Made In Hollywood

"Tina, you stay here."

Walking up to the second floor of the preview theater, Duke asked Tina Fey to wait outside a lounge. "Don't let anyone else in."

"I understand," Tina Fey nodded.

Although she had only been in Hollywood for two months, Tina Fey had already realized that she had oversimplified the place in her imagination. The fierce competition among actors, directors, agents, and major companies, along with their complex relationships, was nothing like the small circle she had been part of. These people could be working together today, turn into enemies tomorrow, and be back on the same side the day after...

"Robin, Charles."

Entering the lounge, Duke greeted the two production managers, sat down, and asked, "What's the situation?"

"I'll have someone submit the full report to you tomorrow..."

Duke raised his hand, cutting off Robin Grande. "Just give me a brief summary."

In order for a film to succeed, it was essential to stay informed about competitors. A few days ago, *Braveheart* had held a preview screening, and some journalists who attended had already reported back to Warner Bros. and Fox.

"In terms of audience feedback, 357 people attended the screening, and 83% gave it an A rating." Robin Grande ignored things like professional reviews, focusing on what truly influenced a film's market success. "Major theater chains from the North American Cinema Alliance sent viewing teams, and the overall evaluation was also an A."

"They're definitely a strong competitor," Charles Roven said, his expression serious. "Both the theaters and the audience will be affected."

Competition was inevitable, especially during the summer blockbuster season. Duke continued asking, "What about the content of the film?"

"It's about William Wallace leading the Scots in their fight for independence against the English army."

Upon hearing Charles Roven's reply, Duke tapped the armrest of his chair lightly. "Since it's confirmed, we have more angles to work with."

"I remember there are quite a few Mayflower descendant organizations in North America. They probably won't be too happy with this kind of content." Duke thought aloud. "And Fox and News Corp have close ties with 10 Downing Street, don't they?"

"Yes..." Charles Roven nodded, clearly understanding Duke's idea. "You want to try and block or delay *Braveheart*'s release in the UK and the entire Commonwealth to distract Paramount Pictures from the North American market, creating more opportunities for us?"

"I imagine the England won't be thrilled about this film."

After this comment, the three of them laughed. The UK was one of Hollywood's major overseas markets, and Paramount Pictures couldn't afford to give that up.

"And then there's Sean Connery."

Although Connery had been in a scandal, Duke didn't mind dragging it out a bit more. "We can remind the media that this guy is still entangled in a series of controversies."

"Mel Gibson isn't exactly a saint either," Charles Roven added without hesitation. "We can dig up some dirt on him too."

As long as the actions didn't directly break the law, the three of them were open to any method that could weaken the competition. In Hollywood, competition was never as simple as idle threats.

Upstairs, while Duke and his team discussed ways to undermine their competitors before the screening began, downstairs, Mike Scott, a journalist sponsored by CAA and Paramount, had already found his seat in the theater, waiting for the film to start.

A few days earlier, Mike Scott had accepted a sponsorship offer. The pay was decent, the job wasn't dangerous, and the work was minimal, so there was no reason to refuse. He was also aware that there were probably others in the theater who had received similar offers.

Scanning the room, Mike Scott didn't see Duke Rosenberg but did spot Tom Hanks, as well as Leonardo DiCaprio and Claudia Schiffer, who had been all over the tabloids recently, courtesy of News Corp. And those men sitting in the front row, with medals on their chests—what were they doing here?

It didn't take long for Mike Scott to figure it out. This was a film about the D-Day landings, so those men were likely World War II veterans.

Quite a clever publicity stunt, Mike Scott had to admit.

Leaning back in his chair, David Brown, who was over 70 but still robust, was a veteran of the Pennsylvania 2nd Assault Battalion, which had participated in the Omaha Beach landings. When he received an invitation from the organizers, he accepted without hesitation.

It was a painful memory, a time of blood and fire that he would remember for the rest of his life.

Upon arriving in Los Angeles at Fox's invitation, David Brown realized that many veterans had gathered there. Sitting beside him was a veteran of the 101st Airborne Division.

