Chapter 594: On Warners Terms!

As the film reached a wide audience, the spinning top in its final scene inevitably became the focal point of discussion among avid movie enthusiasts. On the vast expanse of the internet, debates raged about whether Cobb had truly returned to reality.

The atmosphere on set was electric as Martin and Nolan meticulously crafted this pivotal moment. They knew its importance and ensured the crew's publicity department provided some subtle guidance to ignite the debate.

"The protagonist must've returned to reality, given his father-in-law's presence," argued one fan. "But his child never turned around to look at him, suggesting he hasn't," countered another.

"There's a telltale clue!" exclaimed a passionate supporter of the "reality" theory. "If you pay close attention, you'll notice that Martin, the protagonist, was wearing a wedding ring in the dream, but there's no ring in the real shots."

"Excellent observation on the third comment!" someone chimed in. "I'm going to rewatch it now!"

"Count me in for another viewing too!" echoed another enthusiast.

Consequently, many fans opted to purchase tickets for a second screening to investigate these newfound perspectives. Over time, fresh interpretations surfaced, exceeding even Martin and Nolan's expectations.

"Some argue that the concept of dream theft and implantation is a ruse," proposed a passionate viewer. "I believe the core of the film lies in the protagonist's first-class cabin dream, where he and the fellow passengers experienced their dream together. When he disembarked, they recognized each other."

Undoubtedly, this viewpoint had its supporters. Regardless of the perspective, Martin and the promotional team embraced the fervor, fueling the discussion's intensity.

In pursuit of commercial interests, they had intentionally left the ending open, compelling the audience to express a multitude of opinions. People purchased tickets multiple times, eagerly scrutinizing every detail.

The medium of film, akin to a student's reading comprehension test, exceeded the creator's initial intent when placed before the public eye. Even the creators themselves couldn't provide a clear explanation, rendering their efforts futile.

With each viewing, the audience dissected every plot point, fueling the ever-deepening discussion that showed no signs of abating.

This wave of discussion reached even the North American media, with the most controversial topics gaining the most attention. The conclusion of "Inception" had become a hot topic of public debate.

During a crew's promotional announcement, reporters besieged Nolan, clamoring for details about the ending.

Nolan assumed an innocent expression and declared, "I don't know either."

One dissatisfied reporter exclaimed, "You're the director, how can you not know?"

Nolan, having learned to be unapologetically evasive at countless parties, shrugged it off. "The ending was Martin's idea," he deflected. "I liked it, so I used it. If you want details, ask Martin."

Meanwhile, Martin, previously engrossed in a conversation with Ellen Page about picking up girls from various perspectives, found himself suddenly surrounded by reporters who had abandoned Nolan's fruitless pursuit of answers.

Ellen Page leaned in with a mischievous glint in her eye and asked, "So, who was your companion last night? Those entertainment reporters can be quite relentless."

Martin, looking somewhat perplexed, replied, "I spent the night alone at home."

Ellen Page took a step back, grinning, "Alright, hold the fort, I'll go fetch reinforcements."

With that, she dashed off, leaving Martin to face the approaching swarm of reporters without any semblance of loyalty.

Several security personnel, led by Bruce, stood nearby, ready to fend off the press hordes.

Surprisingly, the first to reach the forefront was a disheveled female reporter, her hair in disarray and clothes slightly askew. Nevertheless, she wasted no time in firing her question, "Martin, can you confirm if Cobb returned to reality?"

Martin, not wanting to stir the pot, deflected, "You should direct that question to the director. And to be honest..."

Another reporter chimed in, "Director Nolan mentioned that the film's ending was your idea, and he shot it according to your vision."

Martin was caught off guard, realizing he had been outwitted by Nolan. "Well," he began cautiously, "I provided an idea, but the final look of the film is ultimately in the hands of the director and producer. I'm just an actor, without much power."

The persistent female reporter wouldn't relent, raising her voice, "But you're no ordinary actor. You're part of the $20 million club and a producer on this project. You must know the ending!"

Martin sidestepped the question, opting for an easier response, "When I worked on this film, I wasn't part of the $20 million club."

In a nutshell, he was determined to keep the secret.

The fervor for interpretation triggered by "Inception" continued to drive box office numbers, with theaters consistently packed.

After its first weekend, the film had grossed an impressive $75.68 million across nearly 4,000 theaters in North America, effortlessly reigning as the box office champion.

