Chapter 152: Return to Rhode Island

Wedding Crashers, an R-rated comedy, was familiar territory for Universal. After all, Universal Pictures had a tradition of releasing low-budget comedies and horror films.

Wedding Crashers opened in 2,900 theaters and garnered $32 million in its first weekend, placing it second at the North American box office.

On the same day, Warner Bros. released a fantasy blockbuster directed by Tim Burton and starring Johnny Depp, Charlie and the Chocolate Factory, which opened in 3,750 theaters and earned $56 million, making it the first at the weekly box office.

A week later, The Island opened in a total of 3,120 theaters in North America, but only made $12.4 million in its opening weekend.

Newspapers were filled with negative reviews; it was a film that used the gimmick of exploring the ethics of cloning, relying on stunts, explosions, and rapid edits, deemed as a poor quality movie.

In Beverly Hills, at the Capet Estate, Charles Capet was half-lying on the sofa, holding the sexy Scarlett Johansson, and lamented, "I've already said that Michael Bay's method of creating atmosphere with exaggerated sound and visuals, and dazzling edits, is already outdated. Constantly repeating this style, the audience is tired of it; the story is chaotic and completely illogical!"

Scarlett Johansson felt a bit helpless too. Her first attempt at a commercial blockbuster, this kind of result made her feel maybe she wasn't suitable for commercial films, better off sticking to indie and artsy films.

"You know, The Island was a disaster, DreamWorks is going to lose a lot," Scarlett Johansson had already decided in her heart to return to indie films.

Charles turned and kissed the girl, then pulled the girl, who was only wearing a white shirt, into his lap and laughed, "Hey, isn't Wedding Crashers the real dark horse? In just ten days, it has already surpassed $80 million at the North American box office, and you are the lead actress!"

Even though it was just an R-rated comedy, the high box office revenue brought some fame to the lead, and it was most likely going to be Scarlett Johansson's highest-grossing film for quite some time.

Scarlett Johansson still lacked confidence, saying, "But I think commercial films may not really suit me. I already turned down a role for Mission: Impossible III. Instead, I took on The Black Dahlia and Scoop."

The Black Dahlia was adapted from the true story of Elizabeth Short's case in Los Angeles in the 1940s. It was a very sensational murder case in American history, and in the late 1980s, it was turned into a novel by noir novelist James Ellroy, The Black Dahlia, which quickly became a best-selling noir mystery.

"I heard earlier that David Fincher might direct The Black Dahlia, but now it's another director, isn't it?" asked Charles.

When it came to filming suspense movies, David Fincher's talent was unquestionable.

Scarlett Johansson explained, "David Fincher wanted to make it a three-hour black-and-white film, and the producers rejected it!"

"However, Scoop is directed by Woody Allen. He's also an actor, and the leading man is Hugh Jackman, who I just worked with on The Prestige. Now we're going to work together again."

Charles laughed, it was clear that Woody Allen was really fond of Scarlett Johansson. Previously, Match Point was rejected by Scarlett because she was shooting Wedding Crashers, and now another movie, Scoop, was offered.

"Well, what can I say? Woody Allen's directing skills are indeed not bad; he's very good at capturing the beauty of actresses, making them look their most sexy and alluring in his films," Charles acknowledged Woody Allen's professional talent in the indie film industry.

Scarlett Johansson nodded, wrapping her arms around Charles's neck, and passionately began kissing him.

A loose shirt could hardly withstand the tugging of a man's hands, and soon, the sexy lady was pinned under Charles on the sofa!

By late July, The Island dropped to just $5.8 million in its second weekend, marking a complete failure for the movie.

Meanwhile, Wedding Crashers hit the $100 million mark in North America; another Capet Pictures-developed, Universal-distributed film, Mr. & Mrs. Smith, also surpassed $150 million in North America.

Seizing the favorable situation, Charles flew once again to Hasbro's headquarters in Rhode Island to discuss the live-action adaptation of Transformers.

Brian Goldner, the current COO of Hasbro, was soon to become the CEO, just as soon as the live-action Transformers movie hit the market.

"Brian, what do you think? Any more doubts about Capet Pictures' movie development capabilities? I just acquired Marvel, and I'm also planning to make superhero films," Charles casually chatted with Brian Goldner.

Brian Goldner laughed, "Actually, when it comes to developing a live-action Transformers movie, we don't have much experience. Mr. Spielberg indeed recommended Michael Bay to direct."

"Unfortunately, The Island cast a shadow over your collaboration, didn't it? With more than hundred and twenty million dollars in production costs!" Charles laughed, the meaning clear; The Island had only made more than $30 million in North America.

"Brian, Capet Pictures is willing to offer nearly a hundred and fifty million dollars for the production budget of the live-action Transformers, and it's expected to release during the 2007 Christmas season."

"A hundred and million dollars," Brian Goldner was undoubtedly tempted.

Charles nodded, "Because the movie will be somewhat like a semi-animated film, with many robot transformation visual effects needing early production. To shoot large-scale scenes and high-tech weaponry, we'll need to discuss the script with the Department of Defense's Entertainment Liaison Office to get strong support from the military."

The FBI was the first U.S. agency to establish an office relying on Hollywood films and TV to enhance its image, followed by the Department of Defense and the CIA setting up media liaison offices.

Now, the Army, Navy, Air Force, Marine Corps, Coast Guard, Department of Homeland Security, and Secret Service all have film and television offices, or hire media advisors officially. Even the central departments of the U.S. government cooperate with Hollywood, all for the sake of enhancing image and promoting their "righteous" narrative.

The success of America's cultural and ideological export through Hollywood was immense. The script for Marvel Studios' Iron Man also required considerable support from the Department of Defense, and the script had to align with the Department of Defense's image requirements.

Otherwise, the Department of Defense wouldn't provide fighter jets, equipment, or even military personnel at extremely low costs or for free to assist in shooting.

*****

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