I am Hollywood

[Chapter 1190: Response to the Sneak Preview (2)]

Los Angeles.

At a movie theater in Beverly Hills, the audience buzzed with excitement and admiration for the stunning 90 minutes they had just experienced. It wasn't until the last of the viewers had left the screening room that Michael Eisner and Richard Parsons, who had been sitting inconspicuously in the back row, finally stood up and made their way out.

Outside the screening of Gravity, reporters from various outlets were eagerly awaiting comments. Instead of exiting through the front, Michael Eisner and Richard Parsons left through an internal corridor and climbed into a luxury sedan parked at the curb. Once settled inside, Michael turned to Richard and asked, "So, what did you think?"

Richard Parsons, the African American CEO of Warner Bros., removed his glasses and rubbed his eyes. While the design of the 3D glasses was reasonably accommodating for someone with his vision issues, he still felt a bit uncomfortable. He understood that this discomfort was likely more psychological than anything else.

Putting his glasses back on, Richard managed a rueful smile as he replied, "At least there's only one Eric Williams in Hollywood."

"One, huh?" Michael paused, a sense of nostalgia crossing his features. He voiced his acknowledgment with a hint of resignation and admiration, "It's good to have at least one guy like that in any era."

Richard directed the driver to head to a nearby restaurant and added, "Wasn't Shadowlight always following up on 3D movie developments? Polarized 3D technology isn't too complex; maybe we can launch our own 3D movie next summer."

Michael shook his head, "You're underestimating things."

More attuned than anyone else at Universal, Warner, and Paramount to the challenges posed by Digital Domain -- especially as part of Shadowlight, which had formed to combat it -- Michael knew that, since its formation, Shadowlight had focused its primary efforts on CG effects. The team working on the 3D technology that was supposedly aligned with Firefly Group's RealD initiative was just a small crew of fewer than ten people, far below the hundreds that RealD employed.

Besides, even if Shadowlight reached the technical standards of digital 3D technology, Firefly Group had invested nearly $2 billion over the past two years into their 'RealD' and '4200' plans. The cake had just been baked; there was no way they'd let the other three companies get a share of that pie so easily.

Understanding this, Richard quickly gathered his thoughts and, after a brief silence, remarked, "Even if Williams wanted to monopolize the market, the theaters wouldn't agree; a wider range of content is beneficial for them."

"But we're still lagging too far behind," Michael replied. "We should probably call a meeting with the heads of Shadowlight tomorrow."

Richard nodded. "Give me a call then, and I'll come along."

As they chatted, being from different companies meant that some things remained unsaid, but the weight of their words hung heavy in the air.

Digital Domain's absolute advantage in CG effects had already made it difficult for Universal and the other companies to keep pace. Now, with the new movie-screening model they've established, it was hard to envision how Hollywood's landscape would shift next.

If 3D represented a colossal transformation akin to sound versus silence or color versus black and white, then under Digital Domain's current lead, the status quo of the seven major film studios could very well evolve into six, five, or even four in the near future.

After all, major Hollywood studios were not invincible; once prominent studios like RKO and United Artists had vanished without a trace over the years. Now, due to Firefly's rise, the Disney brand had already been swallowed up. Had it not been for Firefly's support, MGM might have faced a similar fate.

With these concerns preoccupying their minds, neither Michael nor Richard had much appetite for a late-night snack. Arriving at a nearby restaurant, they merely sipped some coffee and exchanged casual conversation before parting ways for the night.

...

Following his heart surgery a few years earlier, Michael had been focusing on getting adequate rest. Yet, the next morning, he surprisingly awoke just before six.

Having received some prior notice, his assistant had already faxed him reviews from mainstream North American newspapers about Gravity. Sitting on the terrace just outside his morning study, Michael flipped through the pages, and the last shred of hope in his heart evaporated. The major papers overwhelmingly praised Gravity, with some reviews even carrying a hint of flattery.

"Spectacularly bold visuals, dazzling shot compositions, and groundbreaking 3D presentation gave us an unprecedented visual adventure." -- The New York Times

"Be it the revolutionary special effects, the 3D presentation, or the performances, I can only describe it as breathtaking. Eric Williams has created a visual miracle." -- The Los Angeles Times

"Gravity reminded me of Kubrick's 2001: A Space Odyssey, yet this film provided an even more overwhelming viewing experience; the new 3D presentation yielded a profoundly immersive sensation." -- The Hollywood Reporter

"Rather than calling Gravity a movie, it's more apt to say it's a stunning visual experience that amalgamates all the most advanced film technologies." -- The Washington Post

"Hollywood is set to witness another major upheaval." -- Variety

"..."

"..."

Most reviews evidently did not comment extensively on the film's plot, which was indeed a conventional high-concept survival film. However, Gravity innovatively transcended a genre often seen by audiences into a great film through its CG effects, shot styles, and 3D format.

As he sat quietly on the terrace, digesting the reviews, Michael hesitated for a long moment before pulling out his phone and dialing Katzenberg's number.

In the latter half of the year, with the Nasdaq stock market crash, the Seagram Group faced increasing struggles under its heavy debt load. This situation remained unchanged even after Universal Music obtained an 8% stake in Fireflyer through profit exchanges.

Michael understood that Universal Pictures might inevitably change hands again. While he had been performing well as CEO during the years, he was aware that to maintain his standing in Hollywood throughout this transition, Universal needed to stay ahead of the 3D movie trend.

...

With the Saturday night preview screenings, traditional print media was full of praise, while online movie fan communities buzzed even more fervently about Gravity.

