The richest actor in Hollywood.

Compared to his previous films, "Hancock" was undoubtedly close to being a flop, but this didn't affect Matthew's reputation or standing in the industry, especially the latter. As the lead actor, Matthew managed to turn a poorly received movie into a box office success, proving his market appeal to all of Hollywood. Hollywood doesn't care if a film is bad as long as it brings in commercial benefits, and that's what makes a star.

However, Matthew was very clear-headed. The success of "Hancock" at the box office was significantly due to the goodwill he had built with the audience over the years.

This kind of success is not something that can be repeated endlessly.

Too many bad movies, and even someone like him, who is on the brink of becoming a superstar, would struggle to maintain his status—let alone the top stars.

Nicolas Cage is a prime example.

Moreover, the steep decline of "Hancock" after its initial success had already served as a wake-up call for him.

The movie was released in July, screened for over three months, and by the end of October, its box office potential was exhausted, leading to its removal from theaters in North America, where it ultimately grossed $312.03 million.

Internationally, the movie's popularity had also waned, with a global box office total of $766.8 million, making it unlikely to surpass the $800 million mark. Warner Bros. expected the final box office to settle around $790 million.

Regardless, "Hancock" achieved great commercial success.

However, the film's box office success also attracted a lot of negative criticism, not just from professional film critics but also from many in the film industry.

"Movies nowadays are all about saving the world, with fewer and fewer unique scenes. Even my own films are like this, and nobody knows why. Everything is tense like a tightly wound clock."

In a recent interview, renowned director David Fincher expressed his thoughts on "Hancock," particularly criticizing how film companies have adopted a formulaic approach to filmmaking, reducing films to just elements like explosions, love stories, and heroes. He didn't think this was inherently wrong but noted that it wasn't the path he wanted to take.

"Many film companies are still striving to produce good works, and I have many friends who are producers. But if you want to make films following that studio formula, then stick to that path—whether it's romance films, comedies, torturous Oscar-bait movies, summer blockbuster superhero films, or smaller-budget sequels."

Fincher's views were relatively moderate.

Many other well-known independent filmmakers and producers believe that Hollywood is currently in a dark era.

They argue that the power of studios and major distributors has grown excessively, leading to a highly imbalanced Hollywood. They see 1999 as Hollywood's last golden year, with the number of films that can be considered cinematic history worthy decreasing sharply after the end of the 20th century.

Additionally, Hollywood's structure has changed significantly, with studios gaining too much power, making it increasingly difficult for independent films to survive. The financial crisis has made investors more conservative, tightening the complex ties between studios and Wall Street—neither can do without the other, and money has become more limited. Investors are increasingly risk-averse, concentrating their funds on big commercial productions because they guarantee box office returns.

They believe this has led Hollywood to severely neglect small and medium-sized productions and creative films. The major studios will eventually pay the price for this, as when they focus solely on money and don't invest in quality content, quality content will find new channels, drawing audiences away, and fewer people will go to theaters.

But most of these critics haven't considered what the majority of audiences actually like to watch.

Matthew isn't sure about the future, but in another decade or so, what will audiences gravitate towards? Probably still movies with spectacular visuals and straightforward, enjoyable storylines.

The general audience just wants to be entertained.

And commercial returns are the most crucial factor in determining Hollywood's investment decisions. As long as investment strategies remain unchanged, mainstream Hollywood film narratives will not undergo significant changes.

Having spent many years in Hollywood and reached a relatively high position, Matthew has also pondered whether the mainstream narrative mode of Hollywood films might ever break away from the three-act structure.

He's considered two possible modes. The first can be summarized in one sentence: a person has something to do, faces endless obstacles, overcomes them, and achieves the goal. This mode seems more suitable for commercial films.

The second mode involves a person suddenly losing their sense of purpose in life, beginning a search, and either finding it or not. This can be said to be the core theme of art films—who am I? What do I want to do? Where am I going?

So, this is more suited to independent films.

Of course, his own understanding of film art is limited, and he's far from being a visionary like Spielberg or George Lucas. His personal ideas are quite restricted.

Perhaps these are issues that Hollywood's major film companies should be considering.

