Chapter 134: Duke of Destruction

Every film had a shelf life in theaters, and for those relying primarily on special effects, that window was relatively short. Independence Day had enjoyed an explosive run in July, but its box office took a severe hit in August. However, Time Magazine's cover feature, along with coordinated media campaigns from Warner and Fox, successfully refocused the spotlight on Duke. This strategy of reigniting the hype brought a brief box office resurgence for Independence Day.

For two consecutive workdays, the daily box office for Independence Day rebounded by nearly fifteen percent compared to the day before. The most direct result of this was theater chains increasing the film's screen count to 1,897 just before the weekend, laying the foundation for a counter-trend surge over the three-day frame.

Even if this was just a temporary increase in screen count, Duke, Warner, and Fox were all pleased.

Meanwhile, Sony Columbia Pictures was once again making calls to the major theater chains, because the screens Independence Day had taken over were precisely the ones stripped away from The Shawshank Redemption's further reduced screen count.

The latter's North American release had already been slashed to 212 theaters, pulling in just over $100,000 in daily box office. Its cumulative North American gross was agonizingly inching toward the $15 million mark. Furthermore, Sony Columbia Pictures had run into massive trouble with overseas distribution; mainstream film markets like Britain and Australia outright refused to release the movie during the relatively hot August window.

After more than four weeks in theaters, although the most intensely competitive Summer Season was already over, films like Clear and Present Danger were still rolling into the North American market in August. The competition remained incredibly fierce. Having been squeezed into a corner by theater chains and rival films, The Shawshank Redemption was in constant danger of being forcefully pulled from theaters.

As for that already-flopped movie, Duke had long since put it out of his mind. Over these three weekend days, his sole focus was on Independence Day.

Over the three-day weekend, playing in 1,897 theaters, Independence Day grossed $17.81 million, pushing its cumulative North American box office to $289.28 million. It was on the verge of breaking $300 million!

Accompanying the film's steadily climbing box office were countless congratulations, along with even more frenzied attacks and insults from film critics.

Naturally, Duke accepted the congratulations. But the critics? Who cared about them!

Duke's public feud with them had achieved his desired effect, and he had no masochistic desire to seek out reviews just to suffer. He simply tuned out their rabid barking.

A victor had his own reserve and pride; why would he bother arguing with a pack of mad dogs?

In late August, just over eight weeks after Independence Day hit North American theaters, Duke reached a milestone moment in his directing career: the film's North American box office officially broke $300 million! Its global box office surpassed $600 million!

Even though The Lion King and Forrest Gump, both currently sitting in the $200 million tier, would eventually cross this threshold, Duke was the third director in cinematic history to achieve it!

"Without a doubt, Duke Rosenberg stands at the absolute pinnacle of commercial directors in Hollywood. Since the birth of cinema, no director has ever achieved such accomplishments or generated such terrifying box office numbers at his age..."

The fifth film in history to gross over $300 million in North America, and the third director to break the $300 million mark with a single film—this was enough to draw plenty of attention. This time, Duke and his partners didn't even need to launch a PR campaign. Mainstream media, including the Big Three Newspapers, practically sang his praises in unison, as if Duke had become a national hero and the living embodiment of the American dream.

"Duke Rosenberg, Hollywood's rising super director..."

"The future of Hollywood lies in the hands of Duke Rosenberg."

"Perhaps even George Lucas couldn't have imagined that the young director he mentored a few years ago would stand on equal footing with him so quickly..."

Seeing the media's commentary, even someone as level-headed as Duke felt it go to his head a bit. Fortunately, he managed to stay calm, fully aware that the media was only praising him now to grab eyeballs. If his next film flopped, what awaited him would inevitably be backlash and mockery far outweighing the current praise.

Still, the media hype continued unabated. After all, looking at the entire global film industry, only two people had ever managed this before.

Before Duke, Hollywood only had four films and two directors enter the North American $300 million club—George Lucas with Star Wars 1 and Star Wars 3, and Steven Spielberg with E.T. the Extra-Terrestrial and Jurassic Park!

Independence Day had fought its way out of the competition and soared. Although countless critics described its performance as stumbling into blind luck, the major film studios in Hollywood and many industry insiders were destined to remain restless in the short term.

Inside a luxurious top-floor office of the Walt Disney Headquarters Building at Disney Studios in Burbank City, Michael Eisner, chairman of the Mickey Mouse empire, sat behind his desk, looking at Dick Cook, the head of the live-action film production department.

"Disney can't solely rely on animated features," Eisner said with a serious expression. "We must make a stronger push in live-action films. Touchstone Pictures' performance over the past few years has been poor."

