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Chapter 156: A Cinematic Marvel
🕑 Added 2024-11-13 18:11:44 +0000 UTC"Academy Awards nominations?" Duke tossed a dark towel to an assistant and looked at Sophia with interest. "Let me guess! Tom returned to Los Angeles the day before yesterday, and if I recall correctly, the Oscar nominees luncheon should have taken place. So, did 'Independence Day' receive an Oscar nomination? Best Director? Best Picture? Or maybe Best Screenplay?"
"Do you think that's possible?"
Her flat tone was filled with sarcasm. "'Independence Day' didn't hold any screenings, didn't have any campaign parties, and didn't promote for awards; its professional rating is barely three out of ten. Do you think it stands a chance at the Oscars?"
"Not a chance," Duke shook his head.
"But there's still good news." Sophia smiled. "'Independence Day' received a nomination for Best Visual Effects."
Duke shrugged, uninterested. "That's meaningless."
The film had an incredibly high chance of winning that award, given its exceptional visual effects, but the award would only go to the effects team, Industrial Light & Magic.
"If you want to win that little gold man," Sophia tilted her head and looked at him, "Duke, you need to switch to more realistic subjects."
"Are you saying I should change to suit the Oscars?" Duke shook his head firmly. "I won't do that. Even if I ever win an Oscar, I won't make films just to please those old men. What I love are still non-realistic subjects."
"Then you'll be a regular at another awards show." Sophia smirked teasingly. "Congratulations, Duke! Not only have you received the most nominations for another award, but you're also the frontrunner for winning it."
"What award?" Duke felt a sinking sensation.
"The Razzie... It announced its nominations before the Oscars' luncheon."
Maybe the number of nominations was overwhelming; Sophia had to check her notes to recall the specifics. "'Independence Day' received seven nominations from the ten Razzie categories. The film is the frontrunner for Worst Picture, you got nominated for Worst Director, Bill Pullman for Worst Actor, Will Smith for Worst Supporting Actor, Halle Berry for Worst Supporting Actress, and the script is up for Worst Screenplay. The sound effects also got a nod for Worst Score..."
After finishing, Sophia looked at Duke seriously, as if she wanted to witness his sadness, pain, or anger, but Duke remained unfazed, seemingly not bothered at all. From what Sophia knew of him, this was genuine indifference.
"Do you really not care?" she asked again.
"Why should I care?" Duke spread his hands. "I made a movie that I liked, and most viewers liked it too. Why should I worry about a few critics?"
"But this is the Razzie!"
Hearing Sophia's words, Duke walked over and gently patted her shoulder. He knew that the Razzies were her greatest pain, as critics had once ridiculed her with the Worst Supporting Actress award.
"Critics' awards are just a farce."
He tossed that line casually as he headed toward the set, instructing his assistant to notify all departments to prepare for filming.
Meanwhile, in a large conference room at a hotel in Manhattan, many well-known critics from New York gathered for a meeting of the New York Film Critics Circle to discuss and finalize the nominations for their awards.
The New York Film Critics Circle, the oldest and largest local critics' association in the world, has been presenting awards since 1935. Its awards are among the top three critic awards in the U.S. and are an important barometer for the Oscars.
The meeting was nearing its end when David Denby, a critic from The New Yorker, suddenly stood up.
"Everyone, there's one more thing." His voice was loud. "It has nothing to do with our awards but something else. I wonder if everyone has seen the Razzie nominations?"
Many nodded in response.
"Last year, one film and one director seriously impacted the entire critics' industry," David Denby's eyes gleamed. "We have to admit we lost the market battle against Duke Rosenberg! But now, during award season—this season that belongs to us!—we must retaliate!"
"David is right!"
A.O. Scott, the chief critic for The New York Times, slowly spoke up. "Even though 'Independence Day' grossed nearly $360 million in North America, even with over 90 million viewers, and even though it's nearing $900 million worldwide, with an 84% audience approval rating, it doesn't change the fact that it's a bad film and that Duke Rosenberg is the worst director of the year!"
"We need to nail Duke Rosenberg and 'Independence Day' to the shame post!"
The speaker was Lou Lumenick from the New York Post. "The Razzie is the perfect response to him!"
