Chapter 717: Chapter 718: Beauty and the Beast
In January 2012, amidst the typical lull in movie releases, a beacon of cinematic prowess emerged with Peter Berg's directorial masterpiece, featuring Mark Wahlberg in a gripping portrayal based on "Lone Survivor," derived from harrowing true events.
Despite its modest $40 million budget, the film garnered fervent support from Martin and garnered unanimous acclaim from early screenings, thanks to Disney Pictures' robust promotional and distribution efforts across nearly 3,500 theaters in North America.
At the premiere, the crew honored the bravery of retired soldiers, with Marcus' own rescuers attending the event, serving as poignant reminders of the film's real-life heroism, integral to its promotional strategy.
Amidst the grandeur of the premiere, Alan Horn beckoned Martin to the second-floor vantage point overlooking the bustling red carpet below.
Surveying the scene, Martin remarked, "There's a certain air of superiority here, isn't there? Quite the unique perspective."
Alan Horn chuckled, "Feeling like you've got it all figured out?"
Martin nodded thoughtfully, "It's easy to fall into that trap. The illusion of control. But filmmaking, it's a complex dance of commerce and artistry. Despite glowing test screenings and critical acclaim, failure remains an ever-present specter."
Alan Horn's mind wandered to past rivalries, "Jon Berg always stood here during Warner Pictures premieres," he mused, a tinge of bitterness in his tone.
Martin caught the resentment in Alan's voice, recognizing the lingering animosity towards Warner's tactics, akin to the bitterness between estranged lovers.
Alan reminisced about past victories, "Remember that nominees luncheon? 'Moneyball' was left in the dust, but our collaboration on 'The Martian' soared."
Martin, unapologetically pragmatic, interjected, "Let's not forget, Ellen, Disney's backing is what truly propels us."
While Disney's support may not have been as substantial as Martin's claim, Alan Horn eagerly echoed, "Securing Best Actor is our top priority in this Oscar campaign."
An Oscar win could translate to millions in revenue, a worthy investment indeed.
As they discussed the Best Actor race, Alan probed, "How's the progress on your musical project?"
Alan Horn strategically decided to await the release of both "Lone Survivor" and the forthcoming "Napoleon Beauty" before delving into detailed discussions.
Grinning, he suggested, "Let's carve out a special moment to dissect this matter thoroughly."
Martin, ever composed, replied, "Feel free to reach out whenever suits you."
As they entered the premiere hall, the anticipation hung thick in the air, and they settled into their seats in the third row.
Throughout the film's production, Martin collaborated closely with producer Akiva Goldsman, engaging in numerous discussions to navigate sensitive content and temper political undertones. The narrative, sculpted under Peter Berg's keen direction, honed in on the soldiers' valor and camaraderie, crafting Marcus and his comrades as paragons of virtue.
In the grand scheme of things, commercial interests often overshadowed harsh realities, aligning "Lone Survivor" as a thematic fit for mainstream American sensibilities.
Following the premiere, the film enjoyed a widespread release across North America, met with generally positive reception. Marcus' memoir had already cultivated a dedicated audience base, contributing to the film's initial success, particularly among male viewers over 30, culminating in a robust first-day box office haul of $16.87 million.
Over the opening weekend, "Lone Survivor" raked in an impressive $41.25 million in North America alone, surpassing production costs and signaling a lucrative venture.
Yet, amidst the accolades, dissenting voices in the media and online platforms surfaced, casting doubts and circulating rumors, particularly surrounding Marcus himself. However, Martin had preemptively addressed these concerns with Marcus during pre-production, leveraging his experience from his involvement in the "John Wick" series to mitigate potential controversies.
Funded primarily by South Korean investors, the film's triumph prompted a flurry of excitement in Korean media, heralding it as a quintessential example of successful Korean investment in Hollywood. Eager reporters from Los Angeles-based Korean outlets sought interviews with Martin, intrigued by the collaborative success.
This time, the narrative of Martin's purported Korean ancestry was conspicuously absent, replaced by genuine curiosity about the strategic partnership with Korean investors. Acknowledging the significant investment from Korean stakeholders, Martin graciously accepted joint interviews with select Korean media outlets, lauding the burgeoning Korean film industry and expressing openness to further collaborations.
