Chapter 897: The Beginning of the Gall of Warner Group!

Post-production on the film was proving to be a laborious process. While Martin was overseeing the big picture, he was still deeply involved in the finer details, ensuring every element of the film met his vision. His directorial skills had matured over the past few projects, and he was determined to keep improving.

One morning, he sat down with Rachel Portman, the film's composer, to discuss the soundtrack. They reviewed several key scenes where he felt the music needed fine-tuning. After suggesting some adjustments, he quickly moved on to his next task: a meeting with Daniel at Warner Bros. to confirm the release date for 'Joker'.

Warner Bros. had laid out a series of possible release dates, but Martin had his mind set on October. The timing was deliberate, aligning with the industry rhythm he, his studio, and his team were well-versed in. October releases tended to be perfect for films aiming to ride the wave into award season, and 'Joker' was no exception.

With the massive success of 'Split' behind him, Warner Bros. was eager to go all-in on 'Joker'. Daniel, seated across from Martin in the reception room, looked over some documents before making a key point. "Warner's ready to invest over $100 million into the film's publicity and distribution," he said, glancing up. "But we need to be prepared. This project won't have support from DC."

Martin, unfazed, nodded. "That's fine. As long as they don't get in the way."

Daniel smirked. "They're too tied up with 'Justice League' to bother with us. The stakes are huge for them, though. The success or failure of 'Justice League' could define the future of Kevin Tsujihara and Walter Hamada at Warner Bros."

This wasn't news to Martin. He'd had his share of run-ins with Warner leadership over the years, including clashes with Jon Berg, who had since been forced to resign. Kevin Tsujihara even went as far as sending someone to try and manipulate Martin during production, though Martin had dodged that bullet. He saw this new project as an opportunity to realign his relationship with Warner Bros. and move forward strategically.

Changing the subject slightly, Martin leaned in. "'Batman v Superman' didn't exactly wow audiences. Has that had any impact on the 'Justice League' production?"

Martin had been following the situation from afar, even passing along some insider information about Joss Whedon through Louise, but between the awards campaign for 'Split' and finishing 'Joker', he hadn't been as tuned in recently. He was curious: "Is Zack Snyder making progress?"

Daniel sighed and nodded. "Yeah, the fallout from 'Batman v Superman' was rough. The box office numbers were underwhelming, and commercial revenues didn't meet expectations. There was a lot of talk about replacing Snyder, but by the time the film came out, 'Justice League' was already too far along. Changing directors at that point could've cost hundreds of millions, so they stuck with him."

Martin raised an eyebrow. "I've heard bits and pieces about this."

Daniel continued. "That said, Snyder's position has been weakened. Warner isn't giving him the same control he had before. They've limited his influence on the set."

A wry smile crossed Martin's face. "Old habits die hard, huh?"

Daniel chuckled. "Exactly. Besides producer Charles Roven, they've also planted a few watchdogs on set, a DC vice president, plus someone from Kevin Tsujihara's camp. It's a lively crew, to say the least."

Martin laughed, enjoying the behind-the-scenes intrigue. "Sounds like a circus."

"It's not too chaotic," Daniel reassured. "Tsujihara learned from Jon Berg's mistakes. This time, his man, Silverman, is in charge of overseeing the production. Zack isn't thrilled about it, but he knows how the game works in Hollywood and isn't making waves."

Martin listened intently. This was the kind of Hollywood politics he was starting to get used to. "Is the film actually finished?"

"The filming wrapped fast," Daniel explained. "By the time 'Batman v Superman' came out last July, they were already done with pre-production. They started shooting in August and wrapped by October. Now, they're in the final stages of post-production."

Martin nodded, thinking it over. Warner Bros. was responsible for distribution, so Daniel was plugged into the latest developments. "What's the verdict on Snyder? Any change in opinion?"

"Warner and DC are still pretty unhappy," Daniel revealed. "Snyder submitted another 250-minute cut."

Martin let out a low chuckle. "That's Zack for you. He always needs a lot of time to tell a story."

Daniel shrugged. "Whether or not it's a story worth telling, we'll find out soon enough. They're holding the first internal preview of Snyder's cut of 'Justice League' in a few days."

This caught Martin's attention. "Think we can score a ticket to the screening?" he asked with a grin.

Daniel raised an eyebrow and smiled back. "I'll see what I can do."