"We're still lacking experience in this area." Dick Cook was slightly nervous. He had been in charge of the live-action film division for a few years now but had failed to produce any presentable results. "Michael, we need to invest more resources."

True, Disney was the most veteran studio in Hollywood, but compared to its animation division, its live-action department was essentially a late-arriving novice. This was especially true for Touchstone Pictures, which was established just a few years ago specifically to break Disney's limitation of only producing G and PG-rated films. A lot of resources had been poured in, but the results were negligible.

"Cook, the company has larger plans moving forward," Michael Eisner said expressionlessly. "I need the live-action department to rise up quickly. You don't have much time left!"

"Michael, we're well aware."

Faced with what sounded like an ultimatum, Dick Cook grew anxious. "Disney has a solid platform and resources, but we don't have long-term partnerships with popular movie stars and directors—especially commercial directors!"

Just as with Spielberg and Universal Pictures, a phenomenal director could single-handedly revitalize a film studio.

"Next week... Warner Brothers and Twentieth Century Fox are hosting a celebration party for Independence Day. I want you to attend on behalf of Disney. Do everything in your power to win Duke Rosenberg's favor. As long as his demands aren't outrageous, Disney can agree to them."

Hearing Michael Eisner's words, Dick Cook nodded solemnly. "I understand!"

Truth be told, Dick Cook had planned to do exactly that even without Michael Eisner's orders. Earlier, he had even instructed people to gather detailed information on Duke Rosenberg to find a suitable angle of approach.

He wasn't the only one with such ideas. Executives from Hollywood's top-tier and even second-tier studios all planned to attend Warner Brothers and Twentieth Century Fox's victory party. Not even Sony Columbia was an exception, despite their own film The Shawshank Redemption being absolutely crushed by Independence Day.

Nobody who climbed to an executive position in Hollywood was an idiot. With Independence Day breaching the $300 million threshold, its North American box office and screen count would inevitably shrink sharply, signaling the end of their direct competition. There was zero benefit in holding grudges over past commercial clashes. Figuring out how to profit in the future was the critical next step.

Inside a mansion in Beverly Hills, Tom Cruise stood by the window with his arms crossed. His face was dark as a thundercloud—another movie he had wanted to act in, but didn't, had become a massive hit. A super blockbuster!

If he had taken one of the key roles, he would undoubtedly be the highest-paid male star in Hollywood right now. Just look at Will Smith! How terrible was his acting? What could he do besides make exaggerated facial expressions? Yet now, he was so famous he was idolized by countless people!

And Bill Pullman's president was being hailed as one of the greatest presidential roles in cinematic history...

All of this could have belonged to him, yet now he could only watch helplessly as others reaped the rewards. Perhaps his decision back then had been wrong?

Yes, Duke Rosenberg had rejected him, but not entirely. One of the conditions for his casting had been to slash his salary to under five million dollars.

He had refused without a second thought. After all, dropping one's asking price was a massive taboo in Hollywood.

But look at the situation now. Had rejecting that paycheck truly been worth it?

Staring at the sunlight outside, a rare look of contemplation flashed in Tom Cruise's eyes. Perhaps Kingsley had been right. It was only normal business competition between them, not a personal grudge. Just as he was currently trying to win over Spielberg, was it really necessary to build a good relationship with a director like Duke Rosenberg?

He wasn't stupid. If a director finding success twice in a row in Hollywood involved a degree of luck, then the fact that the man still succeeded—and succeeded massively—amidst endless criticism, backroom sabotage from Tom and others, and the intense competition of the Summer Season, had to speak volumes.

It seemed Duke Rosenberg's forward momentum was simply unstoppable.

Furthermore, he had heard Kingsley mention that Duke Rosenberg had another script. Given his past rhythm of shooting one film a year, this new project would be put on the schedule very soon. Surely there was a role suitable for him in it?

Suddenly, Tom Cruise felt a twinge of regret for not asking Pat Kingsley to look into the general theme and character types of the new script...

"Hey, Pat!"

He picked up the cordless phone and dialed his agent's number. "I want to attend Warner and Fox's victory party."

Hanging up the phone, Tom Cruise walked over to a pale, cold-faced Nicole Kidman. "Mary, we're going to pick out dresses this afternoon. You're coming to a party with me."

Nicole Kidman nodded lightly but didn't say a word. She wasn't optimistic about Tom Cruise's attempt to extend an olive branch. Her arrogant, egotistical husband was far too slow on the uptake. Now, following the monumental success of Independence Day, who couldn't see Duke Rosenberg's value? Why would he even care about Tom's goodwill?