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Chapter 116: Blockbuster and Non-Blockbuster
🕑 Added 2024-10-06 19:45:05 +0000 UTCAs the chief screening expert for Emperor Cinemas on the West Coast, Josman naturally wouldn't miss a major production like this, with a reported budget of $100 million. Not to mention, this was the work of Duke Rosenberg, who had consecutively dominated the summer box office. Josman still vividly remembered last year's screening of *The Rock*, and the subsequent box office figures did not disappoint the Emperor Entertainment Group.
Once again, the screen lit up with explosions, and amidst the deafening sound effects, Josman almost felt as though he had been blown into the sky by the blast. The explosions were as brilliant as Independence Day fireworks, and he couldn't help but be drawn into the joy of defeating the evil aliens, a feeling of exhilaration exploding within him like the most beautiful colors.
As the film reached its conclusion, Josman gradually calmed down, quickly forming a basic judgment about it.
The plot of the film wasn't particularly outstanding—alien invasions of Earth were already a cliché in Hollywood, and the individual heroism stitched into the story had long been overused in Hollywood to the point of exhaustion.
Yet, despite its obvious shortcomings, Josman gave the film an A+ in terms of commercial appeal because it had far more selling points than flaws.
First, the casting was carefully considered. Duke Rosenberg had clearly put a lot of thought into it. The most prominent and standout roles were filled by a white actor, a Jewish actor, a Latino actor, and an African-American actor—these are some of the largest and most influential ethnic groups in North America. Each of them played crucial roles in the victory over the aliens, ensuring not only appeal to the traditional white audience but also attracting viewers from other ethnic backgrounds.
Second, the spectacle. The film was packed with large-scale scenes, and only a cinema screen could do justice to its incredible visual effects. The realistic special effects were impressive, and the continuous, adrenaline-pumping explosion scenes were unmatched. Even the effects of *Jurassic Park*, widely praised for their brilliance, didn't seem much better than those in *Independence Day*.
Then there was the storyline. Though the plot was indeed average, it contained the key element of a successful summer blockbuster—it was simple enough. *Independence Day* might have been a familiar theme, but it had a clear main thread that immediately plunged the audience into the doomsday crisis facing Earth, getting straight to the point without any unnecessary delay.
One other crucial aspect was that *Independence Day* didn't require the audience to think too hard to understand it. It didn't bother with any abstract artistic depth. It was a typical visual and auditory treat, the kind of entertainment blockbuster where, despite its typical Hollywood happy ending, viewers were content to see the world saved, lovers united, and justice triumphing over evil.
Summer audiences come to the cinema to have fun, and any film hoping to be a blockbuster in this season must first ensure that it makes the audience happy.
As someone directly connected to the theater market, Josman understood one thing very clearly: the vast majority of viewers enter the cinema to pay for entertainment, and *Independence Day* had no shortage of entertainment value—in fact, it delivered it exceptionally well.
This was definitely going to be a major release for Emperor Cinemas at the beginning of July!
Josman wasn't the only one making this assessment. AMG Cinemas' representative Lynch had the same view: *Independence Day* was perfectly suited to summer audiences' tastes.
So, what makes a good movie for theaters?
A movie rated above an eight by critics? A film that reflects social realities? A film that explores human nature and empathy? A film that twists your brain in knots? One that delivers a shocking ending? Or a film that keeps people up at night pondering the director's techniques and intentions?
And how should films be classified?
Smart films, technically proficient films, and films filled with wisdom? Commercial films, inspirational films, art-house films, or independent productions?
In the eyes of theater chains, these things aren't that complicated. To Lynch, movies only fall into two categories: blockbusters and non-blockbusters.
The former is what theaters welcome, and the latter is what they dislike. *Independence Day* clearly had many elements of the former.
"*Independence Day* is a technically proficient film," Lynch concluded in his mind. "Duke Rosenberg has matured rapidly, and he has an exceptional grasp of the market, clearly understanding mainstream audiences' mindset."
Duke Rosenberg was a very smart director. Unlike other directors who, after gaining fame, hurriedly tried to explore the meaning of life in their films, Duke stuck to what he did best—making standard explosive blockbusters.
Perhaps, to film critics, commercial films lacked soul and depth, and were often viewed with disdain. But to Lynch, commercial films need to meet the criteria of a commercial film.
*Independence Day* was undoubtedly one of the best commercial films he had seen in years, even far surpassing last year's screening of *The Rock*.
Besides the dazzling special effects, the other selling points were just as clear.
