Chapter 262: "To Those Waiting for Failure, Where Are You Now?"

The premiere was a resounding success.

As the audience left the theater with satisfaction written all over their faces, New Line Cinema's hired staff were stationed outside, asking viewers to fill out feedback forms.

"A+, of course, it's an A+!"

"The film was fantastic. Damn it, my bladder almost burst—it's got to be an A+!"

"It was a great movie, but the pacing dragged a bit. I'll give it an A."

"A. I didn't like the protagonist, but Legolas captivated me."

Inside the theater, stars who had attended the screening to show their support began bidding farewell to the cast and crew.

Jennifer Aniston hugged Martin briefly and whispered in his ear,

"Martin, don't forget about our date tomorrow!"

As she spoke, her hand lightly pressed on Martin's arm, her demeanor more intimate than before. Unlike her previous indifferent attitude, there was now a subtle spark of desire in her expression.

"Don't worry, I won't forget."

The following day, The Los Angeles Times ran an entertainment headline: The Tale of the Ring!

The Lord of the Rings was completed in 1955.

This long-form fantasy novel by J.R.R. Tolkien has long been an iconic piece of literature in Western culture, with countless filmmakers eyeing it for adaptation.

In fact, since its publication, The Lord of the Rings has been adapted into various movies, TV shows, and animations.

As far back as the 1970s, a Hollywood studio tried to turn it into a film. But that version—how should we put it?—had terrible special effects, mediocre acting, and a disastrous script. What was supposed to be an epic fantasy was reduced to a childish fairy tale, resulting in an outright flop.

This failure made major Hollywood studios wary of the material. Even Harvey Weinstein, after acquiring the rights, hesitated to give it the green light.

Many studios, including Disney, doubted the project's potential. When Weinstein approached Disney for co-financing, they outright refused.

Weinstein grew increasingly apprehensive, slashing the budget repeatedly and demanding constant script revisions. At one point, he even suggested combining Gondor and Rohan into a single kingdom and reducing the number of Hobbits in the Fellowship from four to two. He believed the entire story could be condensed into a two-hour film.

Director Peter Jackson, naturally, was flabbergasted by these suggestions. To his credit, he refused to compromise. Weinstein eventually issued him an ultimatum: find another studio willing to fund the project within three weeks.

Jackson approached nearly every major Hollywood studio—Universal, DreamWorks, Fox, Sony, and Centropolis—all of whom declined, citing concerns over the script or the exorbitant cost.

Here's the truth: while The Lord of the Rings is a literary classic, its adaptation posed two monumental challenges:

First, the cost. With a projected budget exceeding $100 million per film, the financial risk was staggering.

Second, the difficulty of adaptation. The novel's vast and intricate world-building made it notoriously hard to translate effectively to screen.

For a time, it seemed as though this ambitious project was doomed to fail.

But then fate intervened. A remarkable coincidence brought Martin Meyers into Jackson's life. Remember the infamous cheetah incident where Martin saved a group of tourists? Among those rescued were none other than Jackson and his friend Richard Taylor, the film's eventual special effects designer.

Perhaps it was divine providence. After reviewing Jackson's script, Martin saw its potential and decided to invest, pledging to fund all three films while purchasing the rights outright from Weinstein.

Warner Bros., eager to maintain ties with Martin, agreed to co-finance through its subsidiary, New Line Cinema. However, even Warner Bros. harbored doubts, relegating the project to New Line, which had less to lose.

Skeptics abounded. Many believed Jackson lacked the experience to handle such an epic, and Martin was accused of recklessness. Rumors circulated that this would be his great cinematic failure.

Fast-forward a year and a half. Reality has delivered a slap in the face to the naysayers.

Even after just its premiere, it's clear that The Lord of the Rings: The Fellowship of the Ring will dominate the holiday box office. Its meteoric rise seems inevitable.

Once again, Martin Meyers has proven his unparalleled instincts, and Peter Jackson's unyielding perseverance has finally paid off. This is not just a victory for the film—it's a defining moment for cinema itself.

The Lord of the Rings: The Fellowship of the Ring is more than just a movie; it's a testament to what can be achieved when vision, determination, and talent converge.

To those who doubted, who waited eagerly to see Martin Meyers fail: where are you now?

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As audiences leave theaters across the nation, their laughter, tears, and thunderous applause echo a singular truth: this is a masterpiece.

Within hours of the premiere, online forums were buzzing with discussions. Fans raved about the stunning visual effects, the intricacies of the plot, and the breathtaking score.

In industry circles, a shift was palpable. Those who had dismissed The Lord of the Rings as a doomed venture now scrambled to reevaluate their positions. Directors and producers whispered in astonishment,

"Maybe we underestimated Martin and Peter after all."

Meanwhile, at New Line Cinema, a celebratory atmosphere filled the offices. Executives toasted their bold decision to back the project, already envisioning the accolades and profits that awaited them.

Yet amidst the jubilation, one thing was certain: this was only the beginning. The journey of The Lord of the Rings was far from over, and its legacy was just beginning to unfold.