Made In Hollywood

Every Monday holds special meaning for Hollywood production and distribution companies whose films have just opened. In this era, it's extremely difficult for any film to maintain a theatrical run of six months or more, as was possible in the 60s and 70s. Hollywood companies have been acquired by major media conglomerates one after another, and their promotional capabilities are far beyond what they used to be. Under the overwhelming media coverage and marketing, more and more moviegoers are being "driven" into cinemas within the first few weeks or even the opening weekend of a blockbuster release.

As a result, the opening weekend box office has become increasingly important for commercial blockbusters.

"Some films make up one-third or even half of their total North American gross during the opening weekend."

Inside the CAA office on Wilshire Boulevard, Michael Ovitz put down the briefing in his hand and looked at David Ellison sitting across from him, saying, "Duke Rosenberg's films always perform well in the opening weekend. Given the competition from Ridley Scott's Kingdom of Heaven, I'm not surprised he still pulled in those numbers."

"I'm not surprised either."

Though arrogant and prideful by nature, David Ellison wouldn't underestimate a director who's already at the pinnacle of Hollywood. However, he was also very confident in himself. "Batman:Begins didn't even reach $70 million in its opening weekend. Even if the drop next weekend stays below 50%, that's just over $30 million. Our Flyboys is sure to snatch the top spot from Duke Rosenberg!"

This aerial war epic ended up costing $115 million to produce. With Walt Disney as the distributor, it's more than capable of becoming this summer's box office bombshell.

Michael Ovitz, however, remained cautious. As a long-time rival, he was fully aware of how terrifying Duke Rosenberg's films could be. Even taking into account Critical Emergency, which had the worst audience reception, none of his films had ever seen a second-weekend drop of over 50%. The performance in the first few weeks was always exceptionally Strong Flyboys would face serious competition.

In his view, even if Batman:Begins was entering its second weekend while Flyboys was opening, the competition between the two would still be fierce, and the outcome was far from certain.

Ovitz had already seen the rough cut, which was full of marketable elements and scenes. In his eyes, it was very good. If not for a strong competitor like Batman: Begins, he would be confident that Flyboys could surpass $50 million on its opening weekend.

"Forty million dollars!"

David Ellison said again from across the table, "Michael, we only need forty million dollars to beat Duke Rosenberg and Batman:Begins!"

Nearing sixty, Michael Ovitz slowly nodded, clearly agreeing with David Ellison's assessment.

With his twenty-plus years of experience, the Ellison family's ample funds, and Walt Disney's distribution and marketing channels equal to those of Warner Bros.how could Flyboys, an epic aerial war film packed with every advantage, lose to the second weekend of a rebooted series with a formerly awful reputation?

Moreover, Batman:Begins made $68.85 million in its opening weekend. Even if it holds strong, the second weekend couldn't possibly stay above $40 million.

Could it be that Flyboys, a film with every favorable condition imaginable, couldn't surpass $40 million in its debut?

Michael Ovitz, with his 20-plus years of industry experience, was certain this would not happen.

David Ellison still wore his rebellious smirk, fully confident that the mega production he pulled together with over $100 million in funds through various channels would absolutely meet both his and Disney's expectations!

"Experience is a great thing. It often can't be bought with money."

On a private jet, Duke closed the newspaper in his hands and placed it on the table in front of him. Glancing at the curious Scarlett Johansson across from him, he continued, "But sometimes, experience can also lead people into a trap…"

Scarlett Johansson didn't care about the glances from others on the plane and just kept her eyes locked on Duke, asking, "Like what?"

"Like how war epics have been successful in recent years. The successful experiences tell us that as long as you make this type of film with decent quality, it will be a hit."

Duke lightly shook his head, took a sip of water, and then said calmly, "But reality is quite different from what experience tells us. Whether it's rigorous war epics, entertaining confrontations, or films filled with artistic flair, they've all failed…"

Frowning slightly with her golden brows as she recalled the performance of war epics after The Lord of the Rings: The Return of the King, Scarlett Johansson nodded lightly, "It really does seem that way."

Resting her chin in her hand and tilting her head toward him, she added, "Ovitz seemed very confident in his interview he acted like Flyboys was definitely going to be a hit. Clearly…"

"He does have a wealth of experience. Going back over ten years, the projects he led were practically synonymous with success."

