Director in Hollywood

On the eve of the Oscar nominations, Titanic had already grossed $463 million in North America and $1.12 billion worldwide.

The film officially became the highest-grossing movie in global box office history. And this was far from the end—Titanic was still sailing strong in markets around the world.

Even if the film wasn't the type typically favored by the Academy's conservative members, it was simply too big to ignore.

As a result, at the Oscar nomination luncheon, Titanic secured a total of fourteen nominations.

And judging by the trend, it was likely to win quite a few of them. If the Academy refused to acknowledge it, public outrage would be unavoidable.

The Academy couldn't afford to lose its credibility. That was the last thing it wanted.

This year, no amount of lobbying from Miramax or aggressive maneuvering by Harvey Weinstein could change the outcome. Against Titanic, even the strongest PR efforts were useless.

Meanwhile, Gilbert's The Sixth Sense also performed well, earning six nominations: Best Picture, Best Director, Best Original Screenplay, Best Supporting Actor, Best Supporting Actress, and Best Editing.

However, this was likely its limit. The only categories where it had a real shot were Best Original Screenplay and Best Supporting Actor—coincidentally, two awards Titanic hadn't been nominated for.

For the other categories, Titanic was a formidable competitor. If even Harvey couldn't wrestle awards away from the film, Gilbert—who mainly focused on commercial movies—had even less of a chance.

And it wasn't just Titanic—many other outstanding films were competing fiercely in the categories Titanic wasn't dominating.

This was Gilbert's second consecutive year being nominated for Best Director. The Academy might not fully grasp the "third time's the charm" principle, but they did recognize Gilbert's contributions to Hollywood's globalization.

That meant that next time he was nominated, as long as he played his cards right with PR, he would likely win the Oscar for Best Director.

In other words, this nomination already placed him on the path to an eventual Oscar win—it was just a matter of time.

Although the Oscars were technically a regional award and didn't have the fairness of Europe's top three film festivals, they remained the most influential movie awards in the world.

Even in China, movie fans closely followed the Oscars, let alone Hollywood's traditional audiences.

When introducing a Hollywood director, if people heard they had won an Oscar for Best Director, their immediate impression would be that the director was truly exceptional.

In reality, the Oscars were a commercial award.

But as Hollywood's global influence expanded, the Oscars became the most prestigious film award worldwide. And that made them the most authoritative.

It was an ironic reality, but a reality nonetheless.

Super Bowl Day, 1998

Right after the Oscar nominations were announced, the 1998 Super Bowl took place.

The Super Bowl's influence was growing year by year, and many Hollywood stars chose to attend in person. The TV broadcasts often captured shots of celebrity guests, making it a fun part of the event.

Gilbert wasn't particularly interested in the Super Bowl—he simply didn't understand the game.

But Leonardo DiCaprio was a die-hard Super Bowl fan. He eagerly invited Gilbert to watch the game together.

Since The Matrix's post-production was already more than halfway done, and Gilbert hadn't taken a real break in a while, he decided to accept the invitation.

This year's Super Bowl featured the AFC champion Denver Broncos against the NFC champion Green Bay Packers. The game was held at Qualcomm Stadium in San Diego.

The first half was evenly matched, with both teams tied at halftime.

Leo raised his fists in excitement. "Looks like the Packers are losing momentum! The Broncos are on their way to winning their first-ever Super Bowl!"

"Leo, don't tell me you bet on the Broncos," Gilbert asked.

"Of course!" Leo clapped his hands excitedly. "I put down $100,000."

Leo had placed his bet before the game. As for Gilbert, he didn't gamble—he didn't know the sport well enough to make a choice.

As the halftime show approached, Leo suddenly said, "Man, I really want to own a team and lead them to the Super Bowl.

Gilbert, how about we partner up and buy a team together?"

Gilbert wasn't interested. "Sorry, Leo, you know I don't like American football.

If I were to buy a team, I'd prefer an NBA team or an English football club."

Leo's eyes lit up. "A basketball team? That's a great idea! We should buy the Chicago Bulls—they just won back-to-back championships. I bet Jordan's going to pull off a second three-peat."

"I think so too," Gilbert agreed.

As the two chatted, the Super Bowl commercials began airing on TV.

Because of the Super Bowl's massive viewership, advertising prices skyrocketed. A 30-second spot now cost $4 million—an astonishing sum.

This year, the first ads weren't for Hollywood movies. Instead, major tech companies took center stage, showcasing their latest products.

