Chapter 820: Success!

The Boston Opera House, once a grand movie theater known for its impeccable screenings, was filled with an air of anticipation. Tonight, the historic venue echoed with a different kind of excitement as the sound of gunfire reverberated through the screening room. On the screen, the male protagonist, played with fierce intensity by Martin, single-handedly dispatched the owner of a flower shop and all its employees. His subsequent call to the female protagonist set off a chain of events that deceived the entire FBI, allowing him to flee Boston with a hefty sum.

As the hero broke free from the constraints of Charleston, running towards a hard-won freedom, the audience was riveted. The gunfights were raw and visceral, the results satisfying, if not entirely literary. When the final scene faded to black, the theater erupted in applause.

Director Denis Villeneuve, standing up and turning to face the audience, seemed like a student awaiting exam results. His heart raced as he leaned towards Martin, his voice betraying a hint of doubt, "Did we succeed?"

Martin's smile was reassuring. "It's a very good film," he said with conviction.

The applause grew louder as producer Graham joined them, wrapping Villeneuve in a congratulatory hug. "Man, you made a masterpiece!" he exclaimed.

Villeneuve's tension melted into a genuine smile. With the audience still applauding, Martin and Graham led the cast and crew onto the stage for their curtain call. The premiere of "The Town" was a triumph.

As the movie ended and the audience began to disperse, the crew, exhausted but exhilarated, prepared to leave the opera house. In the corridor, Villeneuve caught up with Martin, a look of urgency in his eyes. "Let's talk alone," he suggested.

"Okay," Martin agreed, glancing at the Daddario sisters, Katherine and Alexandra, who flanked him. They instinctively slowed their pace, allowing the men to converse privately.

Villeneuve's anxiety was palpable. "The film is finished, and the premiere went smoothly. My next project is 'Sicario'..."

Martin nodded, understanding. "Of course, what I promised still stands. Submit a detailed shooting plan to the studio, Denis. The production budget is capped at 35 million dollars."

Villeneuve's eyes widened in surprise. This figure was more generous than he had anticipated. "No problem. I'll have a plan ready by the end of the month."

Martin, recalling the script he had read, turned to Alexandra. "For the female lead with the most screen time, if it works out, consider Alexandra."

Villeneuve followed his gaze. Alexandra's striking appearance and moderate acting skills posed a risk. Her allure was undeniable, but would she fit the gritty, tactical world of "Sicario"?

Despite his reservations, Villeneuve knew the realities of filmmaking. As long as the casting was plausible, the opinions of producers and investors outweighed his own. The script rights of "Sicario" belonged to Davis Studio, and without their approval, his vision would remain unrealized.

After a brief moment of contemplation, Villeneuve made his decision. "Alexandra is a good fit," he affirmed, recognizing the importance of compromise in the art of cinema.

Martin nodded firmly. "Give me a plan as soon as possible."

Leaving through the east gate of the Boston Opera House, Villeneuve got into his waiting car and drove off. Moments later, Bruce pulled up in an Escalade. Martin and the Daddario sisters climbed in, and they made their way back to the hotel.

The trio entered Martin's spacious suite together. Martin pulled a copy of the script from his suitcase and handed it to Alexandra. "Take a look. I mentioned the female character named Kate to you last time. I just talked to Director Villeneuve. He'll contact you when the crew is assembled."

Alexandra glanced at the script's cover, recognizing the title "Sicario" that Martin had previously mentioned. She met his eyes with determination. "I'm not going to be polite about this. I want this role."

At that moment, Katherine joined them. "Let's not discuss work here. We have more pressing matters to attend to."

Alexandra tucked the script away and leaned closer to Martin, whispering, "Katherine and I have come up with a new set of rules for the game..."

Martin's eyes sparkled with curiosity. "I'm very interested."

With mischievous smiles, Katherine and Alexandra each took one of Martin's hands and led him towards the bedroom.

---

Meanwhile, in a suite downstairs, Denis Villeneuve paced restlessly back and forth in the outer room. Taylor Sheridan, the screenwriter of "Sicario," lounged on the sofa, watching him with a mix of amusement and concern.

"The premiere is over," Sheridan said, pouring himself a glass of wine. "The audience's reaction is set. Worrying now won't change the outcome."

Villeneuve walked to the back of the sofa and punched it in frustration. "The success or failure of this movie will directly impact our next project, 'Sicario'!"

Sheridan sipped his wine. "Didn't Martin Davis agree to invest?"

"Yes, but the power still lies with him," Villeneuve responded, his voice taut with tension. "Even if we think the film is excellent, if the audience doesn't agree, Martin might pull the plug on 'Sicario.'"

Sheridan nodded thoughtfully, then quipped, "The fate of us small folks hangs on the whims of a few big shots. Sometimes, their silence can be just as impactful."

He tilted his head, a glimmer of irony in his eyes. "Homosexuality and transgender are trending now. Should we adjust the script and add a gay character?"

Villeneuve's response was immediate and firm. "No need! Taylor, our focus should be on enhancing the film's content and quality, not pandering to trends."

Sheridan shrugged. "You're the director. I'll follow your lead."

