Chapter 787: The Opponent is Life of Pi

Century City, Fox Building

In the sunlit office adorned with the nameplate "PI," Director Ang Lee set aside his copy of the "Hollywood Reporter." He leaned back in his chair, his mind churning with thoughts. "The media is all over 'Argo,'" he remarked, breaking the contemplative silence.

Producer Gil Netter, standing by the expansive window that offered a panoramic view of Century City, turned to face Lee. "It's no surprise. 'Argo' has garnered a stellar reputation and fits the mainstream narrative perfectly. With the right strategy, it could be a formidable contender."

Netter continued, "Though the producers listed are Graham King and Louise Mayer, from what I understand, the real driving force behind this project is Martin Davis."

The mention of Davis's name pulled Lee back in time to the set of "Brokeback Mountain." He vividly recalled the incident where Martin Davis, in his relentless pursuit of Heath Ledger, had almost collided with Lee and Jennifer Aniston. That chaotic moment had haunted him, making him believe it cost Ledger a Best Actor nomination and potentially contributed to "Brokeback Mountain" losing the Best Picture award to "Crash."

Netter's voice brought him back to the present. "Martin Davis is a maestro when it comes to Oscar campaigns. Our 'Life of Pi' is also gunning for the Oscars this year, particularly Best Director and Best Picture. Our main competition is, without a doubt, 'Argo.'"

Ang Lee's face hardened with resolve. "Every film has its strengths and weaknesses. It's not a given that 'Argo' will sweep the awards."

Netter nodded in agreement. "True. 'Argo' leans heavily on political dramatization, turning a straightforward rescue operation into an epic tale. While this heightens its commercial appeal, it also distances the film from reality. This could be a critical vulnerability during the awards season."

Lee, with two Oscars already under his belt, understood the importance of strategy. "Remember how Weinstein undermined 'Saving Private Ryan'? He enlisted World War II veterans to debunk its authenticity."

"Precisely," Netter said, contemplating their next move. "We need to start preparing. The awards season is already in full swing, and the Oscars are looming closer."

Lee added, "I read about the 'Argo' premiere recently. Many attendees were people who lived through the actual events."

Netter's eyes gleamed with a plan forming. "We need to track them down, find their addresses. We may need their testimonies."

Both men understood the critical role of public relations in winning awards. Ang Lee recalled the countless dinners with Oscar judges, where even the food tasted like plastic due to the pressure. Public relations had been pivotal in his past victories, and he fully endorsed Netter's approach.

With November approaching, the North American film awards season had been underway since September. The urgency was palpable. Lee and Netter quickly delegated tasks to their trusted assistants, initiating the groundwork.

Meanwhile, the Box Office for 'Argo'

With glowing reviews and strong audience reception, 'Argo' exhibited impressive box office stability. Despite losing the weekend box office crown to 'Taken 2,' 'Argo' saw only a minor dip of less than 40% in its second weekend, raking in $27.89 million.

Including earnings from the previous four weekdays, 'Argo' had amassed $92.13 million domestically. It was only a matter of days before it crossed the $100 million mark, cementing its commercial triumph.

Disney Studios, the Crew Studio

In another corner of the city, within the bustling confines of Disney Studios, Martin Davis convened with David Fincher, Louise Mayer, and Graham King. The room buzzed with discussions and strategies, the air thick with anticipation and the scent of freshly brewed coffee. Each of them was acutely aware that the battle for the Oscars was just as fierce behind the scenes as it was on the big screen.

The outstanding commercial performance of "Argo" could be set aside for now. With award season underway, their focus had to shift to the upcoming Oscar race.

Louise walked over to the whiteboard and began posting potential competitors' posters. "We need to strategize," she said, as she pinned up the last poster.

Graham King nodded, stepping back to take a broader view of the board. "Even though many films haven't been officially released yet, most have held previews. Based on the intel we've gathered, these will be our main competitors."

Louise grabbed a metal pointer and directed everyone's attention to the poster of "Lincoln." "Since April, Daniel Day-Lewis has relocated from the UK to Los Angeles. He's been ingratiating himself with the Academy's jury members for the past six months. He's the kind of actor the Academy adores, he rarely takes on commercial films and started his PR campaign earlier than anyone else. His advantage is significant."

Graham chimed in, "I attended a preview of 'Lincoln,' and there's no doubt about his performance. He's flawless."

Martin, who had anticipated this, responded, "Our primary goals with 'Argo' are Best Director and Best Picture. For Best Actor, securing a nomination will suffice."

David Fincher, still gazing at the "Lincoln" poster, voiced his concern, "We need to keep an eye on Spielberg and his film."

Louise and Graham shared a similar sentiment. Spielberg's ambition to win another Best Director award was well-known. From "Munich" to "War Horse," he had made several attempts. However, surprisingly, not many resources had been poured into his campaigns.