Butcher Ruth and his friend Evans were also watching the Super Bowl. After what they considered a dull first half, they were finally excited for the Super Bowl commercials.

However, they didn't see The Matrix trailer right away. Instead, Apple took the spotlight.

Since Steve Jobs' return, Apple had gradually recovered from its turmoil, and its performance had improved. The growth of its MP3 business had brought in a significant cash flow.

At this Super Bowl, Apple wasn't launching a new product. Instead, it was promoting a concept—the Apple Ecosystem.

The idea had originated from a conversation between Gilbert and Jobs.

Gilbert had briefly mentioned the concept to Jobs in the past, though he himself only had a rough understanding of it.

But Jobs was a true visionary. Over the past few years, he had refined the ecosystem concept and developed a strategic blueprint for Apple's future.

Now, during the Super Bowl, he was presenting this vision to the public—to boost Apple's stock price.

Butcher Ruth knew that Gilbert was an Apple shareholder. Watching the Apple Ecosystem ad, he turned to Evans and said, "A few years ago, we laughed at Gilbert for investing in Apple.

But now, it looks like Apple is making a strong comeback. The company has serious potential."

Evans nodded. "I think Apple's smartest decision was bringing Jobs back. He's a brilliant leader with incredible vision."

Butcher Ruth agreed. "I can't argue with that."

Finally, after the tech ads, it was time for the Hollywood movie trailers—the moment they had been waiting for.

No unnecessary buildup, no fluff.

The screen cut straight to The Matrix.

The first shot featured a woman dressed in a sleek black bodysuit—cold, fierce, and effortlessly cool.

With a swift move, she clamped her legs around a police officer's neck and flipped him to the ground in one fluid motion—clean, efficient, and utterly striking.

Ruth couldn't help but whistle. "Oh my God, I'd let those legs squeeze me for a lifetime."

He wasn't the only one thinking that. Most male viewers watching the Super Bowl halftime ad show were captivated by those legs.

Next, the screen flashed the words: A Film by Gilbert, followed by the names Keanu Reeves and Charlize Theron in the starring roles.

As the text faded,Ruth and Evans gasped. On-screen, Keanu Reeves dodged every single bullet in slow motion.

The shot lasted barely two seconds, but it was enough to make Ruth and Evans burst with excitement.

Evans patted his round belly. "Man, this is exactly the kind of feeling I want. This is way too cool. I have to see this movie."

"Buddy, no question about it,"Ruth replied enthusiastically.

The next shot showed a man in sunglasses and a black leather coat, exuding an aura of mystery. He said in a deep voice, "What is real? If what you perceive as reality is merely your brain deceiving you…

In truth, all you experience is nothing more than a string of electronic signals. Your senses, just like yourself, are enslaved by the Matrix…"

These cryptic words, combined with a fast-paced montage, almost left Butcher Ruiz and Evans dizzy.

But for them, such dialogue was precisely what they wanted—pure, authentic, and unmistakably Gilbert's style.

At the end of the trailer, the release date appeared: May 8, 1998. The first weekend of the summer blockbuster season. The Matrix was coming.

As countless Super Bowl viewers watched, they knew for sure—this was the most anticipated movie of the summer.

Following this, Sony Columbia also aired trailers for Armageddon and Godzilla during the Super Bowl. The scale of these films seemed grand, but Ruth wasn't impressed.

"Michael Bay has always been trying to mimic Gilbert's old style, but he never quite gets it right. Sure, he might pull off Speed or The Rock, but there's no way he could make The Sixth Sense or Saving Private Ryan."

Evans nodded in agreement. "Armageddon is actually releasing on the same day as The Matrix? I bet Michael Bay is going to regret this soon."

"Didn't he even boast that he would beat Gilbert at the summer box office?"

"Hah, wishful thinking…"

They both shook their heads, convinced that Michael Bay had no chance against the madman of the summer box office.

Even top-tier directors avoided clashing with Gilbert—what made Michael Bay think he could compete? His oversized ego?

As for Godzilla, Butcher Ruth and Evans barely paid it any attention. A giant monster from Japan? Not really their thing.

To be fair, Armageddon did look visually appealing. The trailer suggested it could be a decent popcorn flick.

But its direct competitor was Gilbert. That alone made people doubt whether Michael Bay could truly live up to his claims of victory.

Honestly, Armageddon wasn't even as enticing as DreamWorks' upcoming Deep Impact. At least Deep Impact had Naomi Watts, a rising A-list star, in the cast.

However, trailers alone couldn't determine a winner. It would all come down to the actual summer box office performance.

