Chapter 900: Chapter 900: No One is Born a Clown!
The lights dimmed and the screen went black as the credits of 'Joker' began to roll. In the Burbank Theater, a hushed murmur spread through the audience. Christopher Nolan sat back in his chair, rubbing his brow thoughtfully, before turning to face Martin. It was as though he were seeing him in a new light, his expression one of intrigued contemplation.
Martin, a renowned film marketing strategist with an uncanny ability to predict audience trends, waited for Nolan's response. The air between them was charged with anticipation. Finally, Martin broke the silence with a modest shrug. "I'm just taking a shortcut, really."
Nolan's eyes narrowed, considering his words carefully before responding. "Commercial films are always a bit of a gamble," he said, his voice low but steady. "But your gamble? It's a calculated one. Look at the world we're living in, people are frustrated, angry. Your film taps directly into that energy. You've crafted something that speaks to the current social climate, and I think it's going to resonate deeply."
He paused, a thoughtful expression crossing his face as he reflected on what he had just seen. "This movie is darker, more grounded in reality than 'The Dark Knight', and that's saying something. But it's precisely what makes it so powerful, it's closer to people's lives. I have no doubt about its market potential."
Martin nodded, appreciating the compliment from someone he deeply admired. "Thanks, Chris," he replied sincerely.
Nolan's producing partner and wife, Emma Thomas, who had been quietly absorbing the conversation, still seemed unsettled. As they made their way out of the theater to meet with Warner Bros. executives, she voiced her hesitation.
"The film is... intense. It's so raw and chaotic, almost uncomfortably real," she said, her voice tinged with concern. "I can't help but wonder how the audience will react to something so harsh."
Nolan slowed his pace, glancing at her with a knowing smile. "You're right about the intensity, but you're missing one crucial point. This isn't just any film, it's 'a Joker' movie. Ever since 'The Dark Knight', the Joker has become more than a character. He's iconic, almost mythic. Heath's portrayal turned him into a cultural symbol, and that legacy is still alive. Fans online have practically deified him."
Emma paused, considering his words. "So, Martin was able to take those risks because of the Joker?"
"Exactly. The character gives him a unique freedom," Nolan continued, his voice growing more animated. "And not just that, this darker, grittier approach fits the Joker's ethos perfectly. Think about it: over the last few years, life has been getting harder for so many people. They feel trapped, angry, just like the Joker does in this film. That connection is going to hit hard."
Emma frowned, still grappling with the implications. "But will that connection really drive people to the box office?"
Nolan turned to her, his voice now soft, almost conspiratorial. "People, when they're struggling, often look for something or someone to blame. The Joker's journey reflects that, he's failed by society, by those around him. He didn't ask for his life to spiral out of control, and that's what makes his descent into madness so compelling. It's not his fault; it's the world around him that's broken. Audiences will see themselves in him, even if they don't want to admit it."
Emma thought back to the film, realizing that Nolan was right. "You really think people will see it that way?"
"I'm certain of it," Nolan replied with conviction. "In a climate where it's easier to feel powerless, this film taps into a shared frustration. That's why Martin's marketing instincts are so sharp, he understands that the Joker embodies this moment."
As they arrived at the Warner Bros. reception, the mood was celebratory. The preview had drawn a mix of industry insiders, media, and critics, and the reaction was overwhelmingly positive. The serious themes and stark realism had struck a chord with the audience, sparking animated discussions throughout the room.
Charles Roven, a seasoned producer with decades of experience, approached Martin with a firm handshake and a broad smile. "This is something special, Martin. A true masterpiece," he said earnestly. "In my thirty years in this business, I've seen a lot of films, but this one… this one is going to be huge."
"Thank you," Martin responded, his voice steady but clearly touched by the praise.
More figures from the film world filtered in, each offering Martin their congratulations and thoughts on the film's potential. There was a palpable sense of optimism in the air, as though everyone in the room knew they had just witnessed something that would leave a lasting impact.
As the night wore on, Martin moved through the crowd, exchanging handshakes and smiles. Despite his humility, he could sense it too, the film had struck a nerve, and the audience was ready for what 'Joker' was about to unleash upon the world.