Like the decline of traditional action films, which have long lost their former glory, those that fall behind the times will eventually be eliminated. No matter how much you long for the past, it can never become mainstream again.

In the 1990s, superhero movies were just a small genre in Hollywood. Today, they have gradually become the commercial mainstream, and Matthew has successfully caught this wave.

In October, Kevin Feige specifically arranged a meeting with Matthew.

"I heard you sold all your Marvel Comics shares to Walt Disney?" Kevin Feige asked directly.

This was already publicized by Disney, so Matthew had no reason to deny it. "Yes, Walt Disney offered me a deal I couldn't refuse."

Currently, negotiations between Walt Disney and Marvel Comics management are ongoing, but their pursuit of minority shareholders has not slowed down, and they have acquired over 20% of Marvel's shares.

Kevin Feige was curious. "Matthew, 'Iron Man' just succeeded this year, and several superhero movies are on the horizon. Marvel Comics' stock has great potential for appreciation. Why did you sell it?"

Matthew frowned slightly, thought for a moment, and then said, "Kevin, don't you think Marvel's superhero movies need a broader platform for development?"

Hearing this, Kevin Feige showed a thoughtful expression.

"If a massive media conglomerate could pour its resources into the Marvel superhero series," Matthew continued slowly, "Marvel superhero movies would undoubtedly be even more successful."

He tentatively asked, "Has Walt Disney also approached you?"

Kevin Feige smiled and didn't deny it. "They asked about my opinion, but I don't own much Marvel stock."

Due to an additional agreement he signed with Disney regarding investing in Marvel superhero movies, Matthew is now very keen on seeing Disney acquire Marvel Comics. After all, only if Disney successfully acquires Marvel can this supplementary agreement be fulfilled.

So, he added, "I want to profit from my investments, but what about you, Kevin? You want Marvel's superhero movies to achieve unprecedented success."

Kevin Feige didn't respond immediately.

Matthew continued, "But you and I both know that relying solely on Marvel Comics would be too difficult! Paramount Pictures, as a pure distributor, won't invest too many resources into Marvel superhero movies."

"Yes." Kevin Feige nodded slightly.

He fully agreed with this point. If Paramount Pictures had done a more thorough job with marketing, "Iron Man" could have tapped more potential.

Some things are best left unsaid, and Matthew didn't elaborate further. Kevin Feige was a smart man.

Even though Matthew didn't participate in the actual management of Marvel Comics, he knew that Kevin Feige had deep conflicts with several Marvel executives, particularly regarding film adaptations.

If he were in Kevin Feige's position, the best way to counter internal pressure at Marvel would be to bring in external support—to use Walt Disney's power to break Marvel Comics' entrenched order.

If Kevin Feige could secure Disney's support, his influence at Marvel would undoubtedly increase, should Disney succeed in acquiring Marvel Comics.

Matthew didn't spell this out, but he hinted at it in a few words, and from what Kevin Feige said, it seemed like he was considering it.

After chatting about Disney, Kevin Feige voluntarily changed the subject and asked Matthew, "What are your thoughts on our superhero movies?"

"Me?" Matthew shook his head. "Kevin, I'm just an amateur."

Kevin Feige, however, seemed serious. "If you're an amateur, then the people in charge of film at Hollywood studios must be idiots." He looked at Matthew. "You always manage to succeed with your film choices. You must have thought about the future of Marvel superhero movies."

Matthew couldn't exactly tell the truth—that would be foolish.

"Kevin, you're the producer of the entire series, so you must have considered everything." Matthew spoke slowly. "I'll just say one thing."

"Please do." Kevin Feige seemed particularly attentive.

He valued Matthew's opinion highly. Compared to Matthew, he felt that his own track record was much shorter.

Matthew shared something he had genuinely considered. "My only suggestion is this: don't worry too much about the concept of a cinematic universe. Focus on the films themselves. We started with just one goal—to make a good 'Iron Man' movie. Then, make a good Hulk movie, a good Thor movie. Just aim to make one good movie at a time. And then, do something no one else has done before—put these movies together. Let the hardcore comic fans experience something new, like Spider-Man swinging into the Fantastic Four's headquarters or Hulk crashing into Iron Man's storyline."

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