After the Super Bowl, Gilbert took a short break before diving back into work.

To create the Matrix world's unique atmosphere, the in-movie scenes inside the Matrix had a strange greenish tint.

But the most iconic use of color was in the opening sequence, where cascading green digital code rained down the screen.

This design came from production designer Simon Whitely. In reality, this digital code was actually his wife's sushi recipe flipped 180 degrees.

So, technically, the Matrix intro was teaching audiences how to make sushi.

Of course, without being told, no one would ever guess that.

Gilbert had always said that The Matrix would attract audiences primarily through its cool action sequences and mind-blowing special effects. But that didn't mean other elements weren't important.

On the contrary, what truly set The Matrix apart from other classic sci-fi films was its religious symbolism, philosophical depth, and cyberpunk aesthetics.

Without these layers, The Matrix would still be a great sci-fi action film—but it wouldn't be legendary.

But with them? The meaning changed completely.

For example, the ship Nebuchadnezzar was named after King Nebuchadnezzar II from the Book of Daniel in the Bible.

This Babylonian king conquered the eastern Mediterranean and built the Hanging Gardens of Babylon, one of the Seven Wonders of the Ancient World.

Nebuchadnezzar II once had a bizarre dream but couldn't remember it, so he sought someone to interpret it. Ultimately, God restored the dream's content to him and warned him that powerful empires wouldn't last forever.

This name reflected the Matrix rebels' belief: the Matrix wouldn't remain powerful forever, and humanity would eventually rise again.

Meanwhile, the last human city, Zion, was another biblical reference.

In Christianity, Zion often symbolizes Jerusalem, named after Mount Zion in the city's southern region.

In Jewish theology, Mount Zion is considered God's dwelling place and where He anointed King David.

For centuries, Jewish people longed to return to Zion and rebuild their homeland.

In The Matrix, naming the last human stronghold Zion similarly conveyed humanity's hope for salvation—waiting for a savior to overthrow the machines' rule.

And that was just the Christian symbolism.

There was also Buddhist influence, such as the young monk with a shaved head bending a spoon—this scene borrowed from the Platform Sutra of the Sixth Patriarch.

The scene suggested that all external reality was shaped by subjective consciousness.

Meanwhile, the way characters learned skills instantly through downloads mirrored a concept in the Buddhist Visuddhimagga, where monks gain abilities through visualization techniques.

The illusionary nature of the Matrix itself paralleled the Buddhist principle that "all forms are illusory."

And when Morpheus trained Neo, urging him to break the rules and see through the illusion, it reflected another Buddhist tenet: "If one sees that all appearances are unreal, then one sees the Buddha."

However, at the end of the day, The Matrix was still a commercial film.

These deeper themes were only lightly explored—going too far down the intellectual rabbit hole would risk turning out like the Matrix sequels.

Critics might love a movie for its depth, but high-concept films rarely succeed at the summer box office.

Historically, even the most successful "intelligent" blockbusters all had one thing in common—they offered more than just intellectual stimulation.

Mind-bending concepts could enhance a movie, but they were never the reason audiences flocked to theaters.

Gilbert expertly balanced all these elements, blending them seamlessly into one film.

By adding martial arts and groundbreaking special effects, he crafted something truly unique.

By early March, The Matrix had completed its entire production and was officially rated R.

Meanwhile, Armageddon received a PG-13 rating. Even before the battle began, their ratings hinted at a potential advantage.

It was well known that a PG-13 rating could help a movie reach a broader audience, somewhat leveling the playing field between competitors.

Michael Bay was full of confidence, imagining the headlines proclaiming his summer victory over Gilbert—even if his win came from a rating advantage.

For him, just beating Gilbert, by any means, was a dream come true.

But Gilbert didn't care about rating disadvantages. A well-made R-rated film could still outperform a PG-13 one at the box office.

Armageddon fit into the then-popular disaster movie trend. But honestly? If it had been Transformers, Gilbert might have stepped aside.

But against Armageddon? No need.

Neither film budged from the May 8 release date.

Right behind them? Godzilla.

Unfortunately for Sony Columbia's Japanese executives, American audiences weren't too interested in this monster from Japan.

Despite being directed by Independence Day's Roland Emmerich, Godzilla's buzz wasn't nearly as high as Armageddon or The Matrix.

And Emmerich's reputation after Independence Day wasn't exactly stellar, either.

For all its massive box office earnings, Independence Day had left audiences feeling… unimpressed.

And so, as summer approached, Godzilla's fate in the U.S. remained uncertain.

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