Overall, the Hollywood film production process can be divided into five main stages: review and development, pre-production, filming, post-production, and distribution. As September approached, "The Rock" was still in the initial pre-production phase.
During this stage, the Rock Studio needed to prepare extensively for the actual shooting, which included hiring actors and crew, building sets, and selecting filming locations, all of which Duke had to participate in.
It was impossible for a director to completely detach from pre-production. The idea of handing all preparatory work over to others and relaxing while others directed was a recipe for disaster; there were no exceptions.
Fortunately, Duke now had assistants who shared his vision. Some tasks could be delegated to assistant director Zack Snyder and co-director Sofia Coppola, who would then compile everything for his final review. Even so, the three of them frequently encountered friction due to differing ideas and approaches, but they managed to keep it confined to work-related matters.
Reviewing Sofia's call sheets and schedules, flipping through Zack Snyder's scene construction diagrams and storyboard illustrations, were all things Duke had to do amidst his busy schedule. Additionally, he had to evaluate filming locations with cinematographer John Schwartzman and discuss scene arrangements with art director Hannah Serina.
He also needed to participate in auditions for several lead actors. After confirming that Ed Harris, Nicolas Cage, and Christopher Lee would be the three main stars, Duke had to work with the character director to communicate the role requirements to them…
In short, with the global box office of "Speed" breaking $300 million and continuing to rise, Duke received more support from Warner Brothers and gained significantly more power than during his first directing experience, while also becoming busier.
"Lieutenant Colonel…"
Standing on top of a building near San Francisco Bay, Duke pointed towards the distant Golden Gate Bridge shrouded in fog. "Can our F-18 Hornets fly under the bridge?"
"Duke, I advise you to give up on that idea."
Lieutenant Colonel Renho, the liaison officer from the Pentagon assigned to the crew, shook his head decisively. "That's impossible!"
"Looks like we'll have to rely on special effects," Duke indicated for Sofia to note this down, then turned to Zack Snyder and art director Hannah. "I want a more intense view than what we have now. Zack, it should have that oil painting-like feeling you mentioned."
"Then we'll need artificial lighting," Zack Snyder noted as he wrote down Duke's ideas. On the other side, Hannah added, "I'll make sure to enhance the color saturation during the scene arrangement."
"John…"
Duke snapped his fingers to summon cinematographer John Schwartzman, saying, "It's autumn now, the most beautiful season for views around San Francisco Bay. Starting next week, have your photography assistants come here weekly to take location shots. I want plenty of sunrise and sunset scenes."
This was Duke's first official visit to San Francisco for research. Before entering the building, he had already taken the assistant director, cinematographer, art director, and military advisor on a tour around the streets, getting a preliminary composition for the streets that would be destroyed in the future film.
Lieutenant Colonel Renho was not only the liaison officer from the Pentagon but also the leader of several military advisors.
As expected, after Warner Brothers submitted an application and the Pentagon reviewed the script, the Department of Defense agreed to sponsor this major commercial production. Just like "Speed" was for the Los Angeles police, the soldier spirit and patriotism promoted in "The Rock" perfectly aligned with the Pentagon's interests.
The Pentagon offered generous sponsorship for the film, providing the crew with F-18 Hornets, improved M-16 assault rifles, and various advanced equipment for filming, along with a team of Navy SEALs who would appear as special forces in the film.
Except for a small amount for personnel costs, everything was virtually free, highlighting the government's emphasis on promotional work.
In other words, "The Rock" was also a typical American patriotic film.
Of course, for Duke, the genre of the film was not important; what mattered was whether it could bring him profits.
Exiting the building, the group went to the San Francisco Bay dock and boarded a ferry to the infamous Alcatraz Island.
Alcatraz, nicknamed 'The Rock,' is surrounded by steep cliffs and deep water, making external transportation difficult, which is why the federal government chose it as a prison site. It once housed the Alcatraz Federal Penitentiary, which held many notorious criminals until it was closed in 1963, and now serves as a famous tourist attraction along with the Golden Gate Bridge.
This was also the main setting for the film's story.
"Duke…"
While standing at the bow of the boat, Lieutenant Colonel Renho approached him, bringing up the old topic again. "Can you reconsider the Pentagon's opinion?"
"Colonel, the Pentagon approved the review, which indicates their overall satisfaction with the script."
