"Why should we fear competition? Which successful summer blockbuster wasn't born out of fierce competition?"
Standing by the conference table, Mel Gibson leaned forward, hands on the table, as if to emphasize his point. "Are we really going to change our release date just because 'Saving Private Ryan' chose the same date? That would make us the biggest joke in Hollywood!"
"No one has suggested changing it."
Paramount Pictures CEO Sherry Lansing gently rubbed her forehead. "But we must be cautious! Duke Rosenberg has every reason for us to be concerned about any competition!"
Paramount's entire marketing and distribution plan, both in North America and overseas, was built around the Memorial Day release. Changing the release date would be the most foolish choice.
"Actually, there's no need to worry so much."
In contrast, Martin Bob's expression was much more relaxed. "I have reliable information that Duke Rosenberg's film is not the pure action war film we thought it would be. He seems to want to gradually transition to something different, and we can see that from the existing trailers; the film lacks the exaggerated popcorn-style narratives of the past."
He laughed. "Think about it, why have Duke Rosenberg's films been so popular during the summer?"
Before anyone could respond, Martin Bob answered his own question. "Stunning action shots, rapid and fierce editing, explosive special effects!"
"Exactly, that's the foundation of Duke Rosenberg's filmmaking style!" Mel Gibson took the conversation forward. "It's also the biggest selling point of his films!"
"What if he wants to change that style?" Martin Bob's smile grew wider. "The word is that he wants to incorporate humanitarian concerns and a lot of anti-war themes into the film! Imagine—a purely commercial director known for visual effects suddenly wanting to make a film with thought and depth. How terrifying would that be?"
Many, including Mel Gibson, laughed.
"How difficult is it for a commercial director to transition?" Martin Bob continued. "Even considering this year, Duke Rosenberg has only been in Hollywood for four years. I admit he's achieved commercial success most directors can only dream of, but to think he can successfully transition with just one film? Isn't that the most ridiculous joke?"
"That's right, some commercial directors can succeed in transitioning," Sherry Lansing clearly agreed with Martin Bob. "But even geniuses like Spielberg took nearly a decade and several films to gain recognition beyond commercial success!"
The atmosphere in the conference room lightened considerably, and after some discussion, the topic returned to 'Saving Private Ryan,' as the two films would be going head-to-head during the summer release, and competition wouldn't remain merely theoretical.
"We'll determine the film's style as soon as possible," Martin Bob said. "So we can formulate a targeted suppression strategy."
"The media under Viacom will coordinate with the film's marketing and promotion," Sherry Lansing added. "If necessary, we will take extraordinary measures!"
After a moment of silence, Mel Gibson suddenly raised his head. "Is there a possibility we could target Duke Rosenberg himself? He has caused us a lot of unnecessary losses!"
Every day the filming schedule was delayed meant a corresponding increase in expenses. Due to the explosion scenes, Mel Gibson's shoot took nearly ten extra days to complete. The costs for horse rentals, stunt actors, and particularly the injury compensation for Sean Connery were significant figures, directly leading to a nearly $5 million increase in the production cost of 'Braveheart!'
"That's difficult!" Martin Bob sighed. "Other than being a bit lecherous and tangled up with some beautiful actresses, there isn't much to attack Duke Rosenberg on."
If he were a homosexual or had drug issues, they wouldn't have let it go. But tangled up with beautiful actresses? Almost every director in Hollywood did that, and tabloids had not hesitated to circulate Duke Rosenberg's romantic rumors, which were merely gossip. He had no wife and no girlfriend, making it impossible to use that as a weapon against him.
"Beautiful actresses?" Mel Gibson lightly tapped the table, murmuring to himself. "I think Sean mentioned he once pursued Sophie Marceau."
"Martin, we just need to find the right point of attack."
The competition between 'Braveheart' and 'Saving Private Ryan' directly affected Paramount's profits. Sherry Lansing showed no hesitation. "Paramount will strike back with full force!"
After the meeting, the specifics would naturally be handled by the professional staff. Mel Gibson, Martin Bob, and Sherry Lansing left the conference room and headed toward the elevator.
"Hi, Mr. Gibson."
