Release schedule

After returning to France, Lyman once again visited EuropaCorp and met with Luc Besson.

"Lyman, please have a seat," greeted Luc Besson warmly, as he instructed his assistant to bring in two cups of coffee, and afterwards he asked, "How was your trip to India? I hope the filming went well."

"We completed the shooting smoothly, but it's just the beginning. We still have the tedious post-production editing ahead," Lyman smiled and replied.

After some casual chatting, Lyman began discussing the main topic. "M. Besson, the film is about to enter the post-production phase. Shouldn't we start the publicity work appropriately?" The rushed promotion of the previous film had exposed many drawbacks, so it was essential to handle this film carefully.

"Well... we can do a small-scale promotion and create some anticipation in advance," Luc Besson affirmed Lyman's proposal and then asked, "How much time do you need for the post-production of this film?"

"At least a little over a month, but the exact time will depend on the efficiency of the production process," Lyman hesitated for a moment and gave a somewhat vague answer.

"If it takes a little over a month, then we can tentatively schedule the release for February next year. Of course, we will discuss the specific plan in more detail later," Luc Besson pondered for a moment and said.

"Alright, we will rely on you for that aspect of the work. I will proceed to the post-production immediately, and if necessary, I will edit some parts of the film to create a teaser trailer for the promotion, in collaboration with your team."

Creating anticipation was sufficient for EuropaCorp. They only needed to leave an impression of the film in the audience's minds and let them know when they could watch it in theaters. Therefore, a teaser trailer was an effective method of promotion. By occasionally revealing glimpses, it would serve as a good reminder for the audience.

After briefly discussing the promotion with Luc Besson, Lyman left EuropaCorp and began preparing for the post-production editing of the film. Unbeknownst to him, a conversation about him was unfolding.

"George, tell me," Luc Besson began, "How has Lyman been performing?"

Luc Besson had no direct means to learn about the filming of "3 Idiots", and now that the crew had returned, he thought it was a good opportunity to hear a report. This was not just about investing in a film project; it could also be seen as an investment in an individual, depending on what George had to say.

"He's very mature and experienced. During the first week of shooting, the entire crew relied on him to lead the work. The departments we often cooperate with at EuropaCorp also have great confidence in him. Although there were occasional conflicts on set, he handled them well," George shared his impressions of the past two months. "It's evident that he has experience managing such large-scale productions. He is a competent director, and his focus on work is astonishing. We were able to complete the shooting ahead of schedule because the overall production went smoothly, with very few obstacles, and even if there were any, he resolved them immediately."

"Most importantly, Lyman is very clear about what he wants or what he should demand from the crew. He has a say in the visual effects presented in the film and is very confident. These qualities are remarkable for a young director. His instinct for filmmaking is impressive."

Luc Besson listened quietly to George's evaluation of Lyman, and his heart was slightly shaken. He trusted this familiar acquaintance; otherwise, he wouldn't have appointed him as the producer to accompany the filming in India. It was equivalent to entrusting EuropaCorp's stance to him. However, the meaning behind George's words was apparent: he held high hopes for Lyman as a director and believed he would achieve something significant.

"Do you genuinely think highly of him?" Luc Besson asked.

"I'm merely expressing my opinion based on what I've observed of his directorial abilities. I feel that this film will not disappoint," George replied, wearing a smile on his face. "You'll see. Although I haven't seen the final version of "3 Idiots"' yet, I believe this work will be no less impressive than his first film and will even be better."

Is that so? The film "Buried" alone earned EuropaCorp millions of euros in profit. Will "3 Idiots" surpass it?

Luc Besson contemplated for a moment and felt a growing sense of anticipation.

The next day, Lyman went straight to the post-production studio set up by EuropaCorp, and the entire post-production team started working on the film. René and Thomas didn't want to miss out on this secondary creation, so they joined the editing room as well.

After another week, the preliminary edited footage of the film was turned into a teaser trailer, which was adopted by EuropaCorp's publicity department. On the screen, the teaser trailer first showcased over two minutes of campus life. With continuous cuts, it roughly presented the educational issues explored in the story. Then, the most iconic dialogue between Ranchhoddas and the dean followed. Several brilliant dialogues heightened the curiosity in the teaser trailer, further stimulating the audience's curiosity.

