Hollywood Production - Chapter 30: It's just crazy

To get Fox to invest, they need to see the selling points of the movie and the potential for profit. Even the name George Lucas isn’t as persuasive to a profit-driven company as the potential for making money.

Fortunately, the selling point of “Speed” is very, very obvious.

Sitting in the back row near the left corner, Duke patiently observed and waited. Fox is one of the major companies in Hollywood in the 20th century, and the professionals’ choice of films is certainly above the pass line. He also pulled George Lucas as a big flag, which can also minimize the contempt for new works that these people must have in their hearts.

Tom Rothman suppressed his impatience as he sat next to Lucas. It wasn’t Lucas he was impatient with, of course, it was the movie they were about to watch.

To be honest, he championed the release of “Speed” in Fox in the 20th century more from a strategic perspective. As the head of the release department, Tom Rothman was determined to restart “Star Wars” so that capital could compete for the CEO position after Jefferies resigned next year. He is also a smart person. From the beginning, Lucasfilm strongly recommended this film, and he smelled something unusual.

Then, he had someone investigate a little, and it was immediately clear that the movie’s director was the son of Leah Rosenberg, a Hollywood veteran of the 1970s. Everyone knows how close the two families are.

Then, he had someone investigate a little, and it was immediately clear that the movie’s director was the son of Leah Rosenberg, a Hollywood veteran of the 1970s. Everyone knows how close the two families are.

Tom Rothman also came to the conclusion in his heart that this was just a work by a young person like Sofia Coppola who wanted to be promoted because of her connections.

This is not uncommon for people who work in Hollywood; there is often not much value to speak of, but he is still pushing Fox to sign a distribution contract for the simple reason that he wants to further improve relations with George Lucas. It is known that the current CEO will soon resign, and if he can restart Star Wars, he is absolutely the most powerful contender for this position.

Even though his eyes were glued to the big screen in the projection room, Tom’s focus was mostly on George Lucas, but that changed as soon as the movie started.

He’s seen countless movies, but never one with such a fast pace that creates such a sense of urgency. From the moment the security guard falls from the building, he feels as if his heart is being squeezed. The rapid succession of short scenes in the film is something fresh and new that Hollywood movies have been lacking in recent years.

The camera rapidly pans between the police, the criminals, and the elevator passengers, continuously placing their emotions and expressions on screen. Even though it’s predictable that the passengers will eventually be saved, we still worry about their fate.

Within twenty minutes of the opening scene, Tom Rosman’s opinion of “Speed” had completely changed; the film surpassed his highest expectations by far…

This is a A-class commercial film! The idea came strongly to his mind.

Curtis Singleton, who was one of the film experts at Fox in the 20th century, sat in the back row of Tom Rosenthal’s. He had the right to speak on the company’s introduction of the film. He was a true professional. Not only did he have to watch a lot of new films every year, he also needed to understand the market dynamics in a timely manner rather than offer empty criticism like professional film critics. He needed to analyze what kind of films the market needed most.

At first, he thought this was a test of human relations. A work by a new director who was less than 22 years old. Is it worth it to deploy top notch professionals in the industry to check it out?

So, he and two of his colleagues with the same cognition, have been talking about Hollywood’s latest news in a low voice, and weren’t interested in the movie being screened.

The screeching sound of an out-of-control elevator sliding down the screen finally caught their attention, and their gaze was immediately glued to the screen, unable to leave for a moment.

The movie starts with music that easily stirs people’s emotions, intense drumming, car chases and collisions that are crazy to the extreme, and explosions that fill the whole screen–these are all effects that only the best commercial movies have.

“Has potential?” he asked his partner.

He used a questioning tone, which contained confirmation.

“Has potential?”

The voices of the two colleagues were not loud, but they were very certain.

“This isn’t a traditional action movie.” The person on the left couldn’t help but sigh, “The dazzling and extreme scenes of danger are simply shocking.”

“There’s also…” The person on the right also spoke up. “The explosion, car chase, and crash footage that appears in it seems to be new filming techniques. It’s all fresh and exciting!”

“How did he do it! It’s like he got the shot from the inside of an explosion or car crash.”

He turned his head and looked at the young man sitting quietly in the corner. The inspiration came out of nowhere. “He couldn’t have put the expensive wireless high-speed camera in the inside of the explosion and car accident scene, could he? This is simply crazy!”

If you find any Mistakes or Poorly Written Paragraphs in this chapter, pleas tell me in the comments below so I can fix them.