This so-called reflection isn't about Chris Kyle's personal reflection. Chris Kyle was just an American soldier, a legendary sniper, and as the protagonist of a war film, he had to be a tough guy. Matthew had seen many films about snipers, but in the last ten or even twenty years, few films starring snipers had been successful, and none had achieved great success.
After reviewing the sample script of American Sniper and thinking about previous sniper film failures, Matthew had a rough idea, although it wasn't entirely clear yet.
The theme of the film could be anti-war or reflective, but Chris Kyle himself had to be a hard-as-nails man.
He couldn't be like the soft, regretful, fearful killers in other sniper movies, constantly feeling remorse or fearing retribution.
In future adaptations, Chris Kyle would be portrayed as a tough cowboy, killing without hesitation or remorse. He followed the rules, killed to protect, and feared nothing—not even facing God.
This was the essence of the character: not only was he brave, but he knew why he was brave.
The anti-war theme could be left for the entire movie to express.
Chris Kyle came from Texas and was, in fact, a tough cowboy. When thinking about Bella Anderson's recent suggestion to find a well-known director for the film, Matthew realized that Steven Spielberg might not be the right choice. Spielberg tended to infuse his films with too much humanistic thought, but for a film with a theme of reflection and an exterior of courage, which famous director would be suitable?
A tough cowboy?
Suddenly, a name flashed in Matthew's mind: Clint Eastwood!
Although Eastwood was getting older, deep down, he was still a cowboy. Even an old cowboy is still a cowboy!
While others might find it difficult to hire Clint Eastwood, Matthew believed that if he extended the invitation, the old cowboy would likely accept.
After all, there was a time when Matthew had fiercely stood up to Eastwood's most hated critic, Spike Lee, the Black director who frequently attacked Eastwood. Not only had Matthew forced him out of Hollywood, but Lee had also succumbed to drug addiction. Rumor had it that his health had deteriorated, and it wouldn't be long before he'd meet his end.
Clint Eastwood had personally told Matthew that he owed him a huge favor.
It was well-known that the old cowboy had a stubborn streak, and when he gave his word, he meant it.
If Matthew could bring Clint Eastwood on board, the director problem for the film would be solved. Eastwood also had experience directing war films.
As for the ideas Matthew had been thinking about, they might not necessarily be correct. Once the rights to American Sniper were secured and Clint Eastwood was on board, they could work out the details later.
Unfortunately, this type of film was a one-time deal, unlike Twilight or The Hunger Games, which could be turned into a series.
The next day, Matthew returned to Disney Studios to continue filming Fast & Furious 5.
With more characters in the film, it was clear that the two male leads would get less screen time, something Matthew had anticipated long ago. However, this also had an advantage—he had less filming to do, allowing him more time and energy to focus on other projects.
Matthew was no longer just an actor; he was also a producer and investor.
After four consecutive days of shooting at Disney, Matthew got a two-day break. But he didn't have time to rest; first, he went to Paramount Pictures to meet with Stephen Sommers and representatives from Hasbro.
G.I. Joe 2 was in the works, with the first draft of the script already completed. The sequel, tentatively titled Retaliation, would introduce many new characters, both for the G.I. Joe team and the Cobra side.
On the G.I. Joe side, new characters included Flint, Snake Eyes, and Lady Jaye. On the Cobra side, Firefly, Storm Shadow, and the Thomas Brothers were introduced.
Of course, with Matthew as both the lead actor and producer, the plot of G.I. Joe 2: Retaliation would still revolve closely around Duke.
However, Matthew was already preparing for the possibility that he would only star through the third film.
Hasbro and Paramount's decision to add one of the comic's two main male characters, Flint, seemed like a move to replace Duke in the long run. Though Flint was currently written as a rookie in the script, weaker than even Lady Jaye, it would be easy for a film to turn a character into a breakout star.
Now that G.I. Joe: The Rise of Cobra had been a huge success, the planned trilogy would be enough to establish the franchise, and by the time the lead was replaced, the impact would be much smaller.
Matthew knew well that his high salary and profit share were a heavy burden for Hasbro and Paramount.
But this arrangement suited him fine. After completing the trilogy, he could leave the rest to Paramount and Hasbro.
With this in mind, Matthew didn't hold back during the script discussions, pushing for more scenes for Duke and downplaying Flint's presence.