On platforms like Yahoo Movies, IMDb, AOL Movie Community, and other film-related websites or forums, the film's popularity skyrocketed to the top in just one day. Viewers fortunate enough to attend the preview screenings openly expressed their admiration for the movie.

...

"One wonders what the ultimate effect of a long take is. In my opinion, it's when you completely forget that you're watching a long take. The opening shot of Gravity, which lasts over ten minutes, achieves precisely this. The flawless visual effects, majestic space scenes, witty dialogue between the characters, and the heart-stopping moments when danger strikes -- all these elements captivated me entirely. It wasn't until Ryan was hurled into the cosmic abyss and the camera suddenly cut that I realized I had just witnessed an extraordinary long take. Yes, at that moment, the only word I could think of was greatness."

...

"Do you want spoilers? Here's the deal: Judy this time takes on the role of a medical doctor, goes to space to repair the Hubble Telescope, encounters danger, and after enduring countless trials in space, finally returns to Earth. That's it. So, it's a very simple story. But it is undeniably an outstanding movie -- so outstanding that I'm not afraid to spoil it. Because in this simple story, I found so many things that words cannot express. If you don't watch it in a theater, you'll miss out on one of the greatest films in Hollywood history."

...

"This will undoubtedly become Eric Williams' fourth movie to gross over $1 billion at the box office."

...

"As a superfan of Elton John, the inclusion of Rocket Man in the soundtrack was an absolute masterstroke. When Kowalski plays the song while they're drifting in space, I honestly teared up a little."

"I feel the same way. But to me, the entire movie is like a divine intervention in Hollywood. I have this strong feeling that Eric Williams is just like Kubrick -- bringing a movie to us now that might not have appeared for another ten or twenty years."

...

"Did anyone notice the little girl hugging a doll? Haha, I saw it! Eric Williams, you lolicon, don't even try to deny it!"

"Shh! No spoilers, leave some surprises for everyone."

"Exactly! But when you see the Challenger space station interiors, keep your eyes wide open."

"Haha, I was scared, but then I found it adorable."

"That floating figurine! Too bad it wasn't a real person, but it was so cute. I wonder if they'll release merchandise of it."

"Darn you spoilers! Restrain yourselves or face the wrath!'

...

"Ahhh, two more weeks! I can't wait any longer. High prices offered for preview tickets, as long as it's in Seattle."

"To buy tickets, join the YCR group: 714311997."

"That's a scam. I have tickets, $600 on eBay. DM me if interested."

"I think I'll just talk to the scammer instead."

...

After spending a pleasant weekend with Angela Lindvall, Eric returned to Los Angeles to prepare for Gravity's global premiere on Friday, November 12th.

Firefly Studios.

The day after returning to Los Angeles, Eric watched a rough cut of The Lord of the Rings: The Fellowship of the Ring in the IMAX screening room at the studio. After lunch with Peter Jackson and others, he and Jeffrey Katzenberg strolled along a concrete path in the studio, discussing the promotional strategies for Gravity.

With the Saturday night screening generating massive acclaim, two years of hard work had finally borne fruit, and the results were even more bountiful than expected. The atmosphere within Firefly Group was currently one of exhilaration.

"Michael called me on Sunday and we talked over lunch. He hopes for the Mummy universe to do a 3D version; there's a Scorpion King 2 coming out this summer. He also inquired about our upcoming plans," Katzenberg stated.

Eric could feel the joy in Katzenberg's tone. After all, Michael Eisner was his former boss. With a smile, Eric replied, "Did you tell him yes?"

"Of course not," Katzenberg shook his head, "but I didn't outright refuse either. It would depend on our situation. If we need content, a Mummy universe series could be a solid option."

Eric nodded in agreement.

According to the plan, once 3D and IMAX take off, the number of 3D and IMAX screens across North America and abroad would certainly rise dramatically. The exact figures for how much they would increase, however, still lacked detailed projections.

Yet, Firefly Group already had a clear mindset: better to be selective than to oversaturate.

The 3D film market, especially in the West, enjoyed a boom following Avatar's success. However, within just a few years, producers unleashed a flood of 3D versions in their relentless pursuit of profit, alienating audiences with subpar 3D features and leading to a swift return to 2D screens.

This time, with their grip on much of Hollywood, Eric would not allow that situation to recur.

And despite the unpredictable nature of business greed, Firefly's system could now establish multiple barriers to ensure the healthy development of 3D films.

First among them was cost.

Gravity, despite its 90-minute runtime, had a substantial production cost due to its dual-3D filming setup, with a single regular film costing upwards of $3,000. Upon securing 2,000 3D screens in North America, the copying costs would reach $6 million. Furthermore, the IMAX-3D version's copying costs could skyrocket to $30,000. If 100 screens were dedicated to the IMAX-3D model, that would amount to another $3 million in costs.

Just this one line item -- the $9 million necessary for standard copies -- was enough to produce a decent independent film. Moreover, overseas, this same distribution scale could nearly double costs if completely new copies were utilized, reaching $18 million.

Due to the initially steep copying costs, one executive even suggested delaying some international market releases to allow for reusing North American copies.

Eric actually agreed with that executive's suggestion. However, Gravity's overseas release dates were already fixed; most synchronized markets could not be altered at this point, and this expenditure was unlikely to be recouped.

Now still residing in the film era, this situation wouldn't change for the next decade. Therefore, the costly dual-3D film copies would inherently filter out many lower-quality films.

The copy costs were merely the first barrier erected by the Firefly system.

*****

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