Ahead of them, historian and author Stephen Ambrose, a leading expert on the Normandy landings, took out a notebook, ready to jot down his thoughts on the film. He wasn't a film critic, but after last year's experience, D-Day Studios hadn't spent big money inviting critics to this preview screening.

Stephen Ambrose was a renowned historian, respected in both academic circles and across the United States for his authority on the D-Day landings.

It wasn't until the film began that Duke, Robin Grand, and Charles Roven entered the theater and found their seats.

Without drawing attention to himself, Duke glanced around. He had noticed on his way in that the studio had invited nearly a hundred veterans. If the film could resonate with them like it had before, they would serve as excellent promotional material.

"Hi, Duke."

A hand reached out from behind him, and Duke shook it briefly. "Hello, Josman. It's good to see you."

"We have high hopes for this film."

As a screening specialist for the Regal Cinemas chain, Josman didn't hide his anticipation for the film. "Regal Entertainment loves your production style."

"Thank you!" Duke responded politely.

It wasn't just Josman; when Duke glanced behind him, he saw AMG's Lynch and United Artists Cinema's Carter, among others.

This could only mean one thing: cinema chains across America saw him as a money machine.

The film began without any opening credits. The first image on screen was a waving American flag...

From the moment the cemetery appeared on screen, David Brown's fists clenched. This was the American cemetery on the heights of Omaha Beach, where many of his old comrades were buried.

However, the scenes that followed made his eyes widen. While the film's portrayal of war was far less brutal and bloody than what he had experienced at Omaha Beach, it was still the most realistic war film he had ever seen. From the very first scene, the film made it clear how grim war could be.

In the film, helmets, faces, helmets, faces—each soldier looked as if they had just woken from a nightmare, only to face another. Coupled with the dark sky, an overwhelming sense of suffocation filled the air. One soldier vomited, while the one next to him swallowed hard to keep it down—all this played out inside a landing craft.

David Brown felt as if he had been transported back to those days, as long-buried memories surged to the surface.

The success of the beach landings had been paid for with the blood of countless soldiers, just as the road to Berlin had been paved with their sacrifices. In *Saving Private Ryan*, blood became the most prominent feature of the battlefield.

There were no invincible heroes who survived every explosion, no unrealistic last-minute turnarounds. Death came swiftly, suffocatingly so. As the casualties mounted—one, two, three, countless more—the screen filled with scenes of utter carnage.

The fragility of life, and the brutality of war! This was David Brown's greatest takeaway from his experiences in the war.

But with a different mindset and standing in a different place, Josman's perspective on the film was entirely different. He didn't see the cruelty of war, the human compassion, or the fragility of life. Nor did he see the paradox of sending eight men to save one.

What he wanted to see, what he was searching for, were the film's selling points.

"Successful war films make the audience feel like they're being shot at!"

Over the years, countless examples had proven the truth of this statement by Sam Fuller. A war film that could achieve this would never fail at the box office, and in Josman's opinion, Duke Rosenberg's *Saving Private Ryan* perfectly embodied this sentiment.

The opening battle sequence easily pulled him into the atmosphere of the battlefield, with its urgent and deadly pace that would undoubtedly grip the audience.

"A truly remarkable opening scene. Forget everything else—if I were just a regular viewer, the battle scene alone would make me feel like I got my money's worth."

Josman nodded to himself. The opening battle was packed with selling points, but as for the rest...

The emotional moments were well-executed, showing Duke Rosenberg's growth in storytelling and emotional expression. The film's premise was compelling, too. While the deaths of the squad members might provoke some backlash from audiences, it would also draw in others.

However, that soldier named Upham—audiences definitely wouldn't like him, and he stood out too much.

Sure, he was a real, fleshed-out character, adding depth and thoughtfulness to the film, but a character that audiences disliked could easily make them turn against the film itself.

Based on his years of experience in film selection, Josman judged that without the character of Upham, or with some adjustments, the film might resonate better with general audiences.

Even so, the film was already worthy of Regal Cinemas' attention. It was a rare gem.

Unlike Josman, Mike Scott's main task was to document the film's flaws. The shaky camera makes people dizzy, and the bloody scenes are unbearable...

....

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