[Chapter 963: Developing the Easter Release Window]
The final set of shots posed no challenges at all. Over ten minutes later, as everyone on set cheered and celebrated, the scene in the cave from Iron Man was officially wrapped.
Once a second unit director was assigned to handle the wrap-up, Joss Whedon approached Eric, who had just removed his Mark 1 armor. He asked, "Eric, I'm going to review all the footage from this period tomorrow. Do you want to join me?"
When production for Iron Man first began, Joss had worried that Eric might interfere too much with the filmmaking process. However, over the past couple of weeks, those concerns had completely vanished. In fact, Eric's occasional insights during filming had greatly benefited Joss, who was a rookie director handling a major production for the first time. Joss genuinely hoped to gain more advice from Eric.
After the cave scenes were completed, the set would soon be dismantled to make way for other films. Therefore, if any additional shooting was required for this segment, it would become quite complicated. Naturally, Eric wanted to ensure everything was perfect, and although tomorrow was Sunday, upon hearing Joss's invitation, he readily agreed.
...
The core creative team of the movie gathered to discuss next week's shooting schedule before Eric left the studio. Noticing that he hadn't seen Miranda Kerr all day, he asked Caroline, who was beside him, "Has she not returned yet?"
Caroline shook her head. "Not yet. I called about ten minutes ago, and Carter said they were on their way back. They should be taking off now."
Today's shoot had wrapped up early, and it was still not even five o'clock. Eric wasn't in a rush; he nodded and headed to his office in the administrative area to tackle some work.
As soon as Eric entered his office and switched on his computer, Caroline knocked quickly and came in, handing him a folder. "Eric, this is the film list for the Easter release that you requested on Friday. It includes detailed information and marketing plans for films from Firefly, MGM, and Fox."
Faced with an increasingly crowded summer and New Year's release schedule, Eric had begun to consider developing a brand new popular release window since last year. Besides gradually extending the summer and New Year release periods, he initially focused on Easter.
In the planned promotion for 3D and IMAX films, the "RealD" and "4200" initiatives would be implemented by the end of next year. At that point, there would be no shortage of 3D and IMAX films for the New Year's slate. So far, confirmed titles included Gravity and the first installment of The Lord of the Rings. However, just those few 3D and IMAX films for the New Year would clearly be insufficient to carry through to the summer.
Therefore, the Firefly system needed to release at least two additional 3D and IMAX films between the New Year and summer to ensure that the 4,000 3D screens and 200 IMAX screens wouldn't face a shortage of content. The Easter release window was undoubtedly the best time to launch new films in the six-month gap between the New Year and summer.
Easter coincided with students' spring break, and teenagers were precisely the demographic most receptive to new film presentation formats.
Interestingly, the Easter window had always existed, with Hollywood routinely releasing several films during this period. However, previously, the film companies had viewed Easter merely as a chance to capitalize on students' vacations to earn a little more than during the quieter film off-season. If they could strike a surprise hit or two, that'd be even better.
Since Easter had never been taken too seriously, major productions almost never launched during this time. Yet, once the "RealD" and "4200" initiatives were in full swing, things would change.
Currently, still in the film era, the production cost for a film print copy ranged from $1,000 to $2,000, depending on length. Although the cost of producing a single film print was not exorbitant, multiplying that by two or three thousand resulted in a significant expenditure. The cost for a few thousand film prints during distribution could easily reach millions of dollars. For dual-projection 3D films, this cost could be doubled; the price of IMAX film prints was ten times that of regular prints.
Distributing films in 3D and IMAX formats could lead to production costs exceeding ten million dollars just for prints alone. Therefore, low to mid-budget films with production budgets under $50 million were unnecessary for Eric's plan for the 4,200 cinemas. To fill the Easter window two years later in 2000 with 3D and IMAX films following Gravity and The Lord of the Rings, only the big productions would qualify.
To ensure that Easter films did not flop, Eric planned to vigorously cultivate the concept of the Easter release window starting this year. The process was akin to later creating shopping festivals like Black Friday; it wasn't particularly complicated. In essence, it meant improving the quality of films released during Easter and increasing marketing efforts to draw in more audiences who might not have otherwise gone to the movies during this period.
According to the information in his hand, MGM planned to feature Species during the Easter period, with a production budget of $35 million, placing it as a mid-budget production. Interestingly, the film's lead role was originally supposed to be Natasha Henstridge, who began her modeling career at 14 and was also part of the Victoria's Secret ranks.
Eric remembered hearing Drew mention auditions for this film last year but did not get involved, resulting in the lead role going to the stunning Heather Graham. Heather also had an outstanding performance in New Line's last year's film, Boogie Nights.
During casting for Iron Man, Eric had directly placed the role of journalist Christine Everhart from Vanity Fair in the hands of the Victoria's Secret team. Linda Evangelista, displeased with Eric's prohibition against Victoria's Secret Angels dating young Leo, had privately nicknamed him "Jealous-Daddy," a rather fitting label.
Since he had personally built the Victoria's Secret brand, Eric did not mind elevating his lovely models in popularity. Indeed, it had its advantages: the more prestigious he made Victoria's Secret, the greater his influence in the fashion world.
After Natasha Henstridge lost the role in Species, when Eric released the quota, he saw Natasha Henstridge participated in the audition and gave the role to her.