In contrast, "The Last Airbender," released on the same weekend, managed a mere $36.67 million in its opening week, struggling to recoup its costs through extended marketing efforts.

Warner Bros. had a strategy to maximize box office returns before relying on ancillary revenue streams. In a small meeting, Daniel stated, "Our estimates are still conservative. With a healthy box office trend, we can achieve profitability."

Kevin Tsujihara nodded, reviewing "Inception's" performance data. "Nolan is a talented director with substantial potential."

Jon Berg added, "This film's success may give him more leverage for 'The Dark Knight Rises.'"

Kevin Tsujihara contemplated for a moment before conceding, "We can grant him more control, but final editing rights will remain with Warner Brothers."

Hamada remained silent, as the movie didn't pertain to his domain.

At this juncture, Daniel interjected, "Our theater survey indicates that over one-third of the opening weekend audience are Coca-Cola Cult members."

Sitting in his Warner executive chair, he felt the weight of responsibility for Warner's performance. He continued, "Martin Davis possesses significant market appeal."

Jon Berg chimed in, "However, Nolan remains the driving force behind this film."

For now, Kevin Tsujihara remained contemplative, pondering the implications of the film's ongoing success.

Daniel chimed in, "Continuing our collaboration with Martin is in our best interest."

Kevin Tsujihara nodded and added emphatically, "I also want to maintain our partnership with Martin Davis. However, any future collaboration must be on Warner Bros.' terms. He must either accept our conditions or consider an acquisition."

Daniel sighed quietly, understanding that further argument was futile. They shifted the discussion to upcoming film projects.

Jon Berg updated everyone on a recent development. Warner Pictures had greenlit a fantasy film based on the classic tales "Jack and the Beanstalk" and "Jack the Giant Killer." The project had received approval with a whopping production budget of $160 million.

The director, confirmed to be Bryan Singer, known for his work on the "X-Men" series, "Superman Returns," and "The Wolverine."

Additionally, Gillian Flynn had secured the rights to the novel "Dark Places" after substantial investment and was in the final stages of writing. This project had also received a green light, with plans to attract top-tier actors and directors, boasting an impressive budget of up to $80 million.

Warner Bros. had also coordinated with Random House regarding the novel's publication timing, aligning it with the release of Martin's "Gone Girl."

Despite Daniel's last-ditch efforts to retain Martin's projects, they ultimately ended in failure.

...

Within Warner Studios, the "Pharaohs and Gods" studio had been officially established. In the director's office, Ridley Scott sat, engrossed in the latest "Hollywood Report."

On the front page, Martin and Nolan stood side by side, gazing into the distance.

"The collaboration of titans has birthed a science fiction masterpiece - 'Inception.' The best director, top-notch actors, and a compelling story have crafted the ultimate dream."

Ridley looked up, studying his agent across the desk, and pondered, "Ari, if Martin had chosen 'Robin Hood,' would the outcome have been different?"

Ari Emmanuel, staunchly protective of the company's star client, replied, "You can't entertain such thoughts, Ridley. Martin wasn't even considered for that role."

Ridley nodded thoughtfully, "I'm aware of that."

Ari continued, "Mistakes happen in the industry. 'Robin Hood' had its challenges, but the success or failure of a film depends on numerous factors. A director's vision carries more weight than an actor's performance. 'Inception' owes much of its success to Nolan."

Ridley agreed, "But choices and foresight matter too. Martin chose Nolan's project over 'Robin Hood,' and that decision led to his success while 'Robin Hood' floundered at the box office."

Ari couldn't refute this and admitted, "Indeed, choices and opportunities often outweigh mere skill. Martin consistently picks the right projects at the right time."

Curious, Ridley inquired, "Do you know Martin's criteria for selecting film roles?"

Ari pondered for a moment, searching his memory. "There doesn't seem to be a set pattern. Perhaps he has his own undisclosed standards."

Ridley pressed further, "You mentioned at the premiere that Martin expressed interest in working together. Should I consider collaborating with him?"

Ari responded, "You're currently free, and Martin mentioned he'd wait until you complete your current project."

With preparations in order, Ridley decided, "I'd like to meet him as soon as possible. Let's arrange a meeting, especially to discuss his new project."

Ari obliged, pulling out his phone and dialing Martin's number. After a brief conversation, they set a meeting for tomorrow at WMA.