A_nobody
patreon
Chapter 3: A Chance to Take
🕑 Added 2024-09-03 09:56:36 +0000 UTCUnlike the hot-tempered truck driver, James Cameron, Steven Spielberg is famous in Hollywood for his good temper.
For instance, when Julia Roberts, after getting high, had an argument with Spielberg, had it been Cameron, he would have immediately replaced her without hesitation.
But Spielberg managed to tolerate it, continuing to work with Julia Roberts without holding a grudge, which shows how good-natured he is.
Of course, that was a one-time thing. After this, Julia Roberts could forget about getting any offers from Spielberg again, not even an audition opportunity.
When it came to dealing with Gilbert, who had tricked his goddaughter, Spielberg felt he shouldn't be too friendly.
However, when Gilbert came in and respectfully greeted him, Spielberg found it hard to put on a stern face.
"Come, have a seat," Spielberg offered Gilbert a chair and then turned to his assistant, "Get us some coffee."
"Water is fine," Gilbert said.
The assistant looked at Spielberg, who nodded, and then went to get the water.
Once the water was in Gilbert's hand, Spielberg asked, "Gilbert, is the script that Gwen gave me yours?"
Although the idea wasn't his, Gilbert had definitely written it, so he confidently admitted, "Yes, I wrote the entire script."
"Oh? How did you come up with this story? I skimmed through it, and apart from the shark, your script has nothing in common with my *Jaws*," Spielberg said, curious.
This is where Gilbert had to employ his persuasion skills: "Director…"
"Just call me Uncle."
"Alright, Uncle Steven. I've always been a loyal fan of yours. When I was five, my father took me to the cinema to watch *Jaws*. From that moment, I had the idea of creating a shark story of my own. As I grew older and got involved in the film industry, the idea gradually took shape, eventually becoming the script you see today."
Gilbert's explanation was thorough, leaving Spielberg with nothing to criticize.
Spielberg then asked, "When you wrote this script and had Gwen bring it to me, were you hoping I'd attach my name to the project?"
"I never had that intention," Gilbert stood up, not caring that water spilled from his glass. "When I started writing the script, I didn't even think I could get your endorsement. But Gwen was so enthusiastic about helping me that I just went along with it."
"I see. Gwen mentioned that too." Spielberg gestured for Gilbert to calm down and sit back down.
After that, Spielberg and Gilbert discussed the script, or more accurately, the creative ideas behind the film, including how it might be shot.
During this conversation, Spielberg was also observing Gilbert's state of mind, trying to gauge his intentions.
If Gilbert had been the type to boast or make unrealistic claims about how well he could execute the project, Spielberg wouldn't have considered helping him.
But to his surprise, Gilbert was very pragmatic. He had thought through each step, from planning to execution.
Pragmatism and imagination—two somewhat contradictory qualities—were both evident in Gilbert.
In Hollywood, nearly every successful film director is a combination of these two qualities.
It seemed that Gilbert had inherited his father's film talent but not his father's impulsive nature, which was a significant improvement.
After finishing their discussion about the movie, Spielberg had concluded his basic assessment of Gilbert.
"One last question. If Gwen insists on being the lead actress, would you agree?" Spielberg asked.
Gilbert thought for a moment before responding, "If her audition meets the requirements, I would definitely agree."
Spielberg was even more satisfied. Gilbert had principles and was willing to consider the needs of the film. At the same time, he was flexible, willing to extend favors and show respect where it was due.
"Alright, that's all for today. I'll take this script with me if you don't mind," Spielberg smiled.
"Of course, Uncle Steven," Gilbert smiled back.
By taking the script, Spielberg had all but confirmed that he would recommend it to a film company. However, the uncertainty lay in whether Gilbert would be allowed to direct the film, which was crucial.
It's important not to overestimate a film company's conscience or confidence. When they see a shark movie recommended by Spielberg, they'll likely be very interested, given the success of *Jaws*. But if they find out the director is a young man in his twenties, they'll almost certainly demand a more experienced director.
There's a saying in China: "A young man without facial hair can't be trusted with important tasks."
Hollywood executives don't speak Chinese, but they understand the sentiment. Opportunities for young people to earn trust are rare, especially when millions or even tens of millions of dollars are on the line.
Of course, Gilbert could bring his own funding into the project.
But unfortunately, the Landrini family only had a name left; everything else was gone. Gilbert still had to pay off his student loans and certainly didn't have the money to invest in a film.
Initially, Gilbert had thought about making a *Blair Witch Project* or perhaps *Paranormal Activity*.
After all, these two films were classic examples of low-budget horror movies that achieved high box office returns and were not difficult to shoot.
However, after weighing his options, Gilbert decided against making either of these films.
There were two main reasons: first, the environment. 1991 is not 1999 or 2009.
The explosive success of *The Blair Witch Project* and *Paranormal Activity* was closely tied to the development of the internet.
When these two films were released, the internet in North America had already reached a peak, with the number of internet users and web traffic being the highest in the world.
But what time is it now? It's 1991. Just last year, the first publicly accessible website and web browser were created.
Microsoft had also just released Windows 3.0, establishing its dominance in the PC operating system market.
Also last year, the world's first internet service provider had just been established.
According to statistics, in 1991, the total number of internet users in the U.S. was only about 4.2 million.
Although it was still the largest in the world, the base was too small.
By the time *The Blair Witch Project* was released in 1999, the number of internet users in the U.S. had exceeded 110 million.
4.2 million versus 110 million—that's an easy comparison.
Given how essential the internet was for promoting *The Blair Witch Project* and *Paranormal Activity*, the disparity is apparent. The tactics used by those films simply wouldn't work in 1991.
The internet was a crucial promotional tool for those films, not only because of its viral nature but also because it saved money.
In this era, movie promotion is done through newspapers, television, and physical advertising, all of which cost money—and none of it is cheap.
If you were to ask a film company to spend millions on promoting a movie with a budget of just a few thousand dollars, they'd probably think you were crazy.
So, as a new director, it's not about minimizing the budget but finding the right budget.
The second reason was Gilbert himself.
He knew that films like *The Blair Witch Project* and *Paranormal Activity* were relatively simple to shoot, with no significant technical challenges.
But as a film director, Gilbert found projects without challenges uninteresting.
Gilbert enjoyed challenges, believing that only by taking them on could he face greater storms.
Now, it was up to Spielberg to see if he could convince the studio executives to give Gilbert a chance to take on this challenge.