This was not the first time the other party had mentioned it. Perhaps there were differing opinions within the Pentagon's Hollywood liaison office; some wanted to portray General Hummer and the FBI in a more positive light, but Duke wouldn't easily yield. "The country should treat those who have made sacrifices well."
"The theme is not disputed by the Pentagon," Lieutenant Colonel Renho said.
"Then good." Duke nodded, holding onto the boat's railing. "Let's discuss character issues."
"General Hummer risks everything for his neglected men, and Mason, who is used against him, is also a spy who made great sacrifices for national interests. All the main and supporting characters are dedicated to their duties. Even the FBI director, Womack, who appears as a darker character, acted to protect state secrets by imprisoning Mason."
"In the end, all the characters remained loyal to their country and duties. Hummer redirected the missile at the last moment; Mason, after being wronged by the country for decades, chose a peaceful return; and Colonel Anderson, knowing he would be shot, still held onto his weapon, making every effort to persuade the opponent to honor the Navy's oath."
"As for the two minor traitors at the end, are those small characters important?"
Looking seriously at Lieutenant Colonel Renho, Duke said earnestly, "In my vision, this is a film without any true antagonists."
Having said this, Duke tried to minimize the differences with the Pentagon. After all, the free sponsorship they provided would allow him to allocate more budget for special effects, and as a director who wouldn't stray far from the mainstream film industry, he would need the Pentagon's support in the future.
The differences were not easy to bridge. Lieutenant Colonel Renho was temporarily persuaded by Duke to continue communicating with his superiors at the Pentagon. After boarding Alcatraz, he did not bring up the related topics again. Instead, he began to explain in detail to Duke, an outsider, how to reasonably deploy forces and carry out special operations based on Alcatraz's architectural layout and terrain. This knowledge was very specialized and rigorous, which was why Duke had hired military advisors.
Although it was an entertainment film, he did not want to make fundamental errors that would lead to ridicule.
Alcatraz Island is no longer the prison it once was; it has become a tourist destination. After touring the island above and below, Duke discussed the feasibility of on-site filming.
"The surface looks fine."
Cinematographer John Schwartzman said, "But the underground doesn't have conditions for on-site shooting."
"Hmm." Duke nodded and said to the art director, "Hannah, you'll be responsible for replicating the underground scenes of Alcatraz."
The female art director gave him a reassuring gesture.
In the end, the group entered Alcatraz's recreation area, a spacious flat area where they could clearly see the distant Golden Gate Bridge and most of the beautiful scenery of San Francisco Bay.
"Robin…"
Stopping in his tracks, Duke walked over to the usually discreet production manager. "The main scene in the film is on Alcatraz. If we hold the premiere here in the future, wouldn't it be a great promotional gimmick?"
"Indeed, it would benefit the film's promotion." Robin Grand nodded in agreement, surveying the surroundings as if considering the feasibility and cost of setting up a large screen. After a while, he said, "There's some operational feasibility. I will communicate this with Warner Brothers."
As the sun began to set, Duke concluded this two-day site visit and, along with the crew members, took several cars on a long drive back to Los Angeles.
"Have you started losing sleep again?"
Noticing Duke resting against the back seat of the car, Sofia Coppola handed him a bottle of energy drink. "Is the pressure too much?"
"No…" Duke shook his head, opening the bottle and taking a few sips. "The pressure is much less than when shooting 'Speed'; I'm just a bit tired lately and not sleeping well."
"Finding a woman might help," Sofia teased, pulling out her phone. "Do you need me to call one for you?"
"What?" Duke was taken aback.
"Naomi Watts…" Sofia pointed to her eyes. "I don't see a problem here; isn't that woman your temporary bed partner?"
Duke waved his hand dismissively, too lazy to respond.
"Do you know how Nicolas eliminates pressure?" Sofia leaned in closer, lowering her voice conspiratorially. "He invites a dozen leggy models over for a wild party at home. There are companies in Hollywood that specialize in providing this service."
"Have you participated in one?" Duke quipped back
"No..." Sophia shrugged and said openly, "But I saw my brothers driving by."
"Okay, Sophia. Stop telling these jokes." Duke felt a little better. "Let's turn the topic back to work. Tomorrow we have to interview the pyrotechnics engineer recommended by Uncle Lucas, and we have to prepare for the female character. Auditions will be held..."