"Go ahead, tell me," Charles Rowan gestured for Duke to continue. After all, it was one thing for Duke to suggest an idea, but whether Warner Bros. would adopt it was another matter entirely.
"Super Bowl halftime ads!" Duke quickly stated. "Sending a 30-second teaser for the film during the Super Bowl halftime show would be an incredible promotional opportunity. The viewership is…"
"That would be a huge promotional expense," Charles Rowan interrupted. "The cost for a 30-second ad is at least $1 million!"
"But over 50 million people across the U.S. will see that teaser!" Duke replied.
The advertising slots during the Super Bowl were more than just regular ads. Since the mid-1980s, companies wanting to be part of it would create a special advertisement for the event, featuring the best creativity, stunning visuals, and top-tier stars. Even many viewers who had little interest in the Super Bowl would switch over during halftime just to watch the commercial block and the halftime show.
Thus, the Super Bowl often had a higher viewership during halftime than during the actual game.
The advertising costs were indeed exorbitant. Duke had kept track over the years; the price per second had reached $100,000, making it hard to find an ad for under $300,000. It became a common practice for major films to advertise during the Super Bowl.
As Charles Rowan mentioned the Super Bowl, memories slowly returned to Duke's mind. If he recalled correctly, the first film to run an ad during the Super Bowl was "Independence Day." That blockbuster had a global promotional budget of only $24 million, which was hard to imagine now.
As for the promotional effect of the Super Bowl, "Independence Day" served as a reference point. The massive success of that film prompted Hollywood to make advertising during the Super Bowl a standard practice.
In North America, the Super Bowl dwarfed all other sporting events and television programs; even the NBA Finals and World Cup Finals couldn't compete. Its influence was immense, and in terms of economic value created, it was arguably the most significant single game in the U.S.
Duke understood this well, as did Rowan.
However, this involved a considerable promotional budget, and with the Super Bowl approaching, neither of them had the authority to decide. Rowan could only say he would relay Duke's suggestion to Warner Bros., but whether they would adopt it was entirely up to them.
Advertising during the Super Bowl was merely icing on the cake and not the decisive factor in a film's success. "The Rock" was not like "Independence Day," a summer blockbuster. Even with a Super Bowl ad, it wouldn't sweep the globe like that film.
The key to a film's success lay in its excellent production, so Duke pushed the Super Bowl idea aside and continued with the lengthy post-production process.
However, to Duke's surprise, a few days later, Charles Rowan brought good news: after reviewing the initial cut of "The Rock," Warner Bros.' screening experts decided to advertise during the Super Bowl.
This news lifted Duke's spirits, which had been weighed down by heavy workloads. Within a day, he edited a 30-second highlight teaser, prominently featuring car chases, explosions, and fights—scenes that summer audiences loved most.
Moreover, he included bomb perspectives in the teaser, a shot that had never been seen before in Hollywood or worldwide.
A teaser couldn't just have visuals; it needed music too. So, Duke called Hans Zimmer, who was immersed in his work, to the Rock Studio.
As he sat in a chair, listening to the grand orchestral music play, Duke's gaze shifted away from Hans Zimmer. While he knew he couldn't compose music, he had a clear judgment on whether a piece suited the film.
Overall, the music was fitting for the atmosphere, yet Duke remained slightly furrowed. The piece seemed to echo classic scores from his past life but felt lacking in depth.
His gaze swept back to the serious Hans Zimmer, and it struck him: any star, director, or composer, like Naomi Watts and Zack Snyder now, had a long accumulation process before shining brightly.
There was no doubt Hans Zimmer, after "The Lion King," was a master of scores. Still, at this moment, he was just a craftsman.
The few minutes of music quickly finished playing, and Hans Zimmer looked at Duke, cautiously asking, "Not satisfied?"
"Not exactly," Duke shook his head, pondering before responding, "Hans, I'd like the music to be more grand and passionate."
Though he understood some sheet music, Duke couldn't compose. He had attempted to hum a passage, but his musical talent was too poor; his only audience, Sophia, bluntly told him he sounded like noise. After hearing the recording of his attempts, Duke confirmed it was indeed noise.