In G.I. Joe 2: Retaliation, Flint would remain a rookie, and most of the time, his abilities would be quite weak.
As for Hasbro and Paramount's proposal to include Roadblock and Sgt. Slaughter, Matthew firmly opposed it, forcing them to drop the idea.
He would protect his interests to the fullest.
After the G.I. Joe 2 meeting, Matthew visited Marvel Studios for a conversation with Kevin Feige.
Now in 2010, Marvel's ambitious Avengers universe was gearing up for its big moment, with The Avengers in early pre-production.
The purpose of this meeting was for Kevin Feige to press Matthew for his investment.
With the production budget for The Avengers set at $220 million, Marvel Studios needed substantial funds.
Kevin Feige urged Matthew to inject his portion of the investment as soon as possible.
Matthew assured him that his investment would be transferred in batches to the third-party escrow account as planned.
He also reiterated to Feige that he wouldn't interfere in the film's preparation and production.
Not that he could, even if he wanted to.
The Avengers was undoubtedly a highly anticipated film for comic book and superhero fans, but it wasn't seen as a hot ticket by Hollywood directors. The reason was simple: too many heroes with too many different powers made it difficult to blend together.
This issue was best left to Kevin Feige, and Matthew believed he had the ability to handle it.
Besides, the era of superhero films had arrived!
This was a different era, one that demanded a new type of hero—one more glamorous, exaggerated, and fantastical, with richer and more complex inner lives.
These heroes had to transcend the constraints of the mechanical and electronic age, becoming new myths, carrying new dreams. Superman, Batman, and the later superheroes fulfilled all these needs.
More importantly, these superheroes were mass-produced, continuously supplied, available in every shape and form for a few dollars. Especially in post-2008 North America, amidst the financial turmoil, was there anything easier to obtain, more fun, or more comforting than this "simplified Bible"?
The popularity of superhero films wasn't just due to careful creation by the filmmakers but was also closely tied to the social environment.
Post-9/11, Americans needed superheroes.
Now, with more movie projects under his belt, Matthew's focus was naturally scattered.
Fortunately, these commercial films didn't pose much of a challenge to his acting skills.
Fast & Furious 5 finished shooting its scenes at Disney Studios. Justin Lin and Jack were planning to move to Rio de Janeiro in early February to shoot the majority of the exterior scenes.
Before heading to Brazil, Matthew received an invitation.
The United Nations Children's Fund (UNICEF), along with several North American women's and children's rights organizations, was planning a large charity event, and they invited Matthew, a well-known philanthropist and social activist, to participate.
The event would be attended by numerous wealthy individuals and celebrities.
Matthew accepted the invitation, as the event didn't conflict with his schedule. He could make it in time after returning from Rio de Janeiro.
Additionally, The Twilight Saga: New Moon had officially ended its North American run.
The film, a prime example of fast consumer goods, had been in theaters for only fifteen weeks before its theatrical journey ended.
Fortunately, its box office performance was impressive.
The Twilight Saga: New Moon grossed $321.4 million in North America.
Given the film's budget of around $50 million, this box office number was a resounding success.
Thus, all three of Matthew's 2009 films had exited North American theaters, and each had secured a spot in the top five of the year's box office rankings!
Though some films from 2009 were still in theaters, the rankings were unlikely to change.
For 2009, the North American box office champion was Avatar, which had surpassed Titanic to become the highest-grossing film in North American history. The second place went to Transformers: Revenge of the Fallen. Matthew's two films, Fast & Furious 4 and G.I. Joe: The Rise of Cobra, occupied the third and fifth spots, while The Twilight Saga: New Moon, which he produced, took the fourth spot.
This ranking shook all of Hollywood.
In the latest Hollywood power rankings, Matthew had unsurprisingly been named the most powerful person in Hollywood for 2009.
In addition to his long-established status as a superstar, the title of successful producer was becoming increasingly associated with Matthew.
The North American entertainment media had launched another frenzy of reports and gossip about him, even listing all the actresses and models he had briefly dated, benefiting them as well.
Many more women saw the advantage of
joining this "family."
Amidst all the buzz, Matthew and the Fast & Furious 5 crew boarded a private jet to Rio de Janeiro, accompanied by the Victoria's Secret Angels.
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