Chapter 885: Specialist Sent by DC

**Warner Building, Burbank**

Emerging from Kevin Tsujihara's office, DC Co-Chairman Hamada exuded a palpable sense of triumph. His polished leather shoes clacked rhythmically against the marble floor, each step resonating with optimism.

Next to him, producer Charles Roven observed with satisfaction. "Everything's looking up," Roven said with a grin. "With *Batman v Superman* slated for a summer release, we're on the brink of a major breakthrough for the Justice League universe."

Hamada, buoyed by the positive news, reflected on the journey since 2010. "After all the trials and errors since we started with *Green Lantern*, it feels incredible to see things finally falling into place. Zack Snyder is already gearing up for *Justice League*. Charles, it feels like we're on the verge of catching up with Marvel at last."

Roven's confidence was unwavering, despite the challenges. "Zack's vision has been uncompromising, but I believe in its potential. Within three years, we could be on par with Marvel and reliving the success of *The Dark Knight*."

Hamada, filled with a renewed sense of pride, said, "With *Man of Steel*, we saw the first signs of the Justice League's dawn. *Batman v Superman* will turn that dawn into the full light of day."

Roven nodded, but then a thoughtful expression crossed his face. "There's something that might complicate our plans, though. Have you heard about it?"

Hamada, who had been absorbed in thoughts of *Batman v Superman* and the Justice League, asked, "What's the issue?"

Roven continued, "Another DC project, *The Joker*, is developing independently of the Justice League universe. Martin Davis, the scriptwriter, recently told The New Yorker that his script doesn't draw on any established comic book stories or settings."

Hamada's enthusiasm dimmed instantly. "I shouldn't have given him and Warner Bros. that freedom in the first place."

Roven, aware of the pressures and compromises faced, added, "Martin and Nolan have been quite persuasive, and Warner, lacking confidence in *Man of Steel*, ultimately granted the authorization."

Roven was concerned about the potential repercussions. "For most characters, the success or failure of a film might not matter much. But *The Joker* is closely tied to Batman. I've heard that Martin's film might even feature Thomas Wayne and his son Bruce Wayne."

Hamada expressed his worry, "While I'm not concerned about the failure of *The Joker*, I'm uneasy about its success. If the film succeeds and diverges significantly from established comic lore, it could create confusion among fans about the Justice League series, potentially damaging its reputation."

Roven shared Hamada's concerns. "The impact of *The Dark Knight* has led audiences to firmly believe that Batman should never kill. This misconception could be problematic, especially since multiple versions of Batman in the Justice League films may contradict that notion by using guns and killing."

Hamada nodded thoughtfully, both men acutely aware of the delicate balance they had to maintain.

As the producer of the Justice League series, Charles Rowan was quite clear with Hamada: "We need to stay in close contact with Martin and make sure he doesn't stray too far from the established universe. The Joker movie's tone and content should align with our main universe. If all goes well on our end, the Joker will soon be a major character in our upcoming film."

Hamada understood that Charles was referring to the planned "Suicide Squad," where the Joker and Harley Quinn were meant to be central figures. However, with Martin currently working on his own take on the Joker, Hamada had some reservations.

"Charles, considering Martin's current work on the 'Joker,' I think we might need to adjust the storyline for 'Suicide Squad.' It might be best to scale back the Joker's role a bit."

Charles Rowan acknowledged the concern. "We'll delve into this further during our preparatory meeting. For now, let's have a discussion with Martin."

Hamada responded, "I'm heading over to Warner Bros. to discuss the release of 'Batman v Superman' with Daniel. I'll have a chat with him about keeping Martin's project in check."

Hamada had no intention of directly confronting Martin himself, given their strained relationship. Charles Rowan left shortly after their conversation.

Hamada made his way to Warner Bros. Pictures, where he met with Daniel, the head of the studio. They first tackled the distribution strategy for "Batman v Superman." Despite their frosty relationship, their professional interaction was smooth and efficient.

Once the formalities were over, Hamada broached the subject of Martin's "Joker" film. "Warner Bros. has always overseen the Joker project. To ensure it doesn't impact DC's main universe movies, it would be prudent to have some oversight on Martin Davis. Perhaps consider sending a few producers from your team to monitor the project."

Daniel, however, was not swayed by Hamada's concerns. "I have full confidence in Martin. His track record speaks for itself. Remember, he's a filmmaker with a clear vision and an impressive eye for successful projects."

Hamada countered, "But keep in mind, Martin is both directing and acting in the film. His experience is quite limited."

Daniel was adamant. "Quite the opposite. Martin's clarity and vision have always led to success. Just look at 'The Shallows' no one had high hopes for it, but it ended up grossing over $300 million worldwide. Even beyond his direct involvement, his investments are thriving. This past weekend, 'Sicario,' which Martin invested in, raked in $20 million in its opening week alone, with projections of around $60 million for the North American box office."

Daniel's confidence in Martin was clear, and despite Hamada's concerns, it was evident that Daniel believed in Martin's capability to deliver another success.

Hamada chose not to continue the conversation and decided to contact Martin directly.

As Hamada left, Daniel watched him go with a knowing shake of his head. With his extensive experience in the film industry, Daniel could almost predict Hamada's intentions. Yet, he couldn't fathom how Hamada planned to manage this situation.

The rights to the Joker film were firmly in Warner Bros.' hands, and any failure would reflect directly on Daniel. On the other hand, if "Joker" succeeded, it would be a testament to Daniel's vision and capability. Both Warner Bros. and DC's leadership, including Hamada, had expressed reservations about the project. If it turned out to be a hit, Daniel would come out on top.

Back at his office, Hamada immediately instructed his deputy, Rogers, to call Martin and discuss the details of the Joker film.