Martin stood in the banquet hall, soaking in the atmosphere. It was one of those nights where everything seemed to align. The room was filled with familiar faces; critics, producers, actors, all buzzing about 'Joker'. Everywhere he looked, there were people who had something good to say. People who pleased him.
Before long, two familiar faces approached, Kenneth Turan and Todd McCarthy, seasoned veterans in the world of film criticism. They were old acquaintances, but tonight they seemed particularly eager to speak.
Kenneth Turan was the first to break the silence, his voice filled with admiration. "Martin, this film... it's extraordinary. The craftsmanship, the depth, it's unmatched. I haven't seen a film with such artistic and thematic weight in years."
He paused, as if weighing his next words carefully, then let out a sigh. "I have to admit, I was worried. I thought the pressure from DC might push you to turn 'Joker' into another flashy, hollow comic book spectacle. But what you've done, it's so much more than that."
Martin simply smiled, his face calm but appreciative. He didn't need to say much. Their words were enough.
Todd McCarthy chimed in, nodding in agreement. "Kenneth's right. Any fears we had were completely unfounded. You've made something real here, Martin; something that reflects the deep social issues we're grappling with right now. The artistry and the social commentary are perfectly balanced. This film will leave a mark."
McCarthy then turned toward Martin with a look of sincerity. "I owe you an apology, too. Before 'The Shallows' came out, I made a lot of noise about how I didn't think you were cut out to direct. I was wrong. Not only did you prove me wrong with 'The Shallows', but with 'Joker'? You've crafted a masterpiece."
Martin shook McCarthy's hand, his grip firm but warm. "That's all in the past. No hard feelings. Let's move forward."
The three of them shared a laugh, the tension from past judgments dissipating in the easy camaraderie of the moment.
Later that night, after the reception had wound down, Martin found himself joined by Leonardo DiCaprio and Jack Nicholson. The two had kept a low profile during the event, but now, as they settled into Martin's car, heading back to Beverly Hills, they were ready to talk.
Leonardo glanced sideways at Martin, a smirk tugging at his lips. "I've gotta say, I'm starting to wonder if you had someone else direct this thing. Seriously, Martin, this was on another level."
Martin laughed, but made no effort to hide his process. "Honestly, I spread the directing workload across a lot of departments. I had hundreds of incredibly experienced people handling different aspects; prep, shooting, production. All I did was make sure things ran smoothly and, well, write a lot of checks."
Leonardo scoffed, shaking his head. "Come on. There's no way just delegating and cutting checks gave us 'this' film."
Nicholson, leaning back in the seat, chimed in with that signature, gravelly voice. "Martin didn't just direct the film, he brought the Joker into our world, made him a part of today's social fabric. That's why it works." He gave Martin a sidelong glance. "Your Joker… well, he's outdone mine. No question."
Martin, always direct, grinned. "My Joker's transcended the character, he's become a symbol. That's why I felt confident making the choices I did. He's a god now."
Nicholson raised an eyebrow, his expression serious despite the banter. "Just make sure that god helps you win an Oscar. Listen, if I were you, I'd only put in for either Best Director or Best Actor. Going for both will split your votes, and you'll walk away with nothing."
Martin nodded, already knowing the truth in Nicholson's advice. "I've thought about that. I'll only push for one category."
Leonardo, always the competitor, leaned over and grabbed Martin by the shoulder, shaking him lightly. "Best Director, Martin. You have to go for Best Director."
Martin chuckled, catching the playful glint in DiCaprio's eye. "Ah, I get it now. 'The Revenant' is dropping in December, and you've got your sights set on Best Actor, don't you?"
Without missing a beat, Leonardo grinned and replied, "Exactly. You let me have Best Actor, and I'll back off from Best Director. Deal?"
Martin extended his hand, shaking Leonardo's firmly. "Deal."
Leonardo, being both producer and star of 'The Revenant', had the final say on many of its details, so his word carried weight. "Alright, it's settled then."