He even tried whistling, but the results were equally dismal. While he could discern some rhythm from whistling, it didn't mean others could create the song he envisioned from his inadequate whistling.
When Hans Zimmer arrived that morning, Duke played his whistling recording for him, to which Zimmer shook his head.
It was unrealistic to expect a composer to replicate a song or score based on a hummed tune; that was pure wishful thinking.
For now, the score would remain as it was, even if it differed from his past life. There was no telling it wouldn't become a classic in the future. Hans Zimmer would make adjustments, and this was not the final version of the score.
While discussing the score, Shania arrived at the Rock Studio, bringing the master recording of the film's theme song composed by Hans Zimmer. Duke listened to it several times. Though it couldn't compare to Shania's peak work, it was sufficient for the film. With some adjustments to details, he agreed to use the song.
With the 30-second teaser completed, along with Hans Zimmer's score and a few portions of Shania song, Duke finalized the film's advertisement for the Super Bowl. His intense workload could now ease up a bit.
"You seem more confident," Shania observed in the quiet restaurant, looking at Duke.
Her aura was entirely different from Naomi Watts'. With high eyebrows and slightly tousled curls, she exuded a wild Canadian charm. Her bright eyes radiated confidence and determination, while her fitted crop top showcased her sexy and alluring figure.
"My first album has been recorded," Shania said, having only eaten a small amount of food. "The company invited many radio DJs and music critics for a listening session, and the feedback has been positive."
"Wishing you great success with your album," Duke raised his glass.
"Wishing your film is a hit," Shania replied.
"Shania, I feel we share some similar traits," Duke set his glass down, and Shania tilted her head, observing him. "Do you use this line to charm women, or are you trying to pursue me?"
"I never like to charm women," Duke replied without embarrassment. "I just feel a connection with you."
Shania didn't respond; she merely continued to look at Duke, and their gazes collided in the air, both breaking into smiles.
"You, with your background, cannot imagine the life I used to live," Shania suddenly shifted topics. "I swear to escape poverty, to make my siblings part of high society, and to become the top singer in this world."
She raised an eyebrow, "What about you, Duke?"
"A director," Duke shrugged, "the best director."
"So we will not stop moving forward."
This woman's experiences were far more complex than Naomi Watts'. Her rise from the bottom to her current status made her more rational. "I need someone who can help me significantly with my music."
Her words were very direct, "From what I know, you're not that person."
Hearing this, Duke chuckled. Regardless of everything, she was quite a straightforward woman. He vaguely remembered her first husband was a famous music producer who helped her elevate her career, and when the media and the public compared her to Madonna and Mariah Carey, she divorced and married a businessman.
After dinner, they exited the restaurant and, in unison, entered the same car. Duke drove straight to a nearby famous hotel. Shania simply hooked her arm around his, remaining mostly silent until they entered the suite, where a passionate kiss ignited between them.
This was their first intimate encounter and likely their only one, as they unleashed their maximum passion. Duke, in particular, experimented with various styles. Shania Twain, with her fit and sexy body, clearly had a higher tolerance than Naomi Watts. As long as things didn't go overboard, she accepted almost anything.
When Duke pressed her onto the carpet and launched a wild assault from behind, Shania nearly cried out in excitement, revealing a hint of a submissive side.
"I like you like this, Duke Rosenberg!" she turned her head, her high-pitched voice filled with excitement, "I really like you!"
In response, Duke intensified his movements.
The night dispelled the hustle and bustle of Burbank, bringing rare tranquility to the streets. Duke and Shania, wrapped in a thick blanket, sat on the balcony overlooking the street, slowly savoring their glasses of red wine.
"You're a perfect bed partner," Duke clinked his glass against hers.
"So are you."
Shania sipped a mouthful of red wine, leaned over, and kissed him. After a moment, she pulled back, wiping away the red liquid at the corner of her lips. "I'm leaving Los Angeles next month to move to Nashville, where I'll settle. If you pass through, you can call"
"I wish you can realize your dream soon."
Holding up the face that looked even wilder as it flushed, Duke kissed the smooth forehead hard.
...
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