**Chapter 44: Screening Event, Attention from the Giants**

"Hello, Wayne?"

When the call connected, a hoarse, dry voice came from James Wan on the other end. He sounded as if he hadn't had water in three days, which startled Wayne.

"Good grief! Wan, are you alright? Mia told me you've been cooped up in the editing room working day and night. Come on, I don't want anyone dropping dead at such a critical moment! Besides, I plan on continuing our long-term collaboration."

James Wan, who was mentally numb and entirely absorbed in his editing work, barely reacted to Wayne's concern. His words went in one ear and out the other. However, when he heard that Wayne wanted to work with him long-term, his spirits lifted.

"Don't worry, Wayne! You've entrusted me with such an important task. I won't collapse until it's done! I'll prove I'm worthy of your trust!"

Why does this sound like something out of a motivational speech?

Wayne was speechless.

"Alright then. How's the progress? Any issues? How long until it's done?"

James Wan thought for a moment before responding, "The rough cut will be done by four this afternoon. If you don't see any major problems after reviewing it, the dubbing and final edits should only take two more days."

Wayne couldn't help but show surprise at this.

The entire post-production would be done in just one week? That typically only happens with low-budget indie films costing a few hundred thousand dollars.

But upon reflection, it made sense.

Many films spend six months to a year in post-production, largely due to the time-consuming special effects. But another major factor is conflicting editing approaches.

The stark difference between the theatrical release of *Justice League* and Zack Snyder's version is a perfect example.

The director, producers, and even the lead actors and their agents often have their own agendas. This results in endless debates, revisions, stalemates, and compromises, leading to multiple versions of the film before the final cut is decided, which consumes a lot of time.

For *Happy Death Day*, however, James Wan had complete control over post-production, with no interference. His vision was clear, and there were no special effects in the film, so the fast pace was expected.

"Alright, I'll head to the studio this afternoon," Wayne said, dismissing the idea of asking Wen to rest. 

If they could finish post-production early, Wayne could capitalize on *Accepted's* declining box office and sell *Happy Death Day* at a good price.

At 5 PM, Wayne arrived at Hemera Pictures' private screening room, accompanied by Jessica and Charlize Theron.

Unlike the previous screening for *Accepted*, this one, even though it was only a rough cut, attracted more attendees. 

All the main actors, including Oscar winner Anthony Hopkins, were present. Even minor actors like Annie, upon hearing about the screening, came at the urging of their agents.

"Hi, Wayne! Congratulations! I saw *Accepted*, and my God, your performance was amazing!" 

Liv Tyler walked up to Wayne upon seeing him.

At the same time, her gaze quickly swept over Charlize Theron, noting that she hadn't brought her agent or assistant, but had come with Wayne. Liv began to speculate.

"Thank you, Liv."

Wayne responded politely with a practiced smile.

He'd heard such praise so many times recently that he had become numb to it.

Liv noticed his reaction and felt a bit miffed. The same words from different people carry different meanings, and Wayne's indifference showed he didn't care much for her.

Having spent years in Hollywood, she wasn't as full of herself as Natalie Portman. But as a recognized beauty, she didn't think she was any worse than Charlize Theron—perhaps even better, considering she was younger. She had put in effort during her interactions with Wayne, so why had he chosen Charlize over her?

Unfortunately, with so many people around and her lower status, she couldn't monopolize Wayne's time. She resolved to call him later to set up a more private meeting.

"Hello, Mr. Anderson. We meet again!"

"Hello, Mr. Wilson. I hear you've been promoted recently. Congratulations!"

"Thank you! I owe a lot of it to your *Accepted*."

"Haha! If you really want to thank me, help convince your company's higher-ups to offer a good price for *Happy Death Day*. I've heard from Sarah that both Fox and Universal have shown interest in the film."

"Don't worry, Anderson. We're old friends. Even if you didn't ask, I'd still make sure of it."

Wayne exchanged a few more words with Stephen Wilson, a senior buyer at Warner Bros. whom he had met at the last screening.

Thanks to the success of *Accepted* and his extensive experience, Wilson had recently been promoted to deputy head of the acquisitions department.

Initially, Sarah had only planned to invite crew members to this internal screening, not Wilson. But he had been following Hemera Pictures closely, found out about the screening, and asked to attend, so he was the only representative from Warner this time.

Soon, Mia arrived with a haggard-looking James Wan and the rough cut of *Happy Death Day*.

A few minutes later, the lights in the screening room dimmed, and everyone focused on the screen.

Truth be told, from an average viewer's perspective, the rough cut of *Happy Death Day* wasn't particularly good. But that's the case with most rough cuts.

However, everyone present was an industry professional and could watch attentively.

People like Stephen Wilson, a seasoned acquisitions expert, or Anthony Hopkins, who had directing experience, could envision the final product just by watching the rough cut.

For two hours and fifteen minutes, the large screening room was mostly silent, apart from the occasional exchanges between Wayne and James Wan and the sound of Wilson jotting down notes. Everyone else remained quiet.

To be honest, most of them were just going through the motions.

If it weren't for the success of *Accepted*, elevating Wayne and Hemera Pictures' status, they wouldn't have bothered to attend. Even trained actors would find sitting for two hours a bit much.

"Mr. Anderson, when will the final version of this film be completed?"

As soon as the film ended, Stephen Wilson immediately inquired.

Clearly, after watching the rough cut, he had developed a strong interest in this suspenseful horror film with a novel premise.

"If all goes well, it should be done in three days."

Wayne added an extra day to James Wan's estimate, but this still surprised Wilson, whose eyes lit up.

"Only three days? Then it could be ready for Halloween!"

Halloween is the traditional release window for horror films in North America. Many horror films are released during this time, and audiences are more likely to choose horror films over romances, comedies, or action movies.

Confident production companies usually aim to release their films during this time. Part of Wayne's decision to make *Happy Death Day* was to meet this deadline. After all, release dates significantly impact box office success.

"Please make sure to notify me when the final screening is held," Wilson said, again signaling his optimism about the film.

Since the acquisition price would likely exceed $12 million, final approval would need to come from the top, and higher-level executives would handle negotiations. Wilson's role was simply to submit his analysis and evaluation.

"No problem," Wayne replied, then added, "but because we're aiming for a Halloween release, we might also invite other distributors to the screening."

Wilson frowned slightly.

It wasn't that he had an issue with Wayne's approach—it was standard procedure. Hemera Pictures wasn't a subsidiary of Warner Bros., so they weren't obligated to sell the film to Warner.

What concerned him was the possibility of a bidding war driving up the price.

Three days flew by.

The box office for *Accepted* had taken a hit due to weekday showings and competition from *Meet the Parents*, earning just $6.5 million over three days. The North American total reached $97.68 million.

Simultaneously, *Accepted* had premiered overseas the day before. Perhaps due to cultural differences, its first-day overseas box office was only $7.6 million, much lower than in North America.

Warner Bros., now seeing the situation clearly, wasn't too disappointed.

Their latest forecast for *Accepted* projected $120 million domestically and $180 million worldwide.

Although it wouldn't cross the $200 million global threshold, Warner was still pleased.

Even with additional marketing costs, their total investment in the film was only around $40 million.

With box office earnings nearly doubling that amount, how could they complain?

So, when the final *Happy Death Day* screening was held, Warner didn't just send Andrew Wiggins and Stephen Wilson. They also dispatched a vice president in his forties, a clear sign of how seriously they were taking both the film and Hemera Pictures.

**Requesting recommendations, follows, and monthly votes!**

(End of chapter)