บท 860: Chapter 860: John Wick Franchise!
At Disney Studios, producer David Barron hurried down the hallway, his thoughts racing as he approached the president's office. The situation seemed urgent. Alan Horn, the president of Walt Disney Studios, greeted him warmly in the reception room. With a confident smile, Alan said, "David, I'm planning to launch more live-action fairy tale films under the Disney brand."
David Barron's eyes widened in surprise. "President, isn't this a bit premature? We're still in the middle of filming 'Beauty and the Beast.' Shouldn't we wait until we see how it performs first?"
Alan leaned back into the plush sofa, a calm yet determined expression on his face. "David, are you letting the underperformance of 'Into the Woods' shake your faith in this genre? Let's not forget that the 'Harry Potter' films you co-produced with David Heyman were essentially live-action fairy tales, and they were a massive success, film after film."
David Barron had worked under Alan Horn for years and was no stranger to big franchises. He was integral to the success of the 'Harry Potter' series at Warner Bros., before joining Disney in anticipation of Alan's move there. The bond between these two was strong, forged through countless high-stakes projects. However, since transferring to Disney, Barron had faced setbacks, the most notable being the lukewarm reception of 'Into the Woods.' This failure made him skeptical about the viability of further live-action fairy tale adaptations.
Barron leaned forward, speaking earnestly. "To be cautious, I think it would be wise to wait and see how 'Beauty and the Beast' is received before committing to more projects of this scale."
Alan, however, had already made up his mind. "I've received strong recommendations to move forward with these projects simultaneously," he said with a hint of enthusiasm.
David Barron's mind raced, and a name came to him. "Is this Martin Davis's idea?"
He remembered vividly how instrumental Martin Davis had been in green-lighting 'Beauty and the Beast.'
"Yes, it's Martin," Alan confirmed, with a tone that suggested he held Davis's opinions in high regard. "Just look at what he accomplished with 'John Wick 3.' It raked in over $200 million at the North American box office in just four days, and the production costs didn't even reach $100 million! If Martin's instincts aren't reliable, whose are?"
Having come from Warner Bros., Barron knew the whispers surrounding Martin Davis's business tactics and couldn't help but feel a twinge of unease. He cautiously asked, "President, is Martin Davis planning to invest in these new projects?"
Alan recognized Barron's concerns immediately. Caution was critical in the entertainment industry, especially when large sums of money were at stake. "You're right to be careful, David," he responded. "Martin will be joining us shortly. Let's hear which projects he recommends, and if his