"This 'Lincoln' has Oscar bait written all over it," Louise added.

Martin took the pointer from Louise and tapped the poster of "Life of Pi." "We need to watch this one closely," he said.

"Ang Lee?" Graham asked, raising an eyebrow.

David Fincher remained contemplative.

"Elaborate," Louise encouraged, standing beside Martin.

Martin continued, "Spielberg has already won two Best Director awards. Securing a third will be challenging. Recently, his films have faced criticism for excessive sentimentalism and formulaic production. His reputation has taken a hit within the industry."

He paused, recalling his conversations with Spielberg. "I've spoken with him several times. Despite what people think, Spielberg isn't desperate for another win. He already has two Best Director Oscars. DreamWorks might not be willing to invest heavily in another campaign."

Graham nodded. "I'll reach out to Spielberg when I get the chance."

David Fincher interjected, "Didn't Ang Lee win Best Director for 'Brokeback Mountain'?"

"Yes," Louise replied, recalling the controversy. "Many believe 'Brokeback Mountain' lost Best Picture to 'Crash' because of the incident with Heath Ledger."

Martin shrugged, a hint of a smile playing on his lips. "What can I say? Ledger almost knocked me over on set. I was just trying to get justice."

The room erupted in laughter, the tension momentarily easing as they reminisced about the past.

Martin's expression turned serious. "Don't underestimate Ang Lee. 'Brokeback Mountain' made him a darling among certain influential groups in Hollywood. It's an easy way to garner votes. You all know how the industry works, there are quite a few people who are passionate about these causes."

Louise nodded, adding, "Many in the industry see 'Brokeback Mountain' winning Best Director as a milestone for LGBTQ+ representation in Hollywood. They have a deep appreciation for Ang Lee's work."

As they deliberated, the stakes became clearer. With the awards season in full swing, every detail and every relationship could tip the scales. Their strategy needed to be flawless if they were to secure the coveted Oscars for "Argo."

Martin leaned forward, his eyes narrowing with intensity. "Ang Lee has already claimed the Best Foreign Language Film award for 'Crouching Tiger, Hidden Dragon' and the Best Director award for 'Brokeback Mountain.' This means he's no stranger to the Oscars. He's well-versed in how the game is played. We can't underestimate him."

Graham nodded thoughtfully. "Winning twice on his first tries isn't something just anyone can pull off. It shows he knows what he's doing."

David Fincher, now fully engrossed in the conversation, asked, "Has 'Life of Pi' been released yet?"

"Not yet," Louise replied, tapping a finger thoughtfully on her chin. "There was a preview recently, and the distributor is Universal Pictures."

Martin turned to Graham. "Did you attend the preview?"

Graham shook his head, reaching for his phone. After a brief conversation, he hung up and said, "A friend of mine in the critic circle attended the preview. He said the film is a visual masterpiece, blending Ang Lee's unique philosophy of East meets West."

He paused for effect, then added, "My friend spoke with several other critics and columnists who were there. They all agreed the film is exceptional, perhaps even surpassing 'Brokeback Mountain' in quality."

Martin's expression grew more serious. "We need to keep a close eye on this film and any news about Ang Lee."

Louise nodded. "I will."

Graham added, "If there's another screening, I'll secure a few invitations. We need to see it for ourselves."

David Fincher, recalling the intense competition from last year's Oscars, said, "Winning isn't just about our film. It's about understanding the competition. Keep me informed."

Martin gestured with the metal rod toward Ang Lee's poster. "Gather as much information as you can. The more we know, the better we can strategize."

The four of them reached a consensus: their main competitors for the Oscars were Spielberg's "Lincoln" and Ang Lee's "Life of Pi."

After the meeting, Martin and Louise headed to Pacific Pictures to discuss the promotion of several upcoming films. Pacific Pictures had a solid partnership with Warner Bros., and Louise had invested in "The Dark Knight Rises."

Martin wanted to push for a standalone Joker film, and Louise was fully supportive. She promised to leverage her connections to put pressure on DC Films. Additionally, Louise was championing the script for "Split."

After multiple meetings and discussions with Billy Milligan, Jonathan had traveled to Billy's hometown and the mental health center where he was treated to conduct field research. He returned to Los Angeles with a wealth of material and immediately began adapting the script.

Jonathan, known for his talent in creating complex characters and intricate plots, had planned ten months of dedicated creative time for the project.

Two days later, Kelly Gray arrived in Los Angeles from Atlanta. Elizabeth took Lily to an art exhibition in Miami, leaving Martin to spend two nights at Louise's house in Sherman Oaks.

The three of them felt as if they had stepped back five or six years, reliving carefree times filled with the purest joy. Despite Martin's remarkable stamina, he found himself exhausted by the end of their stay.

As November rolled in, Martin set aside other projects to focus entirely on filming "La La Land." This musical was his first foray into the genre, presenting a fresh and exciting challenge.