Hearing someone greet him ahead, Mel Gibson, who had been lost in thought, nodded. It was Lovett, who nearly became one of his co-managers. He had once been the most promising young agent at CAA but had made a stupid mistake concerning Duke Rosenberg, just like the entire CAA, and then unfortunately took the blame. After Martin Bob took over, he lost his partnership status and was demoted back to the mailroom.
Originally, Mel Gibson had no intention of acknowledging Lovett, but suddenly remembering he had once been Duke Rosenberg's agent, he called out to him.
As they waited for the elevator, Lovett wore a pensive expression, seemingly trying hard to recall events from a few years ago.
"Duke didn't have anything particularly special before; his biggest strengths were focus and hard work. Although at the time it seemed he didn't have much talent, if there was a flaw, it was that he dumped his girlfriends too quickly."
"You knew his girlfriends from school?" Mel Gibson asked.
"I can remember a few," Lovett said cautiously. "Or maybe it's more accurate to say they were temporary companions."
Mel Gibson nodded, and Lovett seemed to recall something. "There's one thing; I don't know if you've heard."
"What is it?"
"It's something that came from Madonna," Lovett lowered his voice. "One of my friends has a good relationship with Madonna's personal assistant. She told me that during Madonna's fashion show for Victoria's Secret in London, she played a BDSM game with someone."
"Is that all?" Mel Gibson showed an impatient expression. "Does this kind of thing happening to Madonna really surprise anyone?"
"This time is different!" Lovett said mysteriously. "It's said that Madonna was the submissive in this case and was beaten so hard she couldn't get out of bed for two whole days!"
Mel Gibson displayed an interested look. Who could make that crazy woman suffer like that?
"It was Duke Rosenberg!" Lovett provided the final answer. "That assistant said Duke used a belt and whipped Madonna for a full five minutes!"
"He has that kind of hobby?"
At this point, a thoughtful light appeared in Mel Gibson's eyes, but then he shook his head. So much time had passed, and Madonna hadn't made any moves, indicating she likely didn't intend to pursue the matter. Moreover, no one knew if she enjoyed it. If they went after Madonna, who knows what might happen?
Madonna wasn't someone easily controlled, and CAA had no advantage over her.
The elevator doors opened, and as Mel Gibson stepped inside, he continued pondering the things Lovett had mentioned, considering whether any of these aspects could be leveraged.
Beautiful, sexy actresses—any normal man would like them, and some might even have the urge to destroy beautiful things. Duke Rosenberg's films never hid his style of destruction, so could that style have extended into his actual life?
"Hi, Mel."
When the elevator doors opened, Mel Gibson saw a beautiful French woman waiting outside. She greeted him warmly. "Sophie, what brings you here?"
"I came to negotiate some contract terms with CAA." She pointed to the elevator door. "I'm going up."
Remembering that Sophie Marceau was preparing to enter Hollywood and was negotiating specific contract terms with CAA, Mel Gibson took out his phone and dialed Martin Bob's number. "Martin, I have some ideas regarding Sophie Marceau. Can we temporarily hold off on negotiations with her? Good! Then let's wait until we've talked before proceeding."
After hanging up, Mel Gibson hurriedly left Century City to visit Sean Connery in the hospital and confirm whether Duke Rosenberg had really pursued Sophie Marceau.
As for Sophie Marceau, Duke had long forgotten about her. Far away in Ireland, he was finishing the last scenes of his film.
More than two months had passed since filming began, and with the most challenging opening and closing battle scenes completed, the crew had found their best state and rhythm. Duke's biggest concern was controlling the emotional scenes. Initially, he encountered some difficulties with a few scenes purely focusing on personal emotions. However, he wasn't a rookie like during 'Speed.' After a week of adjustment, he gradually found his rhythm, and since the actors' performances weren't as poor as those in action films, the lost progress was slowly being caught up.
He couldn't say he was better than Spielberg, but at least he had nothing to do with the word "bad."
"I have a feeling, Duke," Tom Hanks said while sitting on the set ruins, drinking coffee next to Duke. "Once 'Saving Private Ryan' is released, Hollywood and audiences across America will change their fixed perception of you."
"Yeah, from a successful commercial director," Sophia, standing behind Duke, filled both of their cups with coffee, teased, "to a failed commercial director"
Duke ignored her, turning to Hanks and said, "To avoid being laughed at in the future, Tom, give it your all"
....
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