Made In Hollywood

In the afternoon following the screening, relevant personnel from 20th Century Fox gathered in a small conference room to discuss the film they had just viewed in the morning. The movie exceeded everyone's highest expectations. For these industry professionals, it might be difficult to predict whether the film would be truly accepted by the market, but distinguishing between a poorly made film and a well-crafted one was not a challenge.

Perhaps it was the initial approval of *Speed*, or perhaps it was due to George Lucas's involvement, but CEO Jim Gianopulos also attended this meeting.

"Colette, why don't you start with your thoughts,"

After the secretary served coffee to everyone, Townsend Rothman spoke. "It seems you have some opinions about the film."

"It's a very thrilling and exciting film, though not in the traditional sense of an action movie."

After organizing her thoughts, Colette shared her opinion directly, "That young director named Duke did better than I expected. Every detail of the film was polished to perfection. It seems flawless."

As one of 20th Century Fox's most senior film selectors, Colette Singer's approval was clear.

"Townsend, what about you?"

As soon as Colette finished speaking, CEO Jim Gianopulos turned to Townsend Rothman, the head of distribution. His opinion was crucial. "What kind of strategy do you think we should use for this film?"

"Most of *Speed* is excellent. Although there are flaws in the plot logic and certain scenes, Duke Rosenberg's use of short cuts and a fast pace creates a sense of urgency typical of major blockbusters."

Setting down his coffee, Townsend Rothman spoke slowly, "Usually, a movie trailer compiles the best shots, the best visual effects, and the most exciting moments. But Rosenberg's film is filled with such scenes. It's like a series of adrenaline-pumping moments, one after another."

"It's an exceptionally well-made action-entertainment film," he concluded.

As a true professional, Townsend Rothman certainly wasn't foolish enough to judge a commercial film through an artistic lens.

"But we also can't ignore the risks behind the film."

From the beginning of the discussion, Tim Fischer had been observing the situation. It was clear that 20th Century Fox would inevitably sign this film, something he couldn't change. He also admitted that the film was thrilling and had many selling points, but he didn't want to see it become a huge success.

Firstly, this was a project advocated by his rival in the future CEO race.

Secondly, sharp observers would realize that the script had once crossed his desk. If the film succeeded, it would reflect poorly on his judgment, likely causing some negative fallout.

"While action films have been popular in North America in recent years, we shouldn't forget that audience tastes can be fickle. No one knows when they might tire of this genre. Plus, this film lacks big-name stars, which is a disadvantage in marketing. This means we'll need to invest more resources into promotion."

Being a top executive at a major studio, Tim Fischer was no fool. Everything he listed was an objective fact.

"We'll handle this as a 'B-class' film for marketing and distribution."

After much discussion, the executives gradually reached a consensus. CEO Jim Gianopulos made the final decision based on their input: "Let's arrange for the film's rating, test screenings, and limited release as soon as possible."

This was the most prudent approach, and no one objected.

After the screening, Duke edited two trailers according to 20th Century Fox's requirements. With that, the production of the film was mostly complete. However, Duke didn't take a break. He maintained close contact with the 'Speed' studio because the success of the distribution strategy was just as crucial to the film's success.

The distribution company was at the top of the industry hierarchy. Even with Lucasfilm's support, Duke, as a rookie director, had no say in negotiations. He didn't attend the meetings, knowing that professionals would handle these matters.

Within a week, Lucasfilm and 20th Century Fox reached a distribution deal.

20th Century Fox would be the North American distributor for *Speed*, taking 15% of the North American box office and 50% of the television and video rights as their fee. They also had the first option to purchase overseas distribution rights. The costs of marketing, promotion, and making copies of the film, fronted by Fox, would be recouped from the box office after the film's theatrical run in North America.

At the same time, 20th Century Fox also set the release schedule for *Speed* in North America.

Over the next two weeks, 20th Century Fox would hold preview screenings for fans and critics. Based on the feedback, they would decide how much promotional investment to make. In mid-April, traditionally a quiet period for films, *Speed* would open in North America on a limited release across 20 theaters.