"In the past few years…"
The conversation circled back to David Denby. "Actors and directors who have received a Razzie have become despised by North American audiences, and almost none have made a comeback. I have contacted the Chicago Film Critics Association and the Los Angeles Film Critics Association; they will all work hard to ensure Duke Rosenberg wins the award."
"Also, I've heard he's filming a new movie…" someone reminded.
"You all know what to do then, right?"
At that remark, many laughed.
As January approached, after seven months of long showings, "Independence Day" exited all North American theaters, finishing with a domestic box office of $362.55 million. Although two films, "Star Wars" and Spielberg's "Jaws" and "E.T.," were on the horizon, if one didn't count the re-release revenues, "Independence Day" had achieved the highest domestic box office in history.
Of course, this was just a consolation when adjusted for inflation; the re-release indicated the film's substantial commercial value. Films like "The Shawshank Redemption," which had just received nine Oscar nominations, would likely tank again if re-released.
On the global front, "Independence Day" had grossed $895.21 million, approaching the milestone of being the second film ever to surpass $900 million.
However, despite the film's outstanding commercial success, "Independence Day" and Duke continued to be attacked by countless critics. Many renowned filmmakers mocked the seven Razzie nominations in their columns, with the famous critic Roger Ebert labeling "Independence Day" as the most overrated film in history, deeming Duke the most disappointing director of the year.
The film's professional reviews fell hopelessly low. Perhaps spurred by the immense box office success, "Independence Day" received a professional rating below three, achieving a score of 2.95 alongside 84% audience approval and outstanding box office numbers, creating a remarkable phenomenon in film history.
"Any director, no matter how commercially successful, if they don't receive recognition from professional awards, can only be considered a craftsman, and will never become a master. If they receive a Razzie-type award, it indicates their directing career is in severe decline or even nearing its end!"
—Roger Ebert, Chicago Sun-Times
By convention, the Razzies would be awarded the day before the Oscars, and though that day was still far off, critics were already eager to place that shoddy award around Duke's neck.
However, Duke was too busy to pay them any mind. "Independence Day" had left North American theaters, and his new film wasn't quite ready for a promotional push. Engaging in verbal sparring with critics wouldn't yield any tangible benefits, especially since he had to focus on filming. He had no time or energy to argue with those guys.
Even he had to admit that critics had a tremendous influence during award season.
After the Oscars' nominee luncheon, Tom Hanks returned to the set, and in a week, Duke completed filming the climactic battle scene. From what he gathered, filming on the neighboring set of "Braveheart" only resumed after Mel Gibson reluctantly granted the crew a break.
As for Sean Connery, who had suffered a severe leg injury, he was reportedly transferred to a hospital in London, where it was confirmed that his right leg had a compound fracture. At his age, recovery to normal walking would take a long time.
Amidst the hectic shooting schedule, Duke also needed to process some completed footage. The Super Bowl was approaching, and he needed to cut an appealing advertisement to be aired during halftime.
Editor Mike Dawson was called from Los Angeles to Dublin, and every day after filming, Duke and he would retreat to a rented post-production studio to continue their late-night work.
"Mike, the Super Bowl is all about excitement; our ad needs to match that vibe."
Thirty seconds is not too short or too long for an advertisement, and Duke had to consider how to capture the audience's attention. "Don't think about storytelling, don't focus on the film's themes, and don't worry about humanitarian concerns. I just want the most intense, explosive, and brutal battle scenes!"
This was their fourth collaboration, and Mike Dawson clearly understood Duke's vision. He led his team to begin the busy work as requested.
On the other side, Charles Roven approached, lowering his voice to ask, "The executives from three companies asked me to inquire about the film's completion timeline and your suggested release date."
"May! By early May at the latest, I can definitely complete all the production!"
Filming was progressing smoothly in post-production, and Duke was confident about that timeline. "I suggest premiering the film on the weekend before Memorial Day!"
"I will relay your suggestions," Charles Roven said as he left the studio.
After a few days of overtime work, the commercial was completed on time. Duke will not return to North America to participate in the Super Bowl Day. Instead, before the Super Bowl Day, he will lead the main cast and crew to London to prepare to participate in Victoria's Secret's first annual fashion show!
