The day after their awards ceremony ended was a feast for the dia. Many outlets were criticizing the Academy, arguing that Martin Scorsese indeed deserved an Oscar but not for The Departed. A large portion of the dia condemned the Academy for trying to "balance things out."
These dia outlets completely forgot that, prior to the awards, they had been saying that if Martin Scorsese didn’t win Best Director, the Oscars would lose their most basic sense of fairness...
You really can’t help but say, the dia truly lives up to its na. No matter what happens, they always have enough reasons and always stand in the morally righteous position.
The Oscar tragedy that befell The Dark Knight wasn’t sothing Duke cared about at all. This was the most typical treatnt for superhero films at the Oscars. With Transforrs’ post-production not yet complete, he neither had the ti nor the energy to sigh over the Oscars.
Back in the Transforrs studio, supervising editing and special effects remained Duke’s primary tasks. The film’s score and the song had also completed their initial versions and were sent over, awaiting his review.
The score was once again the work of Hans Zimr. This renowned comrcial composer, much like John Williams to George Lucas and Steven Spielberg, was gradually becoming Duke’s go-to composer.
The film’s score mainly featured rock and electronic music. The initial version Hans Zimr submitted didn’t fully satisfy Duke and would require a lot of revisions.
Then there was the the song. The ending the had a style opposite to the score. It echoed the film’s final sunset scene, where Sam and Mikaela are being affectionate. It was a country-style pop song with a romantic the.
To be frank, Duke didn’t know much about pop music. Since The Return of the King’s "Into the West," he hadn’t used a vocal the song in his films. This ti, adding a song was mostly to accommodate Nancy Josephson.
To his films, having one more or one less song really didn’t matter.
But letting a singer join the production could boost her market visibility.
In the studio’s recording booth, Duke put down his headset and looked at the others, asking, "What do you think?"
Anna Prinz was fixing her hair ssed up by the headset as she said, "I think it’s good. Swift’s voice is very distinctive."
"I agree," Tina Fey chid in.
Inside the booth, Taylor Swift had already taken off her headset. Her eyes were full of anticipation, darting between Duke and the others.
"Let’s go with it then," Duke nodded.
Taylor Swift let out a gentle breath and squealed with excitent inside. She had a rare self-control for her age, keeping a calm yet excited expression as she walked over to the group.
"Thank you. Thank you so much..."
She thanked Tina Fey, Anna Prinz, and Duke one by one before returning to stand beside Nancy Josephson.
Duke checked his watch. "That’s it for now. Anna, let’s get back to the editing room."
Seeing that Duke was about to leave, Taylor Swift quickly spoke up. "Can I take a tour of the studio?"
"Sure," Duke gestured to Nancy Josephson, "You show her around."
After speaking, he and Anna Prinz left the recording booth and returned to the editing room.
Post-production was never an easy job. For ninety-nine percent of films, post-production took more ti and effort than filming itself. After nearly three hours of intense work, Duke walked into the more spacious lounge in the studio. Just as he sat across from a row of Transforrs models, a crisp sound of footsteps ca from behind.
"Can I sit here?"
Upon hearing the voice, Duke turned his head slightly and saw an impressively long pair of legs. Taylor Swift, dressed in jeans and a long-sleeved T-shirt, stood at the edge of the lounge table.
"I just went to the VFX studio with Nancy. As soone who’s been obsessed with Transforrs since childhood, I think the film’s effects are insanely cool."
A girl who liked Transforrs?
Duke shook his head slightly and motioned to the seat across from him with his eyes. "Suit yourself."
"Thanks." Taylor Swift sat across from him and curiously asked, "The robots in the movie look so insanely complex. Why did you choose this kind of presentation instead of sothing more..."
She scratched her cheek, seemingly struggling to find the right words.
"Sothing simpler? Like animated character designs?"
Seeing Taylor Swift nod, Duke couldn’t help but laugh. "If we did that, then basically, well..."
He thought for a mont and said, "It’d be like making a version of Ghostbusters, only the Transforrs would be dressed-up mushroom n. That wouldn’t work."
Taylor Swift was very sharp and easily found common ground. She blinked her sapphire-blue eyes and put on a look of curiosity, asking, "Why not?"
