Chapter 879: Money Game!

January in North America is often considered the quiet season for movies. It's a time when theaters are dominated by films that either lack the competitive edge of summer blockbusters or have more modest budgets, making it the ideal period for lesser-known projects to see the light of day.

That's when *The Shallows* hit theaters, on the last weekend of January. It wasn't expected to break records, especially when you compare it to director Martin's usual films, which would open in around 4,000 theaters. This time, *The Shallows* had a more conservative release, showing in 3,450 theaters nationwide.

But this movie had something unique going for it. Unlike typical horror thrillers known for their excessive gore, *The Shallows* took a different approach, earning a PG-13 rating from the MPAA. This made it accessible to a wider audience, especially Blake Lively's fan base, which consisted largely of young teens and early twenty-somethings, the kind of demographic that lives on social media and tends to influence each other's movie choices.

Opening on a quiet Friday, the film saw decent daytime attendance. As evening approached, *The Shallows* began gaining momentum, especially in a period with no major competition at the box office. Even Hollywood's elite couldn't resist the intrigue. Leonardo DiCaprio and Jack Nicholson, those two Hollywood heavyweights and notorious troublemakers, decided to sneak into a screening, not only to support their friend Martin but out of sheer curiosity about what he had managed to pull off.

The movie wasn't long, but it packed a punch. As the credits rolled, Leonardo, known for his discerning taste, leaned back in his seat, visibly impressed. "It's better than I expected," he admitted. "Martin nailed the fundamentals of a thriller, without overdoing it."

Nicholson, never one to waste words, casually took off his sunglasses, wiped them, and nodded in agreement. "Not a scene wasted. Every moment built the tension."

Still, Leonardo seemed a little thrown. "This doesn't feel like the Martin I know," he said, shaking his head. "There's something different here."

Nicholson smirked, catching onto what Leonardo might have missed. "I think you're going to lose that bet."

Leonardo sat up straight, incredulous. "No way! He used his money to make this happen, nothing more."

Nicholson wasn't convinced. "It's more than that. The movie is better than average, that's for sure. In fact, I'd say it's the best shark film since *Jaws*."

Leonardo couldn't help but agree. "Well, yeah. The bar's been pretty low. Most shark movies after *Jaws* have been terrible."

Nicholson chuckled. "That's not my point. What this means is the movie will make its money back, maybe even turn a hefty profit. And if that happens, Martin will keep using his financial muscle to make more films, building momentum. It's a cycle, a profitable, unstoppable cycle."

Leonardo, finally understanding, paused. "You're saying the Oscars are just another game of who has the most money."

Nicholson's grin widened. "Exactly. Once Martin gets into that cycle, he can keep spending, pushing his films forward, until the Academy has no choice but to notice. And let's be honest, Martin's more popular with the Academy than you are."

Leonardo's eyes shifted to the rolling credits. "This movie might actually do well at the box office."

Nicholson leaned back, satisfied. "For a directorial debut, it's more than passable."

And when it comes to the success of a film, nothing speaks louder than cold, hard box office numbers.

By Saturday morning, the first-day figures were in. *The Shallows* had pulled in $10.79 million on its opening Friday, not an earth-shattering number, but enough to make it the North American box office champion for the day. It had surpassed expectations, surprising both Martin's own studio and Walt Disney Studios, who quickly ramped up their marketing efforts in response.

But the real magic was happening through word-of-mouth. Across media outlets and all over the internet, praise for *The Shallows* was pouring in. Critics and viewers alike were buzzing.

"Martin Davis has done the unexpected," one review read. "He's delivered a stunning film, using clever techniques to masterfully build suspense and visual impact. This is the best shark movie in decades."

*The Shallows* has taken the movie world by storm, garnering rave reviews. Martin Davis, teaming up with Blake Lively, has delivered a pulse-pounding underwater thriller that's keeping audiences on the edge of their seats.

"This is the most exciting film to hit theaters since 2015!" proclaimed one enthusiastic reviewer.

But it wasn't just the word-of-mouth buzz that propelled the film. Behind the scenes, the crew was hard at work on a strategic marketing campaign, reaching out to specific groups to maximize commercial impact. Given that the movie centers on a strong female lead facing off against a fearsome great white shark, it was only natural to tap into the growing feminist movement.

Hollywood has a knack for appealing to these key demographics when there's money to be made, and they weren't shy about it this time around either.

"The Pioneer Woman," a popular magazine, published a glowing review that caught the attention of many:

"The plot of *The Shallows* is simple, an isolated beach, a lone heroine, and a terrifying giant shark. But don't be fooled. The film delivers a powerful message, reminding us that tasks typically reserved for men can also be handled by women, and sometimes even better!"

This angle struck a chord with feminists, many of whom flocked to theaters to see the film for themselves, eager to witness this portrayal of female strength and independence. And soon, a wave of articles promoting the film's feminist message swept across the internet.