The schedule soon arrived in Duke's hands. Although he was unhappy with Fox's conservative approach, he knew he had no leverage to oppose it.

20th Century Fox was taking the safest, most distributor-friendly approach. Duke might have wanted a wide release in 1,000 or even 3,000 theaters across North America, but that was a pipe dream.

Setting aside the high promotional costs for a wide release, the expense of making copies alone was substantial.

At the time, each 35mm print cost around $600. If the film were released on 3,000 screens, that would amount to $1.8 million. Given the film's uncertain market prospects, 20th Century Fox wouldn't shell out that kind of money.

Hollywood's big studios were good at many things, but they were never charitable.

By opening with a limited release, 20th Century Fox could gauge the market's reaction. If the film generated excellent word-of-mouth and high per-screen earnings, they had the resources to print thousands of copies and expand the release quickly.

In the end, if the film was a hit, 20th Century Fox would collect a large cut. If it failed, Fox wouldn't lose much.

This was Hollywood's simplest rule: Those without capital had to follow the rules.

Duke understood that unless *Speed* showed enough market potential, 20th Century Fox wouldn't invest significant resources. And while the film had clear selling points, Lucasfilm's influence surely played a part in securing the marketing strategy Fox devised.

As February drew to a close, there was still no advertising or news about *Speed* in the media. Duke's insomnia worsened. Even though he knew he should stay calm, and although he never showed signs of impatience, the dry climate in Los Angeles could easily lead to frustration. Thankfully, it had rained recently, bringing a rare sense of relief.

Despite the uncertain prospects, Duke had already begun writing his second script, which helped take his mind off constantly worrying about the success or failure of *Speed*. After all, no matter how much he thought about it, there wasn't much he could do right now.

His second script was also an action film, a story about soldiers filled with explosions, gunfights, and betrayal.

On the last day of February, Duke set aside all his work and headed to Los Angeles International Airport to see off the only friend he had made on set.

"This is my dad. This is my mom…"

At the gate, Sofia Coppola introduced Duke to her family. Although they didn't know him, Duke certainly recognized them.

After greeting Duke, Francis Ford Coppola and his wife stepped aside to give the young people some space, clearly misunderstanding something.

"This is my cousin…"

Finally, Sofia brought Duke to meet a peculiar-looking man who appeared older than his age. Duke quickly extended his hand to shake his. "Nice to meet you, Nicolas."

"Nice to meet you too."

At this time, Nicolas was barely considered a B-list actor, and his temper wasn't as strange as his appearance suggested.

"Nicolas, you two might have something in common."

With time still before boarding, Sofia stood next to Duke and Cage. "Duke just made a movie and signed a distribution deal with 20th Century Fox."

"Director?" Cage asked.

"Yes," Duke replied with a modest smile. "An action movie."

"Oh."

Cage immediately lost interest. At this point, he was still a literary-minded artist and clearly had no affection for action films.

The boarding announcement came over the speakers. Sofia hugged her parents one by one and then turned to Duke. Tilting her head, she smiled. "I hope your film is a big hit, director!"

"I hope you get promoted from assistant soon," Duke replied in the same tone. "Maybe the next time I see you, you'll be a top fashion designer."

"Of course!" Sofia Coppola said confidently.

As she turned to leave, Duke added, "And if Chanel fires you, you can always come back to be my assistant!"

With that, he didn't give Sofia a chance to reply and walked away.

After saying goodbye to the Coppola family and politely declining their dinner invitation, Duke drove his Chevrolet back to his home in Santa Monica. After parking in the garage, he went to the mailbox and took out a large stack of mail.

Back in the living room, Duke placed his mother's mail on the magazine rack and opened his own letters while sitting on the couch.

One was a credit card bill from the bank. Duke had just received another $20,000 of his $120,000 director's fee, so paying off the card wouldn't be an issue, and his financial burden was temporarily relieved.

The other letter was an invitation from 20th Century Fox, inviting him to the test screening in early March.