Chapter 545: The World's Largest Film Market

Every Monday carried extraordinary significance for Hollywood production and distribution companies with newly released films. In this day and age, it was incredibly difficult for any movie to stay in theaters for half a year or longer, as they had in the sixties and seventies.

With Hollywood studios bought up by major media conglomerates, their promotional power dwarfed that of the past. Under overwhelming media marketing campaigns, more and more moviegoers were "herded" into theaters during the opening weeks—or even the first weekend—of a major commercial blockbuster's release.

As a result, the first-week box office became increasingly crucial for major commercial films.

"For some films, the opening weekend box office can account for a third or even half of their total North American gross."

Inside a CAA office on Wilshire Street, Michael Ovitz set down the briefing in his hand and looked at David Ellison sitting across from him. "Duke Rosenberg's films have always had high opening weekend numbers," he said. "With the competition from Ridley Scott's Kingdom of Heaven, I'm not surprised it reached this kind of box office figure."

"I'm not surprised either."

Though arrogant and haughty, David Ellison would not underestimate a director who already stood at the very top of Hollywood. However, he had complete confidence in himself.

"Batman Begins didn't cross seventy million dollars in its opening weekend," David continued. "Even if the drop-off stays under fifty percent next weekend, that will only be a little over thirty million. Our Flyboys will definitely snatch the box office crown from Duke Rosenberg!"

The final production cost of this aerial combat epic reached a staggering 115 million dollars. Backed by a promotional and distribution powerhouse like Walt Disney, it was fully equipped to become a box office blockbuster this Summer Season.

Michael Ovitz, however, remained cautious. As a longtime rival, he was well aware of how terrifying Duke Rosenberg's films could be. Even counting Daylight, which had the worst audience reception, the second-weekend box office drop for Duke's films had never exceeded fifty percent. Their momentum in the opening weeks was always exceptionally resilient. It would definitely be a formidable opponent for Flyboys.

In his view, even with Batman Begins in its second weekend and Flyboys in its first, the intense competition meant the victor was still an unknown variable.

Ovitz had already seen the rough cut. It was packed with elements and sequences that had plenty of market potential, and in his eyes, it was quite good. If it weren't up against a strong competitor like Batman Begins, he was confident that Flyboys could secure an opening weekend box office of over fifty million dollars.

"Forty million dollars!"

Sitting across from him, David Ellison continued, "Michael, we only need forty million dollars to defeat Duke Rosenberg and Batman Begins!"

The nearly sixty-year-old Michael Ovitz slowly nodded, clearly agreeing with David Ellison's words.

With his twenty-plus years of experience, the ample funds of the Ellison Family, and Walt Disney's promotional channels—which were in no way inferior to Warner Brothers'—how could the opening week of an aerial combat epic like Flyboys fail to beat the second week of a franchise reboot whose audience reputation had once been abysmal?

Moreover, the opening weekend box office for Batman Begins was 68.85 million dollars. No matter how resilient its second weekend was, it was impossible for it to stay above 40 million.

Could an aerial combat epic like Flyboys, assembled with so many favorable conditions, really fail to cross forty million dollars in its opening weekend?

Michael Ovitz could guarantee it with his two decades of industry experience: that would not happen.

David Ellison maintained his haughty demeanor. He firmly believed that the blockbuster he had poured over a hundred million dollars into—raising funds through various channels—would absolutely meet his and Walt Disney's expectations!

"Experience is a good thing. It often can't be bought with money."

Aboard the corporate jet, Duke folded the newspaper in his hands and placed it on the table in front of him.

"But experience can sometimes lead people astray..." he continued, looking at the curious Scarlett Johansson sitting across from him.

Scarlett Johansson completely ignored the glances other people on the plane shot their way. She simply stared intently at Duke.

"For instance?" she asked.

"For instance, war epics have been consistently successful over the past few years. That successful experience tells us that as long as a film of this genre has a certain level of quality, it will sell well."

Duke gently shook his head. He picked up his cup and took a sip of water before speaking at a leisurely pace.

"But the facts differ from what experience tells us. Whether it's a rigorous war epic, a highly entertaining showdown, or an artsy genre piece, they are all failing one after another..."

Furrowing her blonde brows, Scarlett Johansson recalled the performance of war epic films following The Lord of the Rings: The Return of the King. She gave a slight nod.

"It really does seem that way," she said.

Propping up her chin, she tilted her head to look at him.

"When Ovitz was interviewed, he seemed extremely confident," she added. "He acted like Flyboys was guaranteed to succeed, clearly..."