*"The Shallows: A Tale of Women's Independence and Inner Strength!"*

*"Women With Strong Hearts Can Conquer Anything, Even Great White Sharks!"*

By the time Saturday rolled around, the relatively quiet January box office had erupted with excitement over *The Shallows*. The film's box office figures spiked, bringing in a solid $13.89 million that day alone. However, as more people watched, some began to offer more critical reviews. The movie's IMDb rating dipped slightly to 7.6, but that didn't stop the momentum.

By the end of the weekend, *The Shallows* had grossed an impressive $34.72 million across its 3,450 theaters, claiming the number one spot at the North American box office. In just three days, it had already recouped its production costs, cementing itself as a commercial triumph.

As always, success attracts attention. Following the film's breakout weekend, the *Los Angeles Times* ran a prominent column praising Martin Davis. The headline alone was enough to grab readers' attention:

"Martin Davis: Actor-Turned-Director Scores Big with *The Shallows*."

The article delved into the skepticism Martin had faced before the film's release, highlighting the doubts many had about yet another Hollywood actor trying their hand at directing. "Too many stars have made that leap and flopped," it read. "But Davis defied the odds. The film received strong praise both critically and commercially, even winning the top spot at the box office last weekend."

The article went on to commend Martin's directorial skill, noting how his debut film showed none of the typical shortcomings of a first-time director. "His grasp of pacing and scene design is remarkable," the piece continued. "Though he still has a way to go before he can stand among the likes of Spielberg, Nolan, and Cameron, Martin Davis has proven that he has the potential to one day join their ranks."

Meanwhile, at Warner Bros., Daniel was sitting across from Hamada, the *Los Angeles Times* still spread out in front of him. He glanced up from the paper, a sly smile playing on his lips.

"Have you seen the first-week box office numbers for *The Shallows*?" he asked, not waiting for a response. "Martin's more than proven himself as a director. He's every bit as good as the person you recommended."

Hamada leaned back in his chair, a thoughtful expression on his face. The numbers didn't lie. Martin Davis wasn't just a talented actor anymore, he was a filmmaker with serious commercial appeal, and this was only the beginning.

Hamada's expression darkened as he stared at the numbers. *The Shallows* had outperformed his predictions by a wide margin. He had estimated a respectable $18 million for the film's first week, nothing more. But the actual box office figures had nearly doubled that, and it was hard to ignore the sting of being so wrong.

Trying to mask his frustration, Hamada grumbled, "This film... it's more a product of clever marketing than actual merit. The success isn't the movie itself; it's the PR machine behind it."

Daniel leaned back, smiling as if he'd expected this. "Publicity and marketing are part of the game, Hamada," he said, his tone playful but firm. "What we do in Hollywood is sell products, and movies are no different. If we can package a film and sell it for a profit, that's success. Whether it's the movie or the marketing that drives it, does it really matter?"

Hamada shifted in his seat, unable to deny the truth. In Hollywood, box office numbers ruled all. But instead of conceding, he tried a different approach.

"Well, next weekend, your *Jupiter Ascending* will go head-to-head with *The Shallows*," Hamada said with a smirk, hoping to turn the conversation toward Daniel's own potential failure.

Daniel's smile didn't waver. "Ah, *Jupiter Ascending*," he sighed, shaking his head. "That's a legacy project from my predecessor, Jon Berg. Internal screenings have been... less than promising, to say the least. We're not going to put many resources behind it. Our only goal with that release is to recover as much of the sunk costs as possible."

Hamada felt a pang of sympathy or perhaps relief, when Daniel mentioned Jon Berg. Everyone in Hollywood knew Berg's name had become synonymous with bad decision-making. He had earned his place on Hollywood's "wall of shame," and *Jupiter Ascending* was just one of many failed ventures.

Daniel leaned forward, his voice growing serious. "What I don't get," he continued, "is why corporate approved *Jupiter Ascending* in the first place. The Wachowski brothers... no, siblings," he corrected himself, then nodded to Hamada.

"We call them sisters now," Hamada reminded.

Daniel nodded again. "Right. The Wachowski sisters haven't had a real hit since *The Matrix*. They've been burning through budgets and leaving nothing but losses behind. So why did anyone greenlight a $185 million project like *Jupiter Ascending*? It reeks of negligence."

There was a sharp edge to Daniel's voice now. "I've already pushed back against Warner Music over this. I'm preparing a formal report to the board, demanding a full investigation into how this project slipped through."

Hamada felt his composure cracking. The last thing he needed was Daniel stirring the pot with an official investigation. Making up a quick excuse, he excused himself and hurried off, likely to find Warner Bros. CEO Kevin Tsujihara and report the growing situation.

As Hamada left, Daniel watched him go with a calm satisfaction. He knew that as long as Tsujihara was in charge, any report he filed would be quietly buried. But that didn't matter. The point was to increase his influence, strengthen his control, and distance Warner Pictures from the mistakes of the broader Warner Group. Every misstep Jon Berg had made, every failed project was giving Daniel more leverage.

