[Chapter 165: Michael Bay's Dream]
Returning to Los Angeles, it was already June, and the film market was blazing hot, with fierce competition everywhere.
Several heavyweight commercial blockbusters -- Hocus Pocus, The Tommyknockers, and Cliffhanger -- began releasing from late May. Next week, the nuclear-level Jurassic Park was set to hit theaters.
Because of this, the screenings for The Shallows had dropped to fewer than 300 theaters, with 520 screens showing it, and daily box office receipts had fallen below $350,000. Still, it was a huge win, as The Shallows had already grossed $82.6 million in North America, with a final box office expected to surpass $85 million.
Overseas box office results were also excellent. In over 40 countries and regions where it had already released, cumulative box office had exceeded $75 million. Universal predicted the overseas total would reach around $120 million.
Cameron had completed overseas promotion and returned to Los Angeles. After The Shallows, her popularity had skyrocketed and her worth had doubled. She had firmly reached the tier of A-list actresses -- it's not an exaggeration to say she was shining bright.
Her agency, eager to solidify this huge surge of attention, booked her countless appearances and endorsements. She was busy nonstop, flying all across the U.S.
She didn't even have time to meet with Linton, but despite the complaints, she enjoyed every bit of it.
Michael Bay and Ryan Coaster had already completed the script's storyboards, filming schedule, and production budget, anxiously waiting for Linton's review.
As soon as Linton finished his vacation, he rushed to the company and received the script storyboards, shooting plan, and budget.
Linton called in Robert, and the two audited the materials together.
Michael Bay and Ryan Coaster, personally mentored and favored by Linton, had, under the rigorous training from Speed, fully demonstrated their directing abilities.
They grasped the script's essence perfectly; the storyboards were excellent, the shooting schedule was methodically planned, and the production budget was reasonable, albeit somewhat tight.
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"Let's start with The Rock," Linton said, summoning Michael Bay to his office.
Michael Bay, rightly nicknamed "Explosive Bay," perhaps influenced by the filming of Speed, had included magnificent explosions in his storyboard, most intended for live shooting.
He even proposed in his shooting plan to seek sponsorship from the Pentagon.
Just like Speed benefited from the Los Angeles Police Department, he believed that The Rock, promoting patriotism and military spirit, would appeal to the Pentagon.
He was confident they would generously support the film and provide various filming assistance.
In his shooting plan, he aimed to secure advanced planes, weapons, and equipment from the Pentagon for free and even requested that a Special Forces unit star as the film's task force at no charge.
He was a true talent, though not entirely dreaming out loud; after all, Speed had set a precedent.
In the previous version, during that film's production, he had gained full support from the Pentagon, fulfilling nearly all their requirements.
Therefore, his final production cost estimate was only $35 million, quite reasonable.
Without hiring top stars, including actors' fees, the total investment wouldn't exceed $50 million.
This estimate was pretty close to Linton's projections.
"Michael, do you really think the Pentagon will give us this much support?" Robert asked, unable to hold back his skepticism.
"I think the chances are very high. After all, Speed set a very good example. Once Speed hits the theaters, I'm 80% confident we can secure these terms."
"It's not quite the same. The LAPD badly needed to mend its public image after last year's riots. That unique situation made collaboration easy, but the Pentagon doesn't seem to have that kind of need," Robert countered.
Linton, intrigued, looked at Michael to hear his response.
"No, they do need it -- strongly. Since the Vietnam War defeat, our military has lacked faith and suffered from widespread war fatigue. The public has shown little trust or support for the troops.
Though we won the Gulf War two years ago, it didn't boost enthusiasm for enlistment. They need movies like ours, promoting patriotism and military spirit, as propaganda."
"I still don't quite get it. Boss, what do you think?" Robert turned to Linton.
"I think Michael has a point. It's worth trying."
"Once the project is greenlit, give me authorization to the production team -- I'm willing to personally try to convince the Pentagon."
"Let's not rush. It's better to wait until after Speed's release before approaching the Pentagon. If needed, I can join you," Linton added.
"Thanks, Boss. I have a relative who works as a Hollywood liaison at the Pentagon. I can ask for help then," Michael said.
"Good. But we shouldn't wait. The project can be initiated now, with a tentative $55 million total budget. This is a big-budget production and our top priority for the second half of the year. Robert, you'll be the producer; I'll be co-producer; Michael Bay will direct. The two of you should form the project team and start preparations."
"Thanks, Mr. Anderson. I won't let you down," Michael, feeling a mix of surprise and excitement, said. His dream was finally taking off.
"Boss, such a big project -- Michael has never directed one before. Will he manage? Should we let him do a smaller project first?" Robert worried, knowing $55 million was an unprecedented budget, even for Hollywood's major studios.
"No problem. During Speed, he already got comprehensive training. Besides, I'm acting as co-producer. Everything will be fine."
"Alright, as long as you're confident."
"Also, I'll ask Universal if they're interested in co-investing. But regardless of their involvement, we'll maintain control, just like with Speed."
"Should we wait for their reply before starting?"
"No need. Start preparations now. This movie must hit theaters next summer blockbuster season, but shooting will be complex, so we need plenty of time to prepare."
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