Take narrative pacing, for example—another key factor influencing audience engagement. The pacing and transitions of *Independence Day* were perfectly timed, with a great balance between tension and relaxation, and the portrayal of a large ensemble cast was remarkably well done.
What stood out particularly was the character development. Over the film's two-and-a-half-hour runtime, almost every character left a vivid and distinct impression.
The air-sick environmental information expert, his career-driven ex-wife, his nagging father, the hippie-like Black fighter pilot, his cheerful and capable exotic dancer girlfriend, the president who embodied intelligence, courage, and compassion—even though he was overly idealized, it suited the film's tone— the bumbling pesticide sprayer who becomes a hero in the end, the eccentric alien researcher, and even the no-nonsense young colonel who barely had any lines—each of them left a strong impression on him.
Don't think this is easy to do. Lynch vividly remembered that many films praised for their rigor and artistry struggled to create such memorable characters. Those films were often filled with aimless rambling, with dialogue that pushed the plot forward in the most boring ways.
Don't talk about such films lacking humanity, empathy, or depth. None of that matters to the theaters. In Lynch's experience, most films claiming to focus on humanity and depth often depicted characters in the most artificial and clumsy manner.
It's no surprise those films didn't achieve high box office results!
In contrast, *Independence Day* demonstrated masterful use of its elements, reflecting director Duke Rosenberg's respect for the market and audience.
"Duke Rosenberg clearly knows," Lynch muttered softly, "that before making a story great and profound, you must at least know how to tell a story well."
This young director had wisely told a simple yet fun story, created several likable and distinctive characters, and combined it with dazzling special effects, making the film thoroughly enjoyable.
It was precisely this kind of film that would bring profits to theaters!
Compared to the industry experts seated in the front rows, Hill, an ordinary moviegoer lucky enough to attend the screening, cared most about whether the movie was fun and exciting.
*Independence Day* not only met his expectations but far exceeded them.
Sure, the plot was simple and formulaic, but the visuals were absolutely top-notch! Watching it in a theater was nothing short of a shock!
The spectacle of the alien ships impressed him, and the devastating beams of light that instantly wiped out major U.S. cities—the White House, the Capitol, the Golden Gate Bridge, the Empire State Building, and the Statue of Liberty—all crumbled in the flames of the explosions. It even sent shivers down his spine for a moment. Thankfully, humanity's counterattack brought an exhilarating battle of the century!
Then there was the portrayal of 'American exceptionalism,' with the U.S. leading the world to victory—a theme that really resonated with him.
"This is definitely the best entertainment for the summer!" Hill said to his friend. "Duke Rosenberg's blockbuster is absolutely dazzling, and the final scene where the U.S. president leads the world in fighting off the alien invaders was simply thrilling!"
Looking for the most spectacular alien invasion movie? *Independence Day* was the clear winner!
That's what Hill planned to tell his family and friends when he got home.
Big production, grand spectacle, major themes—everything about it left both theater representatives and viewers from the screening giving it high praise. Even though the specific statistical results of the test screening would come later, Warner Bros. and 20th Century Fox representatives scattered throughout the theater already had confirmation from the audience's words and reactions.
As the credits rolled, applause erupted like a tidal wave. Duke slowly stood up, clapping his hands hard. Whether the film would be a huge box office hit depended on too many factors. No one could guarantee success, even if he had made the special effects far better than the original. The box office was still uncertain.
The only thing Duke could be sure of was that the film wouldn't flop. Even if it wasn't a massive success, it should at least recoup its costs without much problem.
"Congratulations, Duke."
The CEO of 20th Century Fox, Thompson Rossman, was the first to approach, giving Duke a quick hug. "That was an incredible film, even better than I expected!"
"Our confidence has only grown!"
The applause continued for a long time. Jeff Robinov, full of emotion, remarked, "You're going to be a fan favorite!"
"Thank you, thank you…"
All Duke could do was offer his thanks to the people congratulating him.
"Director Rosenberg…"
As the applause gradually subsided, Duke noticed Joesman from Emperor Cinemas approaching. Joesman stated directly, "Independence Day has all the elements to be a blockbuster this summer. I'll strongly recommend it to the company!"
"Thank you!" Duke responded, shaking Joesman's outstretched hand, though he wasn't particularly surprised. He knew that the earnings of these movie experts were directly tied to the box office success of the films they recommended.
After exchanging a few polite words with Lynch from AMG, Duke followed the crowd out, heading towards the upcoming media event.
Meanwhile, Lynch, Joesman, and other theater representatives, along with the production team, stayed behind, awaiting the statistical results of the preview to provide immediate feedback to the theaters.