And the more Daniel dug into the past, the more he realized just how deep Berg's blunders went. It felt like a bad inheritance, Berg had left him with a series of time bombs, and *Jupiter Ascending* was just one of them.

With a sigh, Daniel picked up his phone and dialed Martin Davis. A grin spread across his face as soon as Martin picked up.

"Congratulations, Martin!" Daniel said warmly. "Your directorial debut is a massive hit. The box office numbers speak for themselves."

On the other end, Martin's voice was humble, as always. "Thanks, Daniel. But really, it's just luck and an incredible team behind me."

Daniel chuckled, waving off the modesty. "Luck or not, the film's a success. And listen, I've been thinking *Joker* still needs a director. Why don't you give it a shot? You've proven you've got the chops."

Martin's hesitation was minimal. "Funny you say that. I've actually been thinking about it too."

Daniel's instincts had been right. He knew success built on success in this industry, and Martin was in the perfect position to capitalize on his momentum. "Don't worry about Warner Pictures," Daniel assured him. "I'll back you all the way."

Martin's tone shifted. "I'll start planning. Let's see what we can do with it."

As Daniel hung up, he leaned back, satisfied. The idea of Martin directing *Joker* was more than just a passing thought now. With his backing, Warner Bros. could deepen their partnership with Martin, and that could only lead to bigger and more profitable, things.

In the sleek and modern reception room of Disney Studios, Alan Horn, the chairman, sat comfortably across from Martin. The conversation had been going on for over half an hour, with both men discussing potential collaborations. Horn's goal was clear: he wanted Martin to sign an exclusive three-picture directing deal with Disney.

Despite the opportunity, Martin remained non-committal, avoiding any concrete answers. He knew how these contracts worked, Disney would hold all the cards. If one of his films failed, they could simply stall the contract, leaving him with limited options and stifling his creative freedom. It was a risky proposition.

Breaking the tension, Martin spoke up, his tone direct. "Alan, as you know, my next project is 'Joker,' the DC Comics adaptation. Warner Bros. is backing it, and besides being the lead actor, they haven't found the right director yet. If nothing changes by the time the Oscars roll around, I'll have no choice but to direct it myself."

Horn gave a knowing nod, already aware of the situation. "Well, after you finish 'Joker,' Disney is more than ready to collaborate with you on whatever comes next."

Martin leaned back in his chair, his expression thoughtful. "I haven't made any decisions on my next project yet. Let's revisit this when I've got something solid in mind."

Martin's mind flashed back to his previous directorial experience with *The Shallows*. When he first pitched it, most Hollywood studios turned a blind eye. It was only Louise's Pacific Pictures that showed any real interest. Now, after *The Shallows* became a sleeper hit at the North American box office, everyone seemed eager to praise Martin, lining up to express their admiration. It was a familiar cycle in the industry, one Martin had grown used to over the years.

With the movie's success in the U.S., the *Shallows* promotion tour was about to take off internationally. The next stops were Europe, East Asia, and Southeast Asia. However, unlike blockbusters with massive marketing budgets, the promotional resources for *The Shallows* were modest. The burden of overseas promotions fell on just two people, Martin and his films protagonist, Blake Lively.

For Blake, the European tour was particularly grueling. As the film's lead actress and the centerpiece of the promotional campaign, she was constantly fielding questions from the media and maintaining her poise for fan interactions. But behind the scenes, things were far less glamorous. Martin, who was not only physically demanding but relentless in his attention, made her personal life more exhausting than the press junkets.

By the time Blake landed in Paris, the second stop on the tour, she was desperate for some relief. She reached out to her close friends for support, and soon, Taylor Swift, who was holding a fan event near the Seine, joined the entourage, along with Blake's best friend, Cara Delevingne. Cara even roped in her sister, Poppy Delevingne, a budding actress who had always shown a keen interest in Martin. Poppy passed Martin's 'test' with flying colors and quickly found herself part of Taylor's inner circle of friends.

As the European promotion continued, *The Shallows* remained strong back in North America. It was entering its second weekend, and though it was Super Bowl weekend, a time when most Americans were glued to the biggest sports event of the year, the film held its ground.

In contrast, Warner Bros.' *Jupiter Ascending* was also released that weekend, but the signs of trouble were obvious. It was clear Warner had already given up on the film, evidenced by their decision to slot it against the Super Bowl. The box office numbers confirmed the failure: *Jupiter Ascending* only managed to scrape together $15.21 million during its opening weekend. With a staggering production budget of $185 million, the movie became yet another costly disaster for the Wachowskis, earning them a reputation as box office poison.

Meanwhile, *The Shallows* continued to perform steadily, earning another $18.56 million in its second weekend, pushing its total North American earnings to $72.88 million. Martin's little thriller, which had started as an underdog, was proving to be a formidable contender at the box office, holding its top spot while more expensive films crumbled.

For Martin, this success was another reminder of how unpredictable Hollywood could be, a world where one week you're a long shot, and the next, everyone wants a piece of you.