Nicholson, watching the exchange with a mixture of amusement and exasperation, leaned back and snorted. "You Oscar chasers… you're all out here making deals like this is some sort of poker game."
Martin shrugged, his tone matter-of-fact. "It's Hollywood, Jack. If you're not willing to play the game, you're not going to win. This industry doesn't reward the quiet ones."
Nicholson, never one to shy away from the truth, grumbled with a knowing smirk. "True enough. If you want the gold, you've gotta stir the pot."
As the car sped toward Beverly Hills, the trio fell into a comfortable silence. It was a moment of reflection, knowing full well that 'Joker' wasn't just a film, it was a statement. And in the chaotic world of Hollywood, it had the potential to leave a lasting legacy.
Leonardo DiCaprio smirked, leaning back in his seat as he pointed a finger at Jack Nicholson. "Come on, old man. Stop pretending to be innocent. You told me years ago that thinking you can win an Oscar on the merit of just the film or the role alone is nothing but a daydream."
Nicholson's eyes twinkled with mischief as he gave a half-shrug. "Well, I hope you get your Oscar next year, Leo. Really, I do."
Martin and Leonardo burst out laughing, knowing full well that this was far from a casual wish. These two Hollywood powerhouses had already sealed their deal behind closed doors. With their influence and status, it was more than likely they'd have a hand in shaping the Oscar outcomes for the coming year.
The next day, 'Joker' held two more previews, this time aimed at a different crowd. Theater managers from across North America and international markets filled the seats, alongside regular moviegoers from middle and lower-class backgrounds. The contrast in the audience mirrored the film's themes, giving voice to the very people it depicted.
Word of mouth spread quickly. The response was overwhelmingly positive, sparking conversations that would ripple through the media and the film industry alike.
Rave reviews began pouring in from critics, their admiration evident in every line.
"Martin Davis has plumbed the depths of the Joker's psyche," one critic wrote, "delivering a complex, chilling, and brutally honest portrayal of societal decay."
Another review echoed this sentiment, declaring, "With 'Joker', Martin strips away the veneer of civility to reveal a world where the oppressed are left to drown. It's a haunting reflection of our current reality."
Kenneth Turan, the renowned critic from 'The Los Angeles Times' and president of the Los Angeles Film Critics Association, offered perhaps the most poignant praise in his column. "After watching Martin's 'Joker', one thing becomes clear: no one is born a clown."
He continued, "The tyrannical madness that spirals out from the darkness and despair of this film is the deafening voice of Martin Davis. It's a masterpiece that far exceeds expectations, not just a film about society's marginalized, but a fable of caution that speaks to us all."
It wasn't just the critics who were enthralled by the film. Ordinary moviegoers, particularly those from less privileged backgrounds, found themselves deeply moved. They saw in 'Joker' a reflection of their own struggles, frustrations, and disillusionment. The character's descent into madness felt real, painfully familiar, and they responded with fervor.
Online, fans were pouring out their emotions in droves.
"Dark, gritty, and heartbreakingly real," one fan wrote. "Martin understands what it's like to grow up with nothing, and he channels the collective pain of an entire nation into this film. This is the voice of the forgotten."
Another added, "The pacing, the tension, the underlying commentary, it's all perfect. Only Martin could bring us a Joker this raw and this powerful."
A particularly striking post read, "Class division has become so stark, it's now the perfect material for a film. Martin sees it. When you're at the bottom, there are only a few options: fight, accuse, or go mad."
Warner Bros. and the production team wasted no time capitalizing on the buzz. They lifted the embargo on the film's reviews, sending the conversation into overdrive.
Within hours, the film's Rotten Tomatoes score skyrocketed to an impressive 98%, with glowing endorsements flooding in from every corner of the industry. On Metacritic, 'Joker' boasted a solid 86, further cementing its reputation as a critical and commercial powerhouse. As the buzz spread across the internet, September became 'Joker''s month.
Martin, ever the showman, wasn't content to let the film ride on reviews alone. He pulled a wildcard, bringing the legendary Jack Nicholson out of retirement for a series of high-profile interviews to stoke even more hype.