Martin's eyes sparkled with anticipation as he divulged, "I've extended an invitation to Taylor Swift to make the song. It'll take some time, but I'm confident it'll be worth the wait."
Seizing the opportune moment, Martin segued into his own project, "On the topic of musicals, I've been brewing an idea as well. Our families could collaborate on it."
The mention of collaboration piqued Alan Horn's interest, evoking comparisons to other successful partnerships in the industry.
In response to Alan's inquiry about the project, Martin deliberated momentarily before revealing, "A live-action adaptation of a fairy tale."
Alan raised an eyebrow, citing the abundance of similar projects in Hollywood, including Disney's own ventures like "Into the Woods."
Undeterred, Martin clarified, "I'm referring to Disney's animated classics, like 'Sleeping Beauty,' 'Cinderella,' and 'Beauty and the Beast.'"
Alan chuckled in surprise, admitting, "I've entertained the thought as well. Which one do you believe is the most viable?"
With conviction, Martin asserted, "A musical rendition of 'Beauty and the Beast' featuring real-life performers musical."
Impressed, Alan queried, "Why not pursue it independently? You could easily secure over $100 million in investment."
Martin quipped, half-jokingly, "I've heard tales of Disney's strong legal team. They scrutinize every frame of similar projects, ready to pounce at any semblance of resemblance."
Alan waved off the notion, jesting, "Let's not exaggerate. They only analyze every second."
However, Alan couldn't shake the realization that any live-action adaptation of Disney's iconic fairy tales would require a substantial investment, likely exceeding $150 million. Collaboration with Disney seemed inevitable, but not urgent.
While Hollywood harbored confidence in Martin's star power, he found himself without a role in the recent releases from Davis Studio, where he had taken on production duties.
In today's Hollywood landscape, global investments pour into productions, with budgets soaring into the hundreds of millions, often bolstered by international funds.
"Lone Survivor" found favor among North American men aged 30 and above, ensuring a steady box office trajectory. After pulling in $23.56 million the following weekend, the film's North American earnings soared to $88.98 million, easily surpassing the $100 million mark.
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Amidst the bustling DreamWorks Campus in Glendale, the post-production department buzzed with activity, courtesy of a lucrative contract with the affluent Annapurna Pictures. Their spacious facilities hummed with the final touches on three high-stakes projects: "Seventh Son," "Transcendence," and "The Lone Ranger."
Emerging from the editing suites of "Transcendence" and "The Lone Ranger," Megan Ellison exuded confidence, her stride purposeful.
Wilson, approaching from behind, remarked, "Madam President, Depp's absence during post-production has proven advantageous. Our workflow remains unhindered. We've managed to navigate around the scenes requiring his re-dubbing without much hassle. I've discussed with Jerry, and we're better off without his presence, sparing both crews from undue stress..."
Megan Ellison raised a hand, halting his explanation. "I understand," she interjected, cutting to the chase, "Is there any particular challenge?"
Wilson hesitated briefly before revealing, "There was a push to increase the budget for 'Seventh Son,' but I pushed back."
"Why?" inquired Megan Ellison, her curiosity piqued.
Wilson deliberated before responding, "The production costs are already substantial, and the risks are considerable..."
"I prioritize quality above all else, and finances are not a concern," Megan Ellison asserted, her immense wealth evident in her confidence. "I have unwavering faith in these three projects. It's growing by the day."
Wilson struggled to grasp her intentions.
Megan Ellison clarified, "These three projects were snatched from Martin Davis, who had high hopes for them. Remember that recent film he backed, which didn't feature him but tanked at the box office? It gave me pause."
She reached for a copy of "The Hollywood Reporter" from the nearby rack and handed it to Wilson. "Take a look at the box office figures. 'Lone Survivor,' initiated by Martin Davis but it doesn't have his star power, has been a massive hit."
Wilson scanned the numbers, noting the film's staggering success despite its modest $40 million budget.
"If we join forces with you and Jerry Bruckheimer, wouldn't we outshine Martin Davis and Akiva Goldsman?" Megan Ellison mused, her ambition shining through.
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