Chapter 68: The Event Film

Coolidge, Arizona.

When "Run Lola Run" premiered, most of the crew still saw Simon as a young talent with a slight edge. However, with the release of the box office figures, everyone's view of Simon changed dramatically, including Catherine's.

First week box office: $6.97 million.

Such numbers, two decades later, might not even match the opening weekend of a blockbuster. But in the 1980s, especially with only 207 screens, these figures were eye-opening.

To put it in perspective, out of the 451 movies released in North American theaters in 1986, fewer than 90 had total grosses exceeding $6.97 million. This meant that over 80% of Hollywood films that year did not match what "Run Lola Run" made in just one week.

And for "Run Lola Run," the first week was just the beginning.

Given the film's current reputation and media buzz, "Run Lola Run" had become a quintessential 'event film'—a term Hollywood uses for movies that achieve a societal and box office impact far beyond expectations.

Before "Run Lola Run," films considered event movies included "The Exorcist," "Star Wars," "Jaws," and "E.T. the Extra-Terrestrial," with the latter still being categorized as a standard Hollywood blockbuster.

While Hollywood also saw low-budget successes like "Mad Max," which made just over $8 million in North America, none could compare to "Run Lola Run," whose first-week gross was ten times its production cost—a miracle in its own right.

Now, "Run Lola Run" was paving the way for future low-budget, high-grossing films similar to "The Blair Witch Project" and "Paranormal Activity" in another timeline.

Moreover, some media predictions about the box office future of "Run Lola Run" were causing a stir.

$150 to $200 million.

Again, these were figures that wouldn't stand out two decades later.

However, even considering a film like "Platoon," which was only projected to break $100 million but hadn't yet done so, Hollywood had only five films in 1986 that achieved a $100 million box office in North America.

"Top Gun," which elevated Tom Cruise to a global superstar, ended up grossing $176 million in North America.

Now, considering "Run Lola Run."

A North American total between $150 and $200 million implied that if Hollywood's releases later in the year underperformed, the 1987 North American box office champion could very well be a film made on a budget of just $650,000.

18 years old.

$650,000 budget.

His first film.

North American box office champion.

Many felt they were witnessing the birth of a legend.

At the hotel where the "Night of the Bloodsuckers" crew was staying:

February 21, Saturday.

In a makeshift screening room, several key creators were reviewing footage shot earlier that week.

As a director's assistant on a fixed weekly salary, Simon wasn't originally meant to be in such sessions, nor did he have the credentials to be there.

However, last week, Catherine had personally invited him to watch the dailies, although he had no real say at the time, merely observing.

This week, however, producer Edward Feldman personally asked Simon to join the session at noon, even suggesting that his title be upgraded from director's assistant to associate director, similar to Catherine's role during "Run Lola Run."

Simon was willing to help but understood that Edward Feldman wanted to leverage his name for future promotions of the film. While he agreed to participate in the discussion and watch the dailies, he did not accept the offer to sign a new contract.

In the screening room, after playing a scene where Caleb kneels before May to drink her blood, Catherine paused the footage and instinctively looked towards Simon, sitting across the projector.

"The lighting still has minor issues, but it can be adjusted in post-production," Simon commented, then added, "However, I feel the emotional changes between the two characters in this scene are too frequent, making it hard for the audience to grasp the intended emotion."

Catherine responded, "This scene represents a progression and climax in Caleb and May's relationship."

After a moment's thought, Simon suggested, "Then, this scene needs to convey intense emotions even more clearly. Perhaps we could add a sequence showing them being intimate."

Listening to Simon's numerous suggestions of 'perhaps we could do this,' Catherine felt a mix of emotions but explained, "That won't work, Adrian and Jenny's contracts don't cover intimate scenes."

Catherine glanced at Edward Feldman.

Edward Feldman also regretfully shook his head, "Simon, the production budget is tight, changing contracts definitely involves extra costs, and they probably wouldn't easily agree."

Simon smiled, "I'm not suggesting anything explicit—just a kiss, an embrace, under the rising sun, feeling the scorch of

 the day like a couple doomed to love, hiding in the shadows until the last moment."

While speaking, Simon casually sketched a diagram in his notebook.

Catherine and Edward Feldman listened intently and quickly agreed with Simon's idea, deciding to add the suggested sequence.

The discussion continued until the evening when there was a knock on the door, and Janet appeared at the entrance.

Surprised, Simon hadn't expected Janet to visit and quickly got up to greet her. Catherine and Edward Feldman stood up as well.

Simon and Janet embraced, and he asked with a smile, "What brought you here all of a sudden?"

Janet blinked, looking at Simon, "Don't you know?"

Confused, Simon replied, "Know what?"

Janet scrutinized Simon, making sure he really didn't know the reason, then with a flicker of mischief, she shifted the topic, "It's not just me; Mr. Peter Sanders from Fox is also here."

Pointing behind her, Janet let go of Simon and went to greet Catherine and the others.

Simon wasn't as surprised by the arrival of Fox's Vice President, Peter Sanders. His intentions for coming were easy to guess, so Simon simply approached, shaking hands and exchanging pleasantries with a smile.