In one interview, Nicholson delivered a line that instantly became iconic: "Twenty-five years ago, we had to throw a man into a vat of chemicals to create a Joker. Now? All you have to do is throw him into society."
It was a biting, poignant reminder of how much had changed in both the world and the portrayal of the Joker. The line encapsulated the very essence of the film, how the modern world, with all its inequality and oppression, could easily create villains from ordinary people.
'Joker' wasn't just a film anymore, it was a social statement, a reflection of the anger simmering beneath the surface of society. And as the film continued to attract praise and attention, it became clear that Martin had done far more than just make a movie. He had captured a moment in time, and turned it into something that would resonate for years to come.
Nicholson's remarks took the internet by storm, spreading like wildfire across social media platforms. By early October, his comments had rocketed to the top of Instagram's trending list, setting the stage for the much-anticipated release of 'Joker'.
The buzz around the film was undeniable. The combination of overwhelmingly positive reactions from early previews, Martin Davis' magnetic appeal, and an A+ rating from theater managers led North American theaters to pour massive resources into supporting the film's release. Everyone seemed to sense 'Joker' was going to be a phenomenon.
Warner Bros. wasted no time. After confirming that 'Joker' would open in a staggering 4,250 theaters, they ramped up production and distribution efforts to ensure everything was ready for the big day. Digital copies of the film made distribution more secure and efficient, keeping the process smooth and confidential.
On the marketing front, the campaign was nothing short of a full-court press. Martin Davis, pulling double duty as both the film's director and its lead actor, appeared everywhere. His haunting portrayal of the Joker graced the cover of 'Empire' magazine, and he gave a high-profile, in-depth interview with 'The Hollywood Reporter', offering fans a glimpse into his creative process. The internet was flooded with articles hyping the film, with headlines that added fuel to the anticipation:
"'Joker' is Darker than 'The Dark Knight'!"
"This Could Be Martin Davis' Next Oscar-Winning Role!"
"Martin Scorsese Calls 'Joker' a Social Commentary, Not a Comic Book Movie."
Even the FBI got involved, vowing to cooperate fully with the 'Joker' production team to ensure a safe premiere. The memory of the tragic shooting at 'The Dark Knight Rises' premiere was still fresh, and both Martin and law enforcement were concerned about the potential for extremist threats, especially given today's more volatile social climate. The production team enlisted a top-tier security firm, and the FBI dispatched several teams to assist with security.
When premiere night finally arrived, the streets around the Chief Rock Theater were a sea of chaos and excitement. Hundreds of security personnel were stationed at key locations, but it was hard to contain the crowd. Thousands of fans dressed as the Joker, donning purple suits, white makeup, and smeared red lips, swarmed the area, blocking roads and creating a carnival-like atmosphere. The Joker's twisted smile had become the hottest fashion statement in Los Angeles.
Inside, the theater was packed with stars and industry heavyweights, all eager to see what Martin had created. His close friends and longtime collaborators, including Leonardo DiCaprio, Jack Nicholson, Chuck Menez, David Fincher, and Christopher Nolan, were all in attendance, showing their support. Even Elizabeth Olsen, who had kept a low profile in recent months, made a rare public appearance, walking the red carpet beside Martin.
The biggest surprise of the night came when Zack Snyder showed up with his wife, Deborah, despite his contentious relationship with DC Studios. "I suggested releasing a director's cut of 'Justice League' on HBO, but DC shut me down," Snyder remarked with a shrug. "In their eyes, I'm just someone they've moved past."
Nolan, who had long championed Snyder, offered some words of encouragement: "The old guard always sees the future as competition."
Martin, overhearing their conversation, stayed silent. He knew something they didn't — it wouldn't be long before Warner Bros. and DC changed their tune and released Snyder's cut of 'Justice League'.
As the lights dimmed and the audience settled in, the theater was filled with an electric energy. Thousands of fans, hundreds of media reporters, and a collection of Hollywood's elite sat in anticipation, waiting for the world premiere of 'Joker' to begin.
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