"On a forty-foot-high screen, you’ve got to give the audience as much detail as possible—stuff flying all over the place, grabbing their eyes. The chanical parts are insanely detailed, making the audience dizzy with spectacle."
This girl’s fresh outfit and the innocence she occasionally showed easily left a good impression—at least on the surface. Duke, for once, continued talking. "At the start, the movie production wasn’t going well. The initial robot designs were downright disgusting. So I kept working to make the visuals look more realistic and better, bit by bit."
"I get it," Taylor Swift’s thoughts moved fast. She picked up from Duke’s words and said, "It’s hardest to fool your own heart. When you see sothing that’s not perfect..."
She purposely made a scornful face. "Your brain instantly goes, ’Hmph, cartoon! Cheap cartoon!’"
Seeing her make such a funny expression, Duke couldn’t help but think of Scarlett Johansson at that age. The tension brought on by his busy schedule slowly started to ease.
He shrugged and said, "You have a point. During the preparation phase, I rewatched the 1986 animated Transforrs: The Movie, but I just couldn’t find that old feeling anymore. I only watched the first five minutes and wanted to shoot myself."
Duke burst out laughing. "I just can’t sit through that kind of stuff. I have to imagine for myself what this movie I’m making is supposed to look like."
Taylor Swift laughed as well. "So that makes you the target of those diehard fans?"
Duke nodded lightly. The tall blonde girl said indignantly, "And those people criticizing you—who among them has actually seen what a 3D robot looks like in the real world?"
"I’ve got to get back to work," Duke stood up. "You can continue your tour."
Post-production of the film kept progressing, and by April, it was nearing its final stage. Duke had also cut together the first official trailer and handed it over to Warner Bros. for promotional use.
"Over twenty years ago, a group of living robots ca to our Earth from the planet Cybertron and ignited a brutal war. Now, more than twenty years later, they’ve returned for a new life-or-death battle. Catastrophe is coming whose side are you on? Are you with the Autobots, or the Decepticons?"
As Optimus Pri struck a fierce combat pose, the first trailer froze on the giant screen in New York’s Tis Square. Then, a line of bold letters lit up.
"Their war, our world!"
This was the promotional slogan for Transforrs.
A large crowd of onlookers who had stopped to watch took their eyes off the screen and continued on. Not far ahead, they encountered a massive movie poster on a billboard.
It was the latest poster, composed of four connected panels.
One panel depicted Optimus Pri vs. gatron. gatron appeared like a black demon descending from the sky, engulfing the world in darkness; on the other side, Optimus Pri’s enormous head glared with fury, completely shrouded in shadow.
The other three were character posters featuring Optimus Pri, gatron, and Bumblebee. These Transforrs posters were full of depth and tallic texture, extrely eye-catching.
"Bumblebee’s body is covered in mud and scars," soone familiar with the film murmured in front of the poster. "I wonder what kind of long road this kindest Autobot has traveled."
"Check it out online," his companion reminded him. "Before the movie cos out, brush up on your Transforrs knowledge."
Just like that person said, starting from April, Transforrs’ promotional campaign entered its final push. Besides the usual promotional thods, to help audiences who weren’t fans of the original cartoon better understand the film, the Transforrs studio launched several featured columns on their official website and multiple partner sites, including Transforming Robotic Life Forms The Transforrs Series Chronicle and What You Must Know Before Watching Transforrs, along with viral videos.
Many sponsors also launched a series of promotional activities.
For example, as Bumblebee’s appearances increased, the Chevrolet Camaro sports car saw a surge in sales. General Motors launched a special campaign titled Transform the Future with Chevrolet.
Then there was Hasbro, the original toy manufacturer. They released several toys based on the film’s designs, incorporating the latest "auto-morph technology." When one component "transforms," other related parts automatically transform along with it.
In the past, Hasbro rarely developed toys based on movie designs. Usually, they made the toys first and then built film and TV characters around them. But with this major comrcial production directed by Duke, they were well aware of the kind of boost it could bring to the toy line.
North Arica was only one of the many regions where Transforrs would be released simultaneously worldwide. In the film’s global premiere location, due to investnt from the China Film Group, the scale of promotion for this imported film was unprecedented.
...
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