章 18: C 18
After the trial screening, the theater quickly divided into two groups. People from Fox's publicity department rushed to a nearby hotel with film critics and media reporters, while some from the distribution department stayed behind to collect feedback from the audience via questionnaires.
Once the film concluded, Harry Dunn and other observers from the distribution team quickly returned to Fox Tower in Century City to process the questionnaire responses. In an industry that churns out new releases every day, it is critical to accurately gauge market sentiment. Moreover, the diversity and volatility of the film industry necessitate that film distribution companies collect extensive data and apply their analysis to marketing strategies.
Pre-screening research not only gauges the audience's interest level but also analyzes the feedback from different demographic groups to craft targeted publicity campaigns. In short, marketing is certainly not simpler than production—in fact, it is often far more complex.
"Mr. Rothman..."
In a large office, Dunn spoke to Tom Rothman, the head of the distribution department, about the latest questionnaire summary. "This questionnaire is very representative. I felt like I was on a high-altitude elevator, on a high-speed bus, and hijacked on a speeding subway. The excitement never let up. Though the story might be simple, the action scenes were exhilarating, especially the explosion sequences, which I believe surpassed those praised in 'Terminator 2.'"
Sitting in a spacious chair, Tom Rothman rubbed his chin thoughtfully. The audience's continuous praise, along with Dunn's account of viewers walking backward to the bathroom to avoid missing any part of the film, made him take this project seriously.
"The statistics are ready."
A staff member approached, and Rothman looked up. The data would confirm the public's reception of the film.
"We distributed 265 questionnaires and received 263 responses," the staff member began, keeping the report succinct. "Out of those, 205 were rated A+, 44 were rated A, seven were rated B+, and seven were rated below C+."
The room instantly quieted. This represented a staggeringly high level of approval, clearly giving Twentieth Century Fox confidence in "Speed."
Meanwhile, at the Four Seasons Hotel, Luke was being introduced to professional film critics by Robin Grand. Though Luke recognized few names—perhaps only 10% of them—he made sure to smile generously. He had little leverage, and "Speed" still needed these critics to cheer it on.
Luke didn't concern himself with their opinions of "Speed" in their conversations. As attendees of the event, these critics had accepted gifts from both Lucasfilm and Twentieth Century Fox. Whether their feedback was positive or negative, their job was to generate public interest in the film.
After all, taking money and doing a job is the fundamental rule, whether for filmmakers or critics. Everyone knows that critics are only "relatively" impartial—and "relative" can mean many things.
For example, beyond covering travel expenses, accommodation, and dining at the Four Seasons Hotel, Fox had prepared gifts or checks for critics based on their status in the industry. Even the least-known critic received a souvenir worth nearly $500. Fox's budget for this event exceeded $50,000.
Moreover, all written reviews were required to pass through Fox's publicity department before publication. Any random criticism without Fox's approval would result in the critic being blacklisted, cutting off their access to free tickets for Fox and partner films.
This unspoken arrangement has long existed between film critics and the industry. While distributors don't expect critics to heap false praise, they do expect them to pique public interest. A review stating that "Speed" is nothing more than explosions, fights, and car chases would be acceptable to Fox, because mainstream audiences crave these elements, and critics would be promoting the film's selling points.
This symbiotic relationship has been part of Hollywood since the New York Film Critics Circle was founded in the 1930s. The film industry needs critics for publicity, and critics need the industry for income.
Even Roger Ebert's famous show with Gene Siskel, At the Movies, was highly commercialized. While Ebert gave Terminator 2 a well-deserved thumbs-up, it's no secret that Twentieth Century Fox had a hand in that glowing review.
Luke, familiar with the internet age, understood the role of professional critics—they should not be underestimated, but neither should they be overly revered. They were tools to be used on his journey.
After his conversations with the critics, Luke moved to another room for media interviews, along with other cast members. Similar to the critics, most reporters focused on the better-known cast members, like Keanu Reeves. Only a few paid attention to Uma Thurman or Luke, the director. Naomi Watts, however, garnered more attention, thanks to her striking appearance and her agent's support.
Twentieth Century Fox's marketing strategy was largely responsible for this. In the early '90s, directors were still seen as behind-the-scenes figures, unless they were well-known. The focus remained on the actors.
When asked, Luke repeated standard phrases like, "I have confidence in the film," and "The leads are excellent." The reporters weren't probing, and Luke wasn't too interested in the interviews either. He knew that no amount of media attention would make or break the film at this stage.
After a long day, Luke finally left the venue. As he packed up in the lounge, he noticed Naomi Watts, accompanied by a woman in her 30s, walking in.
"Hi, Luke," Naomi greeted him.
Her expression was strained, as though she was dealing with a problem.
"Hi, Naomi," Luke replied with a smile.
Despite Naomi's future stardom, Luke, having grown up around Hollywood, was unfazed. He'd seen countless young women come to Hollywood chasing dreams, and Naomi was no different. She had talent, looks, and some luck—perhaps more than he remembered.
"Are you going to introduce me, Naomi?" the other woman asked.
Naomi quickly responded, introducing her to Luke. "Nancy, this is Luke Rosenberg, the director of the film."
"Luke, this is Nancy Josephson, my agent."
"Josephson?" Luke muttered. The name sounded familiar.
"Nice to meet you, Miss Josephson," Luke said, offering his hand.
Nancy shook it, "Please, call me Nancy. May I call you Luke?"
After exchanging pleasantries, Nancy took a phone call, whispered something to Naomi, and left the lounge.
"Nancy works for ICM," Naomi explained. "She's the daughter of Marvin Josephson, the founder of the agency."
週次パワーステータス
-- 推薦
ランキング 
-- 推薦
チケット