As expected, Martin's response was polite but firm in rejecting any modifications. Rogers relayed this to Hamada.

Hamada frowned. "This Joker film is a wild card we can't control, and I fear it could jeopardize DC's plans."

Rogers, concerned about his boss's worries, suggested, "Since DC holds the copyright, we should consider sending a representative to monitor the production. Although the formal agreement doesn't allow us to place a producer on set, an unofficial oversight might be effective."

Hamada pondered this for a moment. Although he was reluctant to let the Joker film be entirely outside his grasp, he saw the merit in Rogers' suggestion. "Alright, Rogers, you will go to Brooklyn Studios in New York and oversee the production there."

Rogers responded immediately, "Understood, I'll prepare to leave right away."

Hamada added, "If possible, try to have some influence on the crew and the film's production process."

Rogers nodded in agreement, "Got it. I'll make sure to keep that in mind."

The instructions were clear: while Hamada preferred the Joker film to be a flop rather than risk it impacting the Justice League universe, he was relying on Rogers to manage this delicate situation.

...

At Brooklyn Studios in New York, the "Joker" crew was in the final stages of preparation. Extras were taking their places under the guidance of the assistant director, and the set was bustling with activity.

Martin, dressed in a garish fuchsia suit and holding a classic clown mask, had just finished a phone call. Louise, who had been nearby, approached him with curiosity.

"So, what did DC have to say?" she asked.

Martin's voice carried a hint of frustration as he relayed the update. "DC wants to meddle with our film. They're insisting we stick strictly to the original comics and avoid any original storylines."

Louise raised an eyebrow, adjusting her black-rimmed glasses. "The problem is, DC Comics themselves are pretty vague on the Joker's origins. They don't offer a detailed backstory on how he became the Joker."

Martin, drawing from his experience with "The Dark Knight," remained unfazed. "We're not letting DC's interference dictate our vision. We'll stick to our plan."

Louise nodded, her tone resolute. "Focus on directing and acting. If DC or Warner Music throws any obstacles our way, leave them to me. I'll handle the mess."

She paused, her expression turning serious. "And speaking of Warner Music, I'm curious to see what kind of trouble they might stir up."

Martin agreed with her approach. Juggling his roles as both director and lead actor while managing the film's promotion was already demanding. He didn't want to get bogged down with Warner's interference. "Based on Warner's track record, they might try to insert additional personnel into our crew and disrupt the filming."

Louise's eyes narrowed. "If anyone dares to interfere, I'll see to it that they're shown the Brooklyn Bridge and tossed into the Atlantic."

The set was guarded by a dozen security personnel in black suits, stationed discreetly to ensure they didn't obstruct the filming process.

After wrapping up his conversation with Louise, Martin called over a photographer. "Take some photos of the security team. No need for close-ups, just capture their presence."

Given the disruption at the "The Dark Knight Rises" premiere, Martin had arranged for this security detail to ensure a smooth filming process. He was determined to leverage every marketing opportunity available.

The photographer snapped pictures of the security guards, and Martin moved to the director's monitor. He exchanged a few words with the first assistant director, Steve Downton, then turned to the director of photography, Jeff Kronweiss. "For this first scene, the camera needs to capture the action from my perspective."

Kronweiss nodded. "It's all set."

As Martin donned the clown mask, his demeanor shifted dramatically. The mask's design lent him a certain air of dishevelment, embodying the character's emotional state for this scene.

Martin took his place on set, and the script supervisor approached with the clapboard, ready to mark the beginning of the next shot.

The official shooting commenced with a burst of energy.

Martin sprinted down the sidewalk, his pace fierce and determined, as extras filled the background. He darted past telephone booths, clambered up long staircases, and dashed through bustling subway stations, embodying the Joker's chaotic energy.

In one intense scene, Martin veered into a narrow alley, hands on his hips as he gasped for breath. He then pulled out a revolver from his pocket, pointing it menacingly at two pursuers. The scene was a whirlwind of emotions, transitioning from the Joker's previous weariness to his current frenzy and culminating in a moment of dark intent. It encapsulated his dramatic transformation.

"Cut!" Steve Downton's voice rang out, halting the action.

Martin exhaled heavily, holstered his revolver, and stepped away from the set. He made his way to the director's monitor, where Kronweiss joined him.

Together, the trio reviewed the footage. Martin's brow furrowed slightly. "The front shot isn't quite hitting the mark."

Steve Downton suggested, "How about adding another camera to capture the scene from behind?"

Martin nodded thoughtfully. "Yes, let's do that. Kronweiss, set up a Steadicam for the rear shot. We want to ensure smooth cross-cutting in post-production."

Soon, a second cameraman arrived, carefully positioning the camera to avoid interfering with the main setup.

Martin took a moment to center himself before stepping back onto the set. As the script supervisor clapped the board, he took off again at full speed.

This time, the shoot encountered a hiccup. An extra, playing a shopper, fumbled with a hot dog and inadvertently blocked Martin's path as he turned.

Steve Downton called, "Stop!"

"Sorry about that," the extra apologized quickly.

Martin gave the extra a reassuring pat on the shoulder and returned to his starting position. The crew regrouped, and they resumed filming.

With adjustments made, the subsequent takes went smoothly. However, Martin, ever the perfectionist, requested additional shots. In true Hollywood fashion, multiple angles were necessary for dynamic cross-cutting.

It took eight takes to achieve the desired result, but Martin was finally satisfied with the footage.

As the film was just beginning, the pace of shooting was slower while the crew settled into their routine. By midday, they had managed seven shots. After a few days of adjustments, the team's efficiency increased significantly, thanks in part to their previous collaboration on "The Shallows."

Meanwhile, the DC copyright specialist, dispatched to oversee the project, had arrived in New York, ready to keep an eye on the production.