America Tycoon: The Wolf of Showbiz-Chapter 981 - 893 Full Mobilization_2
Chapter 981: Chapter 893 Full Mobilization_2
Chapter 981 -893 Full Mobilization_2
Rotten Tomatoes maintains a freshness rating of over ninety percent, and the IMDB score slightly fell to 8.8.
The film’s strong reputation also enabled Disney Studios and Davis Studio to continuously advance their word-of-mouth marketing.
This time, the main battlefield of word-of-mouth marketing was social media.
On social media platforms like Twitter and Instagram, the news about “Split” was crazily retweeted by countless users under the strong push of the film party.
“Martin’s performance in this movie was so good, I was scared into a split personality when the new personality emerged from soul cooking.”
“David Fincher’s directorial skills are perfect, effortlessly highlighting Martin’s lead role, leaving the audience in astonishment, still in astonishment.”
“I feel sorry for Martin, playing so many roles but only receiving one salary…”
“‘Split’ shows us just how high the standard of top Hollywood acting can be!”
“Split’s” peripheral products have also been fully launched, Coca-Cola introduced a Split version of their product, with the cans printed with each of Martin’s personalities. Consumers who collect the first seven can get the eighth type for free.
That’s the Coca-Cola that represents Martin’s murderous personality.
It enticed a large number of consumers to purchase, and the crazily best-selling Coca-Cola also expanded the movie’s influence, drawing more people into theaters.
On Saturday, a rest day, the seat occupancy in the theaters showing “Split” noticeably increased. With no strong competitors at the same time, this film became the only hot spot in the North American movie market.
That day, “Split’s” daily box office revenue soared again, closing at 28.98 million US dollars.
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The market research firm CinemaScore announced the live audience ratings from theaters, “Split” received a composite score of A!
When the weekend was over and the latest box office statistics were released, the figure of 76.84 million US dollars was enough to place “Split” at the top of the new North American box office chart.
This achievement also allowed “Split” to surpass its production budget of 60 million US dollars in North America in just three days.
The hefty production costs mainly came from Martin and David Fincher’s salaries.
But both also brought high returns for the project.
…
In the president’s exclusive meeting room at Disney Studios.
“I don’t need to say much about Martin’s vision and market insight, as you must have seen for yourselves.”
In the meeting room, Ellen Horn addressed several subordinates, “A film like ‘Split,’ which obviously doesn’t quite fit the commercial market, has turned into a blockbuster under his manipulation. It’s quite as if he has some kind of magic.”
Kenneth Branagh, who had directed “Thales,” said, “Martin’s performance was truly outstanding. Without him, ‘Split’ would have lost half its charm.”
Producer David Baron said, “I’ve heard people discuss ‘Split,’ David Fincher specifically focused the plot and camera on Martin’s solo performance, very clearly hoping to push Martin towards another Oscar.”
Famous screenwriter Chris Weitz said, “The Oscars love psychopaths and madmen, but indeed Martin’s role is brilliant, one of the best I’ve seen in my twenty years in the industry.”
Ellen Horn timely brought the topic back, “The project we are discussing today, ‘Cinderella,’ originated from Martin’s suggestion. His Davis Studio is also one of the investment parties. If the script doesn’t get approved by him, it can only be rewritten.”
Neither director Kenneth Branagh nor screenwriter Chris Weitz had any objections.
After all, the other party was not only the project initiator but also an investor, and they had such an excellent track record, what could they say?
If there were any objections, they would only risk being excluded.
Not long after, an assistant brought Martin into the meeting room.
Then, the other few responsible persons for the project also hurried in.
Ellen Horn directly asked Martin, “Are you satisfied with the script?”
Martin took the script handed over by Bruce, placed it on the conference table, and said, “It is very good, respects the original work, this is how Cinderella should be.”
Screenwriter Chris Weitz breathed a sigh of relief, “I think so too, the most widely circulated fairy tale version is the one most accepted by the public.”
Martin had already carefully read the script, which neither had Cinderella scheming to throw her shoe, nor a black fairy godmother, nor a stepmother cutting off her stepsisters’ feet.
In short, it was truly a family-friendly fairy tale movie.
Once the script was completed, it meant that the preparations for the project could enter the fast track.
The “Cinderella” project had a production budget of one hundred million US dollars, directed by Kenneth Branagh, with David Baron serving as the lead producer, and the choreography team from “Beauty and the Beast” would be called upon for the dance sequences.
As for the actors, there were no plans yet.
Thinking of Anya Taylor Joy, who had been extremely accommodating to him the previous night, Martin directly recommended, “For the female lead, I recommend the lead actress from ‘Split,’ Anya Taylor Joy; she has a good appearance, outstanding acting skills, and a suitable age.”
With no plastic surgery or extreme dieting to become a stick figure, Anya Taylor Joy’s appearance still fell within the normal range of aesthetic appreciation for the general populace.
Ellen Horn wasted no words and said, “Let her audition. If the audition is suitable, she will be the priority choice.”
Neither the director nor the producer had any objections.
They had all seen “Split,” and naturally, the most impressive part was Martin in the role of the male lead, but the female lead Anya was also consistently excellent in her performance.
Martin only recommended one candidate, Anya. Given the scale of the project, there were possibly other key positions filled by insiders.
After the meeting concluded, Ellen Horn invited Martin to the neighboring reception room where they focused their discussion on “Beauty and the Beast,” which was set to premiere next month.
This live-action fairy tale movie, after two years of preparation, filming, and production, was scheduled to be released during this year’s Thanksgiving season.
Disney Studios had several test screenings which all received great feedback, believing that the film had captured the essence of what a fairy tale movie should be.
“Beauty and the Beast,” having a substantial investment, both Martin and Ellen Horn naturally wanted to see the film succeed majorly.
Ellen Horn stated bluntly, “If this movie doesn’t make over 250 million US dollars in North American box office, we might face a loss.”
Martin, having seen the previews, said, “Based on the current hype, it definitely won’t be a problem to hit over a hundred million in North America on the opening weekend.”
Ellen Horn said, “If the North American opening weekend goes over a hundred million, Disney Studios will immediately hold a celebration party for the film.”
To promote it, “Beauty and the Beast” had a short commercial attached to the beginning of “Split.”
The latter, entering its second week of screening in North America, was still maintaining a high heat.
Although on IMDB, as the number of reviewers exceeded 50,000, the rating inevitably dropped to 8.6, but the overall reputation was still quite solid.
This also made the box office trend exceptionally stable, with the second weekend’s box office drop less than forty percent, taking in another 46.8 million US dollars from over 3,800 theaters in North America.
Adding in four working days, “Split” had surpassed 150 million US dollars in North American box office in just one week.
At the same time, the movie premiered in theaters in 11 European countries, garnering over 35 million US dollars in overseas box office.
As the crew launched overseas promotions, Davis Studio, Disney Studios, WMA, and the PR team hired by Martin cooperatively initiated the awards season lobbying.
North America’s traditional awards season started in early December, but in a broader sense, the awards season kicked off from the Toronto Film Festival in September.
PR began lobbying the jury, and free movie tickets were sent en masse by Disney Studios to journalists and film critics.
As the number one client of the agency, WMA invested all possible resources for Martin’s award campaign this year.
Sponsors like Coca-Cola, Cadillac, and Brioni were also helping Martin to build momentum.
In the media, various flattering articles were already appearing in large numbers.
For instance, Kenneth Turan, the leading film critic from the “Los Angeles Times” cheered for Martin: “So far this year, the male lead role played by Martin in ‘Split’ is the best one.”
