Chapter 173: Low Presence

Before this, Matthew hadn't seen the film and didn't know what the final product would look like. He only guessed that a famous director like Ridley Scott wouldn't stick strictly to the original material but would surely add his unique touch.

Indeed, Ridley Scott had his own perspective in the film, particularly emphasizing the theme of "brotherhood in arms."

The U.S. military's operation in Somalia, initially aimed at capturing militia leader Aidid, turned into a desperate situation due to inaccurate intelligence. The U.S. forces were surrounded by Somali militia, and the number of soldiers needing rescue kept increasing due to tactical errors.

Ridley Scott essentially cut out the overall tactical problems and didn't present the perspective of the Somali militia. The focus was on the U.S. soldiers braving gunfire to rescue their besieged comrades, with everyone from the highest commanders to frontline soldiers firmly believing in the creed of "leaving no one behind" – even if it meant retrieving bodies.

Of course, this could also be the work of Jerry Bruckheimer, as Ridley Scott didn't have the final say in editing. Given the current social climate, such content was more likely to be accepted by the public.

Matthew was just a regular actor in the crew, far removed from the decision-makers. His observations were merely speculations based on the film and the current socio-political environment.

Only Ridley Scott and Jerry Bruckheimer might know the real intentions behind these choices.

At the film's end, Matthew saw his character, Sergeant Hoot, having a profound conversation with Josh Hartnett.

"We fight for our brothers, it's as simple as that!"

Sergeant Hoot's line once again underscored the film's theme.

Matthew didn't see it as an anti-war film after watching it.

"Looking at it this way..." He watched his close-up as Sergeant Hoot on the screen and mused, "My acting isn't bad at all!"

He conveniently forgot the numerous NG takes required for that shot.

When the end credits rolled, Matthew briefly recalled that out of the thousands of shots Ridley Scott took, only a small part made it into the film, and the scenes of Sergeant Hoot and other Delta Force members returning to the battlefield were all cut.

The film's plot concluded with the arrival of the rescue team at the stadium, but the book and script didn't end there.

Especially in the book, there's a detailed description of what happened afterward. Somali militia captured Black Hawk pilot Mike Durant to exchange him for captured Somali prisoners. On the way to their village, local bandits intercepted them, intending to use Durant for ransom.

Durant was taken to a house, interrogated, and slapped in front of a camera. This tape, along with footage of Somalis disrespecting American corpses, was later broadcast on CNN in the U.S., causing an uproar and forcing the Clinton administration to withdraw troops.

The Somali militia, after paying Durant's ransom, transferred him to the home of Aidid's propaganda minister. Five days later, he met with a representative of the International Red Cross and interviewed with British and French journalists. Ten days later, he was exchanged for captured Aidid officials and returned home to a hero's welcome.

This is where the book's plot truly ended.

However, Matthew also understood that films and books are different mediums; it's impossible to cram too much content into a movie. Ridley Scott and Jerry Bruckheimer had to make choices.

The original book by Mark Bowden included interviews with many Somalis, offering perspectives from the Somali side of the conflict, but all these were discarded for the film.

Ultimately, it's an American movie, one that received assistance from the Pentagon.

Loud applause filled the theater at the end of the screening. Matthew stood and clapped along with the rest of the crew, setting aside the messy background and current political issues. From a cinematic perspective, he thought it was a very exciting war movie.

If he had to judge, he would categorize it as a classic, though his standards for classics were more akin to popcorn movies.

Later, guests, journalists, and film critics interacted briefly with the crew.

Matthew wasn't part of these interactions, mostly observing from the sidelines. He didn't even attend the post-screening press conference. Only Josh Hartnett and William Fichtner among the actors attended, not even Johnny Lee Miller and Orlando Bloom.

This was related to the film's style. After watching the movie, even with his limited professional level, Matthew could tell that the actors and their characters had a very low presence in "Black Hawk Down."

In the intense battle scenes and the streets of Mogadishu, it was hard to distinguish one fully armed American soldier from another.

Although Ridley Scott had the prop department label helmets with characters' names during filming, it was hardly more recognizable than the actors' faces obscured by smoke and camouflage.

"Good thing..." Matthew reflected as he left the Pasadena Theatre, "My last close-up shot was quite clear."

But he felt it might not make much difference. The narrative style chosen by Ridley Scott and Jerry Bruckheimer focused on events rather than individuals, showing the entire process without emphasizing individual character development. Although there was at least one main character for each military unit, like his Sergeant Hoot, their personalities and backgrounds weren't elaborated.

In essence, it was a war movie that showcased the U.S. military as a whole, somewhat neglecting individual stories.

Perhaps accustomed to analyzing other people's performances from tapes, Matthew found it hard to watch movies purely as an audience member, always unconsciously analyzing them, even though he knew such analysis was superficial.

His professional level was still very limited.

Returning home, Matthew immediately updated his blog with a post about "Black Hawk Down" and uploaded a few character posters of Sergeant Hoot to his personal blog.

His blog hadn't reached ten thousand followers yet, so its promotional effect was limited. Most followers came because of "The Scorpion King."

Matthew wasn't in a hurry, knowing his time would come eventually. Social media fans needed to be accumulated slowly, and when the time was right, a big breakthrough might happen.

In the following days, he attended several media events, screenings, and premieres for "Black Hawk Down" and gave a few interviews. He also appeared in some newspapers, especially with his deep portrayal of Sergeant Hoot, which the media occasionally used, riding on the film's popularity.

Universal Studios and "The Scorpion King" crew also took this opportunity to launch a promotional campaign, linking the image of the Scorpion King with Sergeant Hoot.

Matthew, moving between the two film crews, managed to get some media exposure.

On the other hand, his plan to ride on the popularity of "The Lord of the Rings" didn't materialize. Orlando Bloom called to inform him that he couldn't secure a premiere invitation.

Matthew wasn't bothered. Such popularity was good to have but not essential.

Instead, he was more focused on "The Scorpion King" and "Black Hawk Down."

"The Scorpion King" was in post-production, and according to Matthew's understanding, editing had begun. But he couldn't be involved in post-production; not even director Chuck Russell was part of it.

"Black Hawk Down" started limited screenings in five Los Angeles theaters. Despite limited release, the occupancy rate was high, and the film received positive professional reviews.

Critics and media mostly praised "Black Hawk Down."

Matthew saw many positive reviews in newspapers and magazines.

"'Black Hawk Down' is not a mere anti-war film. Ridley Scott directed it like a documentary, realistically portraying the long night in Mogadishu, Somalia. Whether it's the various mental states of American soldiers facing adversity or the graphic portrayal of urban violence, its shocking realism and profound implications ensure its unique place in war film history!"

The film's positive reception led Sony Columbia Pictures to promote it vigorously, clearly aiming for Oscar contention.

Some critics even suggested replacing related documentaries on TV history channels with this film, arguing that "Black Hawk Down" offered a more accurate and detailed depiction.

Compared to the film itself, the actors received much less attention. Not just Matthew, a supporting actor, but even the lead, Josh Hartnett, didn't receive much media praise.

The plot completely overshadowed the actors.

While critics and many viewers might prefer this, it wasn't a good sign for actors like Matthew.

Fortunately, even if the roles were somewhat flat, "Black Hawk Down" could still be a brilliant addition to the actors' resumes if it performed well at the box office and the Oscars.

Especially for Matthew, such a rich resume was beneficial in competing for certain roles.

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