While thinking about how the later trajectory of this super-agent's life was drastically different between past and present, Duke tapped his forehead slowly with his fingers and said, "But he doesn't belong to this era."

"Doesn't belong to this era?"

Although Scarlett appeared carefree on the surface, she was definitely not stupid. Linking this to the drastic societal changes in recent years, she quickly understood the meaning behind Duke's words. She put down the hand propping up her head, slowly sat up straight, and said seriously, "It's not just Ovitz. In the past few years, the films of Spielberg, Ridley Scott, and Robert Zemeckis have also been repeatedly failing. It's not just Michael Ovitz who's become outdated."

The cycle of old being replaced by new is inevitable. Perhaps some directors, as they age, become more accomplished in the complexity of so-called artistry and film themes like Stanley Kubrick, but a great many lose touch with the market as they grow older. Because even if all of Hollywood banded together, they couldn't change one rule: the main audience of the movie market has always been the youth!

Thinking of this, Duke couldn't help but sigh lightly. Making mistakes based on past experiences isn't rare. Even when he grows old someday, he'll probably end up as conservative as those old men in the Academy, unable to grasp the pulse of the mainstream market.

Seeing Duke deep in thought, Scarlett Johansson picked up her glass, took a small sip of water, and said, "I remember you said, Duke. The current North American film market is primarily made up of viewers born in the 1980s and 1990s. So it's only natural that someone like Michael Ovitz, born in the 1940s, can't grasp what people like me are thinking."

Duke nodded in agreement. "What you like is what becomes popular."

Every age group has different tastes and preferences, but in modern society, the preferences of the youth undoubtedly represent the trending elements.

Scarlett blinked and asked, "Then what kind of movies are popular now, or will be in the coming years?"

Seeing this mischievous girl being serious for once, Duke simply voiced the answer in his heart. "Superhero movies."

"Comic book movies?" Scarlett immediately thought of DC and Marvel Comics.

After all, characters from these two companies have already found success on the big screen.

Propping up his chin with one hand resting on the armrest, Duke thought for a moment and said, "There are also other superhero films similar to comic book heroes."

Take Optimus Prime, for example. To a certain extent, this leader of the Autobots is very similar to the lead characters of DC and Marvel superhero comics.

"Is that why you got me to play Natasha Romanoff?" Scarlett asked curiously, "To make me the key connecting the Avengers?"

"Scar, you need to understand one thing."

Facing the girl across from him no matter what, she was his mother's goddaughter Duke couldn't treat her like he did other Hollywood actresses. "Becoming a superstar takes more than just acting skills."

"I understand." Scarlett Johansson nodded seriously. "No matter how great the acting, at most you become someone like Meryl Streep. A superstar also needs fame and box office results."

Scarlett Johansson wasn't dumb before, and growing up with a businesswoman like Lady Leah, she was even less likely to become an artsy dreamer.

Scarlett Johansson suddenly leaned on the table with a cheeky smile, moved a little closer, and said, "I knew it. Even though you're always grumpy with me, you've always cared about me."

Duke looked up and glared at her. Scarlett instinctively shrank back and quickly returned to her seat like she had countless times over the years.

Glancing at Scarlett once more, Duke didn't bother to keep bantering with this troublemaker. He picked up a sleep mask and put it over his eyes, blocking the light inside and outside the cabin, and slowly closed his eyes.

The private jet flew back to Los Angeles. Duke had arranged a car specifically to take Scarlett Johansson to Burbank, where she would report to Jimmy Carter and begin an extremely rigorous regime of physical training, endurance drills, and combat training in preparation for Duke's next film.

Not only did Duke introduce the Natasha Romanoff character in the first Iron Man, he even designed an action scene specifically for her.

No matter how Iron Man might change, as the starting chapter, it must explain how Tony Stark becomes Iron Man, but many small scenes and characters in it would certainly be adjusted.

Of course, whether it was Pepper Potts or Natasha Romanoff, the actresses had to be white.

First, that's the comic book setting. Second, in this era, is there any other market worth altering the heroine's identity for?

Not now, and not even ten years from now, would there be a market worth making Duke do that. North America is still the largest movie market in the world.

....

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