"This was a dilemma from the beginning."
Facing James Franco's question, Murphy spoke the truth. "3D can indeed increase ticket prices, but don't forget, over sixty percent of our scenes take place at night. Even the daytime scenes are primarily dark-toned..."
He shrugged. "If we used 3D technology, the damage to the lighting would make the film appear pitch black, severely impacting the viewing experience. If that happened, 'The Dark City's' word-of-mouth wouldn't be as explosive as it is now."
As for post-conversion pseudo-3D productions like "The Avengers," Murphy had never considered them.
He had passed the stage of desperately needing market success to prove himself. After decades of hard work and building a reputation as a conscientious filmmaker, he wouldn't casually do things that would damage his reputation.
"Alright." James Franco spread his hands. "I admit, you have a point."
Murphy just smiled and said nothing more. At different stages in life, people have different goals and pursuits. When he had just gotten out of prison, his biggest goal was to make a living, even if it meant washing cars and shooting car chases for news. Once he could support himself, he started considering how to become a director...
Although the lack of 3D high ticket prices made it difficult for "The Dark City" to challenge "Avatar's" North American box office record, the media didn't see it that way. After the unprecedented box office explosion of the film's opening weekend, some media started comparing it to "Avatar" to create buzz and attract readers.
In the midst of media praise and high audience acclaim, "The Dark City's" North American box office continued to soar. On the first weekday, Monday, the box office dropped only sixty percent from the previous Sunday, less than last year's "The Avengers" seventy-seven percent drop. The film grossed $25.9 million, easily surpassing $250 million in North America.
Over the next two days, amidst countless praises, "The Dark City" grossed another $26.1 million and $23.78 million in North America, bringing the total to $318.68 million. Breaking $300 million in six days, it surpassed "The Avengers'" nine days to $300 million, setting a new record for the fastest $300 million in North American box office history.
By this time, almost all the praise was directed at Murphy and "The Dark City."
"The best director in Hollywood!"
"The most perfect combination of art and commerce in North American history..."
There was so much praise that wherever there was American media, there were praises for Murphy and "The Dark City."
However, the media also had a tendency to balance out praise with criticism.
Warner's "Entertainment Weekly" published an article in its latest issue, predicting a bleak future for "The Dark City's" box office, suggesting that the film might not surpass "Avatar's" North American box office record, and might not even beat "Titanic."
"'The Dark City' has been breaking box office records since its release—best opening weekend, fastest to $300 million, most successful crime action film. Some have begun to speculate that 'The Dark City' might dethrone the box office record holder 'Avatar' as North America's top-grossing film."
"This seems possible. 'The Dark City' has reached nearly half of 'Avatar's' box office in just six days since its release. At this rate, it might soon fill the remaining gap and set a new North American box office record."
"Unfortunately, this won't happen. Everyone wants to see 'The Dark City' surpass 'Avatar' and crown a new box office king. However, from a rational perspective, 'The Dark City' not only won't surpass 'Avatar,' but it's also very difficult to surpass 'Titanic.'"
"Sixteen years ago, in 1997, 'Titanic' was released, but since then, the film industry has undergone dramatic changes. At that time, a film could earn millions of dollars over several weeks, and some excellent films could stay in theaters for up to half a year or longer due to good word-of-mouth."
"However, since then, this operating system has changed significantly. Now, studios and audiences alike have lost patience, focusing on a film's opening weekend. We have become accustomed to blockbusters that earn a third or more of their total box office in the first three days. And 'Titanic?' Its opening weekend gross was less than ten percent of its total box office."
"Look at the most profitable films in recent years. Those grossing over $100 million usually don't stay in theaters for more than six months. The annual champion 'Iron Man' started in early May and ended its run in October..."
"The current commercial strategy is to release films simultaneously in as many theaters as possible, earning the bulk of the box office in the first two weeks, then releasing the DVD while the hype is still fresh."
"'Titanic' held the top spot for fifteen consecutive weekends, but now, many big productions release their DVDs after fifteen weeks in theaters. In the summer season, new blockbusters are released every week. 'The Dark City' faces extremely fierce competition, especially with Leonardo DiCaprio's new film 'The Great Gatsby' releasing this weekend. It's not easy for any film to dominate."
"When 'Titanic' was released, it faced no same-level competition for several months, which is unimaginable for 'The Dark City' about to encounter 'The Great Gatsby.'"
Overall, "Entertainment Weekly" wasn't wrong. Since entering the new century, Hollywood's film distribution strategy has indeed changed.
However, Murphy saw things more clearly. This was a promotional article for Leonardo DiCaprio's film "The Great Gatsby." The film's promoters were clearly trying to leverage "The Dark City's" enormous fame to elevate their film to a competitive position.
Whether "The Great Gatsby" had such strength didn't matter; it could create the illusion of being able to compete with "The Dark City."
This was a common promotional tactic.
Murphy just laughed it off and didn't take it seriously. No matter what tricks Leonardo DiCaprio played in promotion and distribution, it couldn't pose a threat to "The Dark City."
As for DiCaprio's actions, they were his own business. As long as it didn't involve him, Murphy didn't care.
"How's the preparation going?"
In a rest room at the ABC studio in Burbank, Leonardo DiCaprio looked at a middle-aged man opposite him. "This program is very important. If something goes wrong..."
His gaze became sharp.
The middle-aged man, a common Hollywood entertainment agent, quickly said, "Don't worry, Mr. DiCaprio. Carey is ready. I assure you, there won't be any accidents."
"I've heard she's quite headstrong." Leonardo DiCaprio frowned. "Go remind her again, make sure she doesn't mess up at the last minute."
Before the conflict of interest arose, he had been on good terms with the Stanton Party and had heard some things about Murphy Stanton and Carey Mulligan. This British girl was very casual and headstrong, described by Susan Downey as a flower bud in a greenhouse that would never mature.
DiCaprio was still uneasy. "Make sure you keep an eye on her!"
"Rest assured, Mr. DiCaprio," the agent said confidently. "Since a few years ago, Carey isn't the same as before. She's almost thirty now, no longer the headstrong little girl."
"Let's hope so." DiCaprio, not knowing much about Carey Mulligan, still said, "Go remind her one last time."
The agent quickly put on a smile. "I'm on it!"
He left the rest room and knocked on the door of the makeup room across the hall. Hearing a "come in" from inside, he pushed the door open.
In the makeup room, Carey Mulligan, fully made up, was sitting in front of a mirror.
She turned her head and looked at her agent. "What's up, Cortentop?"
Having been in the industry for years, Carey Mulligan was no longer the naive and headstrong girl she once was. Her baby face now carried a touch of maturity.
"Yes, something's up."
The agent, Cortentop, who was meek in front of DiCaprio, stood straight and spoke firmly to Carey Mulligan. "You've seen the program's schedule. Stick to it, no mistakes, no changes."
"I know." Carey Mulligan frowned slightly but said, "Just exposing my past with Murphy Stanton to draw attention to 'The Great Gatsby.'"
Those entanglements had been over for years. Murphy Stanton was engaged to that Israeli woman. She didn't care anymore. Now, using it was a great promotional topic.
"Yes!" Cortentop nodded in satisfaction. "Just remember that!"
The door was knocked again, and an assistant entered, saying, "Miss Mulligan, the program is about to start."
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