Daniel shook his head firmly, "I have to be there, I'm the representative for the studio. But you? Well, let's just say DC isn't exactly your biggest fan."

Martin sighed, a knowing smile playing on his lips. "DC and Warner Bros. are really embarking on a wild adventure, aren't they?"

Daniel paused, weighing his next words. "It's not just an adventure; it's a gamble. Warner and DC are walking a fine line with Zack Snyder. If 'Justice League' doesn't live up to expectations, both Kevin Tsujihara and Walter Hamada could be looking for new jobs."

Martin caught the underlying hint in Daniel's statement and leaned in with a playful grin. "Well, in that case, let me be the first to congratulate you."

Daniel's expression became serious, his tone sharpening. "Look, my competition with them isn't exactly a secret anymore. If I were in Tsujihara's seat, Warner wouldn't be in this mess, and our projects would be moving along smoothly. Cooperation wouldn't be this complicated."

Martin nodded thoughtfully. He understood how Hollywood worked, loyalties shifted as easily as the tides, and the competition for power was always simmering beneath the surface. "Interesting how things get… forgotten," Martin said, carefully choosing his words. "Or maybe it's just that priorities shift when the stakes are this high."

Glancing at his watch, Martin stretched. "Well, it's almost quitting time. How about I treat you to dinner? We can talk more freely somewhere a little less… public."

Daniel smiled, relieved. "You offering to pick up the tab? That's rare. No way I'm passing that up."

The two left Warner Bros. and headed to a restaurant Martin had in mind. They knew some conversations weren't meant for office walls, especially when those walls might have ears. Later, Louise joined them, and the three of them ate, drank, and chatted well into the evening, dissecting the industry's power plays and personal politics until about nine o'clock.

— — —

Meanwhile, back at Warner Bros. headquarters, the security outside the makeshift theater in the conference room was the strictest it had ever been. No one without an invitation was allowed near the place. The stakes were too high, any leak of Zack Snyder's cut of 'Justice League' could be disastrous, and Warner was taking no chances.

Inside, the most critical screening of Zack Snyder's career was about to begin. This was an internal showing for Snyder's 'Justice League' cut, and the room was filled with top executives. Kevin Tsujihara, Walter Hamada, and Silverman were all present, as were a select few film industry experts led by Blunt, a consultant Warner had hired to weigh in on the film's commercial potential. But notably, Zack Snyder and his wife were absent, a glaring sign of the studio's growing mistrust in their director.

The fallout from 'Batman v Superman' still cast a long shadow. The film had underperformed both at the box office and in terms of critical reception. Even its post-theatrical revenue had failed to meet Warner's modest expectations. The trust Snyder once enjoyed had eroded, and the poor reception of 'Batman v Superman' had put 'Justice League' under even more pressure.

Kevin Tsujihara, arriving last, took his seat and surveyed the room. The executives exchanged brief glances, but the tension was palpable. "Everyone here?" Tsujihara asked, his voice clipped and businesslike.

Hamada, seated nearby, nodded. "All set." He gestured for the lights to be dimmed and the film to begin.

The opening scenes of Zack Snyder's 'Justice League' filled the screen, launching into a nearly 250-minute-long epic. Despite some incomplete shots, scenes lacking final special effects and a few without the finished score, the cut was mostly done, showcasing Snyder's relentless work ethic and his unmistakable visual style.

But halfway through the film, Tsujihara's patience was wearing thin. As the minutes dragged on, his thoughts drifted back to the main criticisms of 'Batman v Superman' that it was too long, too slow, too self-indulgent. Moviegoers had complained of pacing that bogged down the story, and from a business perspective, it had hurt the film's box office performance by limiting the number of screenings per day. Tsujihara feared 'Justice League' was falling into the same trap.

The darkened room hummed with anticipation as the movie played on. For the executives, this wasn't just about Snyder's film, it was about the future of Warner Bros., DC Films, and the career trajectories of the people seated in that room. The stakes were bigger than just one movie. Tsujihara, knowing this, began mentally calculating how much more could be cut, how they could salvage the project, and what the fallout would be if it failed.

But Martin, not privy to this screening, was already thinking a few steps ahead.

The screening dragged on for nearly four hours, long enough that a break was called in the middle for the executives to stretch, grab refreshments, and use the restroom. When they returned to their seats and the lights came back on after the final scene, Kevin Tsujihara was visibly restless. He leaned forward in his chair, barely waiting for the lights to fully brighten before speaking.