Meanwhile, some tabloids started their early promotions. After discussions between Eros International and EuropaCorp, coordinated promotional actions began in India.

"The Mumbai Evening interviewed actor Aamir Khan, and confidently, Aamir Khan stated that his new film "3 Idiots" will undoubtedly offer the audience a unique viewing experience."

More interviews with the actors began to circulate in India. After all, the majority of the film's cast was Indian, and Eros International knew which aspects would interest the Indian audience. In contrast, the promotion focus in France was different. They shifted the spotlight to director Lyman.

In fact, promoting a film with actors should've been more cost-effective. However, French media couldn't possibly promote how amazing Aamir Khan was or how dedicated the actors were. Even if one disregarded the acceptance of Indian actors and celebrities in the European cultural sphere, it would still seem strange to focus solely on that aspect.

What are Parisian newspapers reporting? Actor Aamir Khan said... blah blah blah. It would look very out of place. So they reported it like this:

"Director of "Buried" returns with the new film "3 Idiots", poised to compete for the top spot in next year's box office rankings." - Le Figaro

"Newcomer director Lyman vows that "3 Idiots" will become the benchmark of Indian cinema, setting industry standards for the European film circle." - Le Parisien

"Breaking records? The club of elites might see another member, as 26-year-old director Lyman could become one of the most outstanding young talents in the French film industry." - L'Obs

"Cannes Evening Report will take you on an in-depth analysis of director Lyman's rise." - Paris Match

"Looking forward to director Lyman's new film. His "Buried" is still vividly remembered." - La Revue

"It is reported that all members of the "3 Idiots" crew traveled to Mumbai, India, insisting on on-location shooting to present a more authentic Indian style." - Le Monde

...

Quietly, EuropaCorp and Eros International began their promotional efforts, and as soon as the promotional expenses were released, the effects were immediately visible. Of course, these were all articles from tabloids, and they were all regional media, especially in Paris, the location of EuropaCorp. They seemed more concerned, and their ability to make up stories was stronger.

Even though Lyman was fully focused on post-production, having never given any newspaper interviews, how could the unscrupulous tabloids miss out on such an excellent source of hype? They made it all sound so real. Although they didn't have the frictionless experience of the shocking headlines from well-known news websites of the future, the depth of the content was no different.

In short, they started with a catchy headline and filled the content with fabrications to attract attention. Journalists never lacked imagination. Just by closing their eyes, they could come up with tens of thousands of news headlines that would generate buzz. They didn't hesitate to write outrageous things. But this kind of nonsense could indeed capture the attention of some viewers.

At least, some of the masses who had seen the film "Buried" were piqued with curiosity. Creating anticipation was worthwhile if it left an impression of the film in the minds of those who saw it.

...

The film's post-production continued. After the rough cut, the film's duration was controlled to 130 minutes. Undoubtedly, it was still too long, even after removing some ambiguous subplots and comedic content from the beginning. It still felt inadequate.

Lyman aimed to keep the film within two hours if possible. After careful consideration and deliberation, he settled on a runtime of 115 minutes. He couldn't cut it down any further; those 15 minutes had drained a significant number of brain cells. He had to maintain the film's pacing while ensuring a smooth plot. It was not a simple task.

After the editing was completed, it was time for the music. Lyman wasn't a professional in this area, but after expressing his requirements, the production team assembled by EuropaCorp would deliver satisfactory results. Then, he communicated and collaborated with the sound editor until they reached a consensus. Next was the recording of the entire voiceover, which took two to three days.

On January 10th, all post-production was completed. The final film was transferred to celluloid and multiple backup copies were made. With the film reels in hand, Lyman once again met with the director in charge at EuropaCorp, Luc Besson, to begin internal screenings and discuss the release schedule.

Last year's film, "Buried", didn't go through this step, so its initial release was quite dismal. After all, it was acquired from a film festival; it was like an adopted child, naturally not cherished. But now, with full investment, things were different...