"His industry experience is indeed very rich. Going back ten-plus years, the projects he spearheaded were practically synonymous with success."

Thinking about how this super agent's life trajectory in his later years was completely different between his past life and this present one, Duke slowly tapped his forehead.

"But he doesn't belong to this era," Duke said.

"Doesn't belong to this era?"

Though Scarlett seemed carefree, she was far from stupid. Connecting this to the drastic changes in social trends over the years, she quickly grasped the meaning behind Duke's words. Lowering the hand propping up her head, she slowly sat up straight.

"It's not just Ovitz," she said seriously. "In recent years, films by Spielberg, Ridley Scott, Robert Zemeckis, and others have been consistently failing, too. Michael Ovitz isn't the only one falling behind."

The elimination of the old by the new was forever inevitable. Perhaps some directors, as they aged, would deepen their mastery over so-called art and the complexity of cinematic themes, much like Stanley Kubrick. However, a significant number of people would find their grasp on the market slipping as they grew older. Even if everyone in Hollywood banded together, they couldn't change one immutable law: the main driving force of the film market had always been teenagers!

At that thought, Duke sighed softly. Falling into the trap of empiricism was nothing rare. When he grew old in the future, his mindset would probably become just as conservative as the old men in the School, and he too would lose his feel for the mainstream market's pulse.

Seeing Duke lost in thought, Scarlett Johansson picked up her glass and took a small sip of water.

"I remember you saying this, Duke," she said. "The current North American film market is primarily composed of moviegoers born in the eighties and nineties. For Michael Ovitz, who was born in the 1940s, it's completely normal that he can't grasp the mindset of people from my generation."

Duke nodded in agreement. "What your generation likes is what becomes popular."

People of every age group had different tastes and preferences, but ever since the dawn of modern society, the preferences of teenagers undoubtedly dictated pop culture.

Scarlett blinked. "Then what kind of movies will be popular now, or rather, in the next few years?"

Seeing that this mischievous girl was being unusually serious, Duke simply gave her the answer he held in his mind.

"Superhero movies," he said.

"Comic book movies?" Scarlett immediately thought of DC Comics and Marvel Comics.

After all, both companies' comic characters had already achieved success on the big screen.

"Not just comic book heroes," Duke replied.

Resting one hand on the armrest to prop up his chin, Duke thought for a moment. "There are also other superhero films similar to comic heroes," he said.

For example, Optimus Prime. To a certain extent, the leader of the Autobots was very similar to the superhero protagonists of DC Comics and Marvel Comics.

"Is that why you pulled me in to play Agent Natasha Romanoff?" Scarlett looked at Duke curiously. "To make me the key that ties The Avengers together?"

"Scar, you have to understand one thing."

No matter what, the girl sitting across from him was his mother's goddaughter. Duke couldn't possibly treat her the way he treated other Hollywood actresses.

"To become a superstar, you need more than just acting skills," he told her.

"I know." Scarlett Johansson nodded earnestly. "No matter how outstanding your acting is, at best you'll just be like Meryl Streep. A superstar also needs fame, and they need commercial box office results."

The Scarlett Johansson from his past life was no fool either. Growing up alongside a businesswoman like Mrs. Leah, there was zero chance of her truly turning into an artsy indie girl.

Scarlett Johansson suddenly leaned forward on the table with a beaming smile, scooting a little closer.

"I knew it," she said. "Even though you're fierce with me most of the time, you've always cared about me."

Duke looked up and shot her a glare. Scarlett unconsciously shrank her neck back, quickly settling down and returning properly to her seat, just as she had done countless times over the years.

Glancing at Scarlett once more, Duke didn't bother continuing the conversation with this girl who loved to pester him. He grabbed a sleep mask, slipped it on to block out the light, and slowly closed his eyes.

When the corporate jet landed in Los Angeles, Duke specifically dispatched a car to take Scarlett Johansson to Burbank. She had to report to Jimmy Carter and begin a highly grueling regimen of physical, endurance, and combat training to prepare for Duke's next film.

Not only had Duke introduced Agent Natasha Romanoff right in the first Iron Man, but he had also specifically designed an action sequence for the character.

No matter how Iron Man was changed, as an origin story, it still had to explain the process of Tony Stark becoming Iron Man. However, many of the minor subplots and characters within it would definitely undergo adjustments.

Of course, whether it was Pepper Potts or Natasha Romanoff, the actors would inevitably be white.

For one, this was the character design from the comics. For another, in this day and age, did other markets hold enough value to justify altering the female leads' identities?

Forget about the present—even pushing ten years into the future, no market would be worth Duke doing so. North America was the largest film market in the entire world.