"Same old issue," he said with a shake of his head. "The film is too long, and the pacing is sluggish. When is Zack going to realize he needs to fix this flaw?"

Walter Hamada, sitting nearby, nodded in agreement. "Honestly, half the film could be cut without losing anything important," he said.

Daniel, who had been listening quietly, chimed in with a more practical concern. "At this length, it's going to be nearly impossible to negotiate good schedules with theater chains. Which theaters will want to show it when the number of screenings per day is halved compared to a standard-length movie?"

It was a sobering reality. Theater chains depend on shorter runtimes to maximize the number of showings, and 'Justice League's' bloated cut threatened to make that negotiation difficult. Tsujihara's gaze shifted to Silverman and Charles Roven, who were responsible for managing the production.

"We need the final cut to be under two hours," Tsujihara said firmly.

"120 minutes is the sweet spot," Hamada added, emphasizing that a tighter runtime was essential for commercial success.

But runtime wasn't the only problem weighing on Tsujihara's mind. The issues went deeper than just the film's length. He sighed, exasperation creeping into his voice. "Zack's repeating the same mistakes he made with 'Batman v Superman'."

Daniel leaned back in his chair, his voice calm but cutting. "Same style, same problems. He hasn't learned a thing."

Everyone in the room had seen 'Batman v Superman' and its flaws: overly long, overly serious, and with a pacing that dragged. 'Justice League' seemed to follow the same formula. Daniel didn't need to exaggerate to make his point.

"If this goes out like this," Daniel said, "you can guess what the reception will be. It'll be déjà vu from 'Batman v Superman' all over again."

Tsujihara turned toward the film experts they had invited, including Blunt, who had been quietly taking notes throughout the screening. "Blunt, your thoughts?"

Blunt paused for a moment before speaking, clearly choosing his words carefully. "Like you've already mentioned, a lot of the problems that plagued 'Batman v Superman' are present here too. The pacing is too slow, and the plot isn't laid out clearly enough. It feels too focused on the hardcore fans and not accessible to general audiences. The literary elements and action scenes feel disconnected. And there's a lack of that crucial sense of social responsibility that superhero movies should have."

He shifted in his seat, pulling out a prepared statement. "And then there's the slow motion. It's overused. Nearly every action scene is bogged down by it. We don't need to revisit how much criticism that technique got in 'Batman v Superman' it was slammed by audiences everywhere."

Around the room, Warner Bros. and DC executives nodded in agreement. They'd heard these critiques before. Blunt wasn't introducing anything new, just reemphasizing points that had already been swirling in their minds.

Blunt continued, "And let's not forget the tone; dark, overly serious, and way too grim for a family-friendly superhero movie. The success of superhero films over the past decade has shown that audiences respond to fun, light-hearted stories. Other than Christopher Nolan's Batman trilogy, which other dark superhero movie has been a real hit? Family-friendly appeal is key."

Daniel's eyes flicked toward Blunt, though he remained quiet, letting the executives digest the analysis.

Tsujihara was thinking it over, his face set in a contemplative frown. Blunt's points weren't revolutionary, but they were things Warner Bros. had been grappling with ever since 'Batman v Superman' flopped critically. Finally, Tsujihara broke the silence.

"We knew this might be an issue. We warned Zack repeatedly during filming and post-production, but he still fell into the same traps," Tsujihara said, his frustration showing.

Silverman leaned forward. "Directors can be stubborn. Even when they know it's not working, they stick to their vision. Zack isn't any different in that respect."

Tsujihara turned to Hamada, his tone sharp. "What do you think, Walter? What's the next move?"

Hamada leaned back thoughtfully. "I think the film's tone could benefit from a lighter touch. It doesn't all have to be so grim and dark. There's space for humor and warmth, even in these big, action-packed films."

As he spoke, something clicked in his mind. He recalled reading about Joss Whedon's recent departure from Marvel Studios and Walt Disney. Whedon, the man who had directed 'The Avengers', a film that perfectly balanced humor and action, was now a free agent.

Hamada's thoughts began to race. Perhaps Whedon could be brought in to help steer 'Justice League' in a new direction, one that was more in line with what audiences wanted.

But for now, Hamada kept that thought to himself, nodding as the room of executives continued debating how to save the film before it was too late.

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