind. "I’ll push the review committee to conduct a review as soon as possible."
Duke gave Doug Walter a slight nod. He wasn’t at all dissatisfied. In fact, faced with a heavy-thed comrcial film and a sky-high budget, any executive would be cautious.
If Doug Walter had made a snap decision without hesitation, he definitely wouldn’t be in the high position he held now.
No one would invest in a movie just based on a script outline and a few words from the director not even between Duke and Warner Bros.
Warner Bros. wasn’t Duke’s personal company. All major film studios in Hollywood had extrely complex shareholding structures and power hierarchies.
After discussing a few more details with Doug Walter, Duke didn’t stay long. He quickly left the Warner building. Just as he walked out the main entrance and was about to get into his car, soone suddenly approached from the side.
The person was walking fast almost at a jog—and even from a distance, he shouted, "Director Rosenberg! Director Rosenberg! May I have a word? I’m Richard Gelfond from IMAX!"
Hearing the last sentence, Duke waved off the bodyguards who were about to block the man.
The middle-aged man strode up to him and offered his hand. Duke, not wanting to be rude, lightly shook the extended hand. "Hello, Mr. Gelfond."
"May we have a talk, Director Rosenberg?"
As if afraid Duke would refuse, he added, "Just five minutes is enough."
Duke thought for a mont, then turned and walked into the Warner Building, saying, "This way, please."
Entering the front hall of the Warner Building, the bodyguards following him had already asked the receptionist for a eting room. Duke led the way, and the two soon arrived at the eting room.
"Director Rosenberg, you must have heard of IMAX?"
The man nad Richard Gelfond got straight to the point. "Do you understand this film technology?"
"Of course." Duke responded simply. "It’s a film production and projection technology that offers larger format and higher resolution than traditional film."
"Yes..." Richard Gelfond didn’t waste ti. "Compared to traditional film and the erging digital technology, IMAX has greater advantages in terms of viewing experience..."
He hadn’t finished his sentence before Duke raised his hand to stop him. "Mr. Gelfond, I’m very familiar with the strengths and weaknesses of IMAX and other technologies. Please get straight to your purpose."
Richard Gelfond took a mont to organize his words and asked, "I’ve learned that you’re preparing to co-produce the second installnt of the Batman series with Warner Bros."
Seeing that Duke didn’t deny it, he continued, "Director Rosenberg, have you considered shooting it with IMAX caras?"
Duke couldn’t help but glance at Richard Gelfond. He indeed had plans to shoot with IMAX caras, but this plan had never been disclosed to anyone. He didn’t expect the IMAX people to approach him first.
However, he didn’t speak imdiately and instead showed a thoughtful expression.
The IMAX company now was not what it would beco later. In fact, IMAX technology had not truly been accepted by Hollywood yet. It was far from being a mainstream production and projection thod. IMAX was currently doing a lot of promotional work. To promote this technology, they needed enough film sources. Those converted films simply could not showcase the advantages of IMAX technology.
IMAX technology had been around for many years, but until now had only circulated in planetariums and docuntaries. IMAX clearly understood that to promote the technology, they had to conquer Hollywood. And to break into Hollywood, top Hollywood directors were their primary targets.
A few years ago, IMAX had cooperated with Warner Bros. and sponsored The Polar Express directed by Robert Zeckis. Although this film delivered an excellent viewing experience, in terms of market impact, it was far from a major success and fell short of IMAX’s expectations.
In recent years, IMAX had also sponsored several other projects, but none of them beca sensational hits. Although IMAX theaters were being built continuously, they lacked outstanding IMAX movies to make the IMAX na known worldwide.
Richard Gelfond ca on this trip carrying a crucial mission. He had done sufficient howork beforehand and understood the work style of the director in front of him. So, he didn’t beat around the bush and directly said, "Director Rosenberg, IMAX wants to be involved in your new project. If you decide to use IMAX technology for shooting and production, IMAX will provide you with two IMAX caras for free. Our professional technicians will also be permanently stationed in your crew."
Duke responded just as directly, "I’m personally very interested in IMAX technology, but if this film is to use this technology, you also need to obtain Warner Bros.’ consent."
Using IMAX technology to shoot and produce the film would only benefit The Dark Knight. But Duke would not use 3D—3D technology is indeed helpful for certain films, such as Jas Caron’s need to showcase the scenery of Pandora.
However, 3D causes light loss and is not very suitable for intense action scenes. Most scenes in The Dark Knight take place at night, and 3D is entirely unsuitable.
Of course, if the film is suitable, Duke would definitely use 3D technology.
Duke and Richard Gelfond talked for less than ten minutes. The two sides rely reached a preliminary intention. The Dark Knight had not yet entered the preparation phase, and the specific terms of cooperation would need to be discussed in detail by their respective teams.
However, IMAX technology also had its downsides—the most typical being that IMAX caras were too heavy and bulky. Many shots, especially those in complex environnts, would be very inconvenient to film.
If an agreent was reached, John Schwartzman’s cinematography team would certainly have to start working first, getting familiar with this entirely new equipnt.
After leaving the Warner Building, Duke temporarily put his work aside and officially entered vacation mode.
Reviews
All reviews (0)