Just then, Villeneuve's phone chimed with a text message. He quickly read the message, and a wave of relief washed over his face.

Sheridan leaned forward, eager to know. "How's that?"

Villeneuve's eyes sparkled with excitement as he announced, "Disney Pictures collected 132 rating feedbacks at the theater, and the average score from fans was 83 points."

Taylor Sheridan's eyebrows shot up in astonishment. "Wow, man, that's an incredible score! If a commercial movie gets a rating like that, the market response is usually fantastic. Dennis, you bastard, you're about to soar!"

Villeneuve knew exactly what this score represented. It wasn't a critique from media pundits or out-of-touch film critics; it was feedback from everyday moviegoers, making it a true reflection of the market's potential.

Bolstered by the positive reviews from the previews, the implications were clear. Villeneuve picked up the bottle of wine on the coffee table, poured himself half a glass, and reflected, "I'm 45 years old. I've been directing for over two decades, starting with my first short film back in 1988. Finally, I've made it."

Taylor Sheridan stood and clinked his glass with Villeneuve's. "Here's to success, man!"

"To success!" Villeneuve echoed, downing his wine in one gulp.

After more than 20 years in the industry, his career was finally about to take off.

Sheridan, ever the supportive friend, added, "Next, you take me with you on this ride."

Villeneuve laughed heartily. "We will all succeed!"

---

Meanwhile, "Fast and Furious 6" was still dominating the North American film market, largely fueled by the tragic death of Vin Diesel.

When Friday arrived, "The Town" premiered in 3,772 theaters across North America. While it didn't match the 4,000 theaters of "Fast and Furious 6," it was still a top-tier opening for an R-rated film, reflecting the confidence Disney Studios and theater managers had in Martin's new movie.

In major cities, "The Town" held its ground against "Fast and Furious 6," which was in its second week. Martin's star power and the film's draw were significant factors. Additionally, the initial wave of mourning for Vin Diesel, which Universal Pictures and the "Fast and Furious" crew had capitalized on, had begun to wane. The intensity of this sentiment, reminiscent of the response to "The Dark Knight Rises," was hard to sustain.

Voices on the internet began criticizing Universal Pictures, accusing them of "profiting from the dead," and calling for an end to the excessive marketing, urging respect for the deceased.

On its opening day, "The Town" broke the hold of "Fast and Furious 6" on the North American film market, raking in $20.25 million and surpassing the latter's $18.45 million.

Simultaneously, Disney Studios ramped up word-of-mouth marketing for "The Town," receiving a continuous stream of positive reviews across print media, television, and online platforms. The buzz around the film was electric, promising a strong performance in the weeks to come.

Boston's local newspaper, The Boston Globe, effused: "The quality of the film rivals that of The Departed. This is another dark, poetic love letter Martin Davis has penned to Boston, laced with danger and intrigue."

Variety was equally impressed: "The film's central characters are captivating, and Martin Davis once again showcases his exceptional acting prowess and ability to breathe life into complex personas."

Box Office magazine, focusing on market trends, summarized it succinctly: "An enthralling and sensational crime thriller poised to be one of the year's most successful films."

Reviews and ratings for the film poured in steadily.

Rotten Tomatoes showed a freshness rating of 89%, IMDb boasted a score of 8.3, and the MTC media composite score stood at 75 points.

With such strong box office buzz, "The Town" proved to have significant appeal to North American audiences.

The film's themes resonated beyond Boston, addressing issues prevalent in many American cities. It struck a chord with viewers who had faced similar tough choices in their own lives, particularly those from humble beginnings, much like Martin's character, who often found themselves with limited options.

While "The Town" might not resonate as strongly outside North America, its popularity on home turf was undeniable.

"One of the best crime dramas in recent years. Martin dons a mask and becomes a gangster with stunning realism!"

"I bought a ticket to support Martin, but the movie turned out to be unexpectedly fantastic!"

"Martin excels in intense robbery and gunfight scenes, yet the nuanced, literary moments reminded me why he won an Oscar for 'The Martian.'"

As a commercial film, its ultimate success hinged on the market's reaction. Fortunately, the audience's positive word-of-mouth led to robust box office performance.

By Saturday, "The Town" had raked in an additional $22.11 million, continuing to outpace "Fast and Furious 6," which was in its second weekend. The latter's box office showed a steady decline as the initial wave of enthusiasm waned.

Martin and his team, energized by the film's reception, left Boston for Chicago, maintaining their grueling promotional schedule of visiting a new city every two days.

With the new week came updated box office statistics.

In its opening weekend across 3,772 theaters in North America, "The Town" earned a staggering $58.77 million. This impressive figure eclipsed "Fast & Furious 6," which brought in $49.85 million in its second weekend, crowning "The Town" as the North American box office champion for that weekend.

The film's success, though not unexpected given Martin's star power, also shone a spotlight on Denis Villeneuve, the seasoned yet still relatively new director in Hollywood.

Following the first week's box office triumph, Davis Studio officially announced its next collaboration with Villeneuve: "Sicario." The announcement marked the beginning of a promising new chapter for both the director and the studio, further cementing their positions in the industry.