Perhaps with a bit of motivation, Elisabeth, not very optimistic about the prospects of Austin Powers: The Spy Who Shagged Me, pushed this wacky comedy to become Fox's main Easter feature.
However, with a production budget of $30 million, Austin Powers: The Spy Who Shagged Me ranked among the highest for Easter releases. Although there were not high expectations for the comedy, as long as it could maintain roughly the $60 million North American box office of its predecessor, it could not be considered a flop.
Finally, New Line prepared a romantic comedy titled The Wedding Singer, starring Adam Sandler. In terms of budget, New Line's The Wedding Singer had the lowest of the three films, with production costs at only $18 million -- about half of Species' budget -- similarly not able to compare to Austin Powers: The Spy Who Shagged Me's $30 million.
Nevertheless, of the three films, Eric was most optimistic about The Wedding Singer. He remembered that in the original timeline, the lead role was played by Drew Barrymore. Although he wasn't sure about the specific box office for The Wedding Singer, Eric knew that it held significance for Adam Sandler similar to Jim Carrey's breakout film, Dumb and Dumber.
This time, Drew would definitely not get involved with this low-budget romantic comedy, but Jennifer Aniston stepped in to take the lead role, which was a result of Eric's influence. After making up with Aniston last year, Eric noticed that New Line was casting for the romantic comedy and encouraged her to audition. Friends had already reached its final stages, making it the perfect time for Aniston to shift her focus to the film industry.
As for the male lead, Adam Sandler had been a writer and performer on Saturday Night Live since the early 90s. As one of the longest-serving cast members on North America's top entertainment variety show, Adam Sandler was quite a household name in the US.
Many people often confused Adam Sandler with the so-called "Frat Pack" led by Ben Stiller. Yet, Adam Sandler did not align with that group; instead, he carved out a distinct identity characterized by a specific style in his films. While the members of the Frat Pack focused on outlandish, raunchy comedies, Adam Sandler preferred heartwarming, absurd romantic comedies.
Of course, as someone who often topped Hollywood's low-return rate charts, Eric's views about Adam Sandler were somewhat akin to his earlier thoughts on Jim Carrey, if anything, slightly more negative. While Jim Carrey carried international box office appeal, Adam Sandler's comedies frequently, like the Frat Pack's works, attracted audiences mainly in North America.
Therefore, if the costs of collaborating on films with Adam Sandler exceeded what Firefly could accommodate, Eric was hesitant to continue the partnership. After all, Firefly had no shortage of projects. Plus, the risks associated with comedy films could be substantial. If the salaries of the creative team inflated the budget into a big production scale, the chances of heavy losses increased significantly. This was a significant reason Adam Sandler often topped the low-return rate charts. Even if box office numbers looked good, profits usually ended up primarily in the hands of stars like Adam Sandler, leaving the film companies with only a meager return.
Between the three films -- Species, Austin Powers: The Spy Who Shagged Me, and The Wedding Singer -- although they had not yet met Eric's expectations, they were already enough to support this Easter release window.
Eric hoped to slot in a major production, but on one hand, after several explosive years, Firefly's high-profile projects were in development. They were going through a downturn, and even the earliest such a film could happen would be next year. On the other hand, while both MGM and Fox had a few heavy-weight films suitable for the Easter window, considering their current production scales, they couldn't even fill the summer and New Year's blocks, leaving Eric no room to ask them to sacrifice popular seasons to make way for Easter.
After reviewing the materials in hand, Eric picked up the phone to discuss various matters with Elisabeth and the others. It wasn't until Caroline knocked again, informing Eric that the helicopter had returned, that he began to gather his things to head home.
...
Leaving the office building, Eric made his way to the helicopter landing pad but spotted a group of seven or eight girls gathered around Miranda Kerr, apparently just off the plane and still lingering about.
These girls were probably around the same age as Miranda and, being from the affluent Beverly Hills high school, all wore casual outfits perfect for a spring outing -- simple shirts and jeans, many sporting ponytails, radiating youthful energy.
Noticing Eric's arrival, the girls immediately erupted in excited screams, unreservedly gathering around him.
"Wow, it really is Eric!"
"I thought Miranda was joking!"
"Eric, can we get your autograph, please?"
"..."
Chattering continued, and Eric felt a bit overwhelmed. While he never minded being surrounded by a group of beautiful girls, he least enjoyed the ones who were too loud.
Sensing Eric's discomfort, the girls gradually quieted down but still boldly hung around him, even asking if he could invite them to see the Shell Villa at the Liberty City.
As Eric was trying to manage the situation, Miranda approached with another girl at her side.
Eric, feeling discontent with this girl's presumptuousness, was taken aback when he saw the girl accompanying Miranda.
The girl wasn't particularly tall, only slightly taller than Miranda, who had reached five-seven. With long, golden hair and a face that wasn't conventionally beautiful yet exuded a youthful innocence, she even had a little mole on the right side of her cheek.
Upon noticing Eric's gaze, the girl showed a slight nervousness and unease but quickly walked over to introduce herself. "Mr. Williams, hello, I'm Miranda's classmate. My name's Scarlett, Scarlett Johansson."
Eric didn't expect to run into the future Black Widow here, though it didn't strike him as odd. Scarlett Johansson had already made her debut years earlier, and he had seen her in several films, just never paid much attention.
After all, in previous years, Eric had come across countless actors who would later rise to fame but were obscure at the moment. Unless these actors had any interaction with him, Eric typically wouldn't give them much thought.
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