Chapter 291: Evenly Matched

Chapter 292: The Treasure Coins

The film crew had a comprehensive plan for marketing and publicity. The showdown between Matthew and Dwayne Johnson wasn't released immediately; it was reserved for the pre-release promotions to generate buzz. Anderson Martinez had considered staging a real ring match between Matthew and Dwayne, but neither actor was currently interested.

Matthew had other career opportunities to pursue and couldn't risk an injury that might halt his rising momentum.

His journey to this point hadn't been easy; it was a combination of hard work and great luck.

After a week of shooting in Disney Studio's Stage 10, the production moved next door to Stage 9 to start filming the underground crypt scenes at Trinity Church. Jerry Bruckheimer's team of set designers had been constructing the set since last November, a process that took nearly five months and wasn't completed until the end of March.

The crew planned to spend only a couple of weeks filming in this elaborately built set, which would then be dismantled and mostly discarded, ending up in waste processing centers.

The film industry is famously resource-intensive, sometimes spending months to construct sets that may be used for less than a day of actual filming.

While filming, Matthew also kept an eye on the latest developments with "Dawn of the Dead."

The film had made an impressive $34.1 million in its opening weekend, attracting plenty of media praise. The publicity efforts from Matthew's team and Universal Pictures had added fuel to the fire.

"After co-starring in 'Pirates of the Caribbean,' Matthew Horner has proven his box office draw with 'Dawn of the Dead,' demonstrating that he can handle modern action roles just as well as he does historical ones."

Such promotional articles, many of which were sponsored by Matthew himself, were common. Compared to the potential box office profit share, these publicity expenses were minor but effective at boosting his visibility.

Following its explosive opening weekend, "Dawn of the Dead" showed signs of weakening momentum. Its first Monday earnings dropped 60% from the previous Sunday's $7.1 million, gathering just over $2.8 million, with a steady decline throughout the week, falling to $2.2 million by Thursday.

In its second weekend, without strong competitors but typical for horror films, "Dawn of the Dead" saw a faster drop in ticket sales, earning $14.3 million, a 58% decrease from its opening weekend.

Adding the $9.8 million from the weekdays, "Dawn of the Dead" had accumulated a total of $58.2 million in North America alone.

Effectively, even without considering marketing and distribution costs, the film had already covered its production budget with North American earnings alone.

Holding the number one spot at the box office for two consecutive weeks, "Dawn of the Dead" quickly exhausted its market potential, a common issue for films of its genre, with diminished returns in subsequent showings.

In the following weekdays, daily revenues fell to around $1 million, and the third weekend plummeted another 60%, garnering just $5.7 million, bringing the North American total to $67.9 million.

According to estimates from Universal and various market analysts, "Dawn of the Dead" was unlikely to surpass $90 million in final box office receipts.

Nevertheless, considering the production and marketing costs, the North American box office alone was projected to net nearly $10 million in profit.

"Dawn of the Dead" was a resounding success by any measure.

A market survey later attributed the film's success primarily to Matthew and director Zack Snyder, praising Matthew's portrayal of a tough yet endearing male lead and Snyder's dynamic and non-traditional approach to the film.

"Dawn of the Dead" also performed well overseas, particularly in regions where zombie apocalypse films are popular, like the UK and Australia, where it significantly outperformed typical gory horror films. After three weeks, UK ticket sales neared $10 million, and in Australia, it surpassed $5 million in just over two weeks.

By the fifth week of its North American release, as the total surpassed $80 million, the international box office also reached over $70 million, bringing the global total to over $150 million.

Universal Pictures continued negotiations to expand the film's reach into more international markets.

After five weeks, "Dawn of the Dead" was nearing the end of its theatrical run, a common fate for its genre.

Starting the sixth week, weekday revenues fell below $200,000, dipping under $100,000 by Thursday, and the weekend tally was merely in the six figures, signaling the end of its theatrical journey.

The number of theaters showing the film was also reduced. By the seventh week, it was down to 300 cinemas, each showing the film fewer than four times a day.

Nevertheless, "Dawn of the Dead" had amassed $85.5 million in North America and over $86 million internationally.

The film marked a significant step for Matthew from a second-tier to a first-tier star.

Its

 success was monumental for Matthew and beneficial for the entire cast.

Jessica Alba, the female lead, secured a major role in "Fantastic Four" thanks to the exposure.

Director Zack Snyder received several offers but remained selective, cautious after a restrictive experience. During a recent call, Snyder mentioned he was studying Frank Miller's graphic novel "300."

It was now May, and the shooting of "National Treasure" was nearing completion.

In Stage 9 at Disney Studios, the crew was filming the last part of the Trinity Church crypt scenes.

Facing Camera One, Matthew, carrying a torch and looking solemn, stepped forward. His eyes scanned the golden artifacts around the room until he reached a pedestal that resembled a fire basin. He picked up a coin, wiped it on his clothes, inspected it closely, then casually placed it back.

Matthew seemed more interested in the hunt than in the treasure itself.

He then put the coin down, felt around in the basin, and placed the torch inside. The flames immediately soared, illuminating a vast treasure room.

The crew had spent five months building this treasure room filled with various "treasures," now revealed from the darkness. Even Matthew was surprised as he stepped forward to the edge of the stairs and stared into the distance.

Despite knowing these were props, the view was still impressive.

It was undeniable: the production had invested heavily in the set design.

John Voight, Diane Kruger, and Justin Bartha joined Matthew, all looking on.

"Yes!" John slapped Matthew's back. "Ben, you were right! We were all right! This is the treasure of the Knights Templar!"

Matthew laughed. "We found it!"

Diane also smiled, turning to Justin. "Riley, are you crying?"

"Look!" Justin pointed to a corner of the treasure room. "There are stairs! A way out! We don't have to die here."

Matthew, John, and Justin all laughed.

The scene wrapped successfully, marking the end of today's shooting.

Director Joe Deturba approached, standing behind the actors. "Only one more scene left. Tomorrow we shoot at a mansion in Beverly Hills that recently became available—perfect for our needs."

Matthew turned to him. "So, we won't be coming back here?"

"That's right," Joe confirmed. "This set will be dismantled starting tonight."

"Joe," Matthew asked directly, "can I pick a few keepsakes from this huge treasure?"

"And me," interjected Diane.

Justin raised his hand. "Count me in."

"I'll pass," said John. "I've got too many mementos already."

He left with a smile.

"Of course," Joe replied generously. "Jerry said these are all expendable."

Matthew turned and walked towards the now dimming fire basin, picking up the ancient Roman coin that had been meticulously crafted for its on-screen appearance.

Joe reminded him, "Don't forget, be at the Beverly Hills mansion by eight tomorrow for the final scene."

Matthew waved, his gaze drifting to Diane. Tomorrow's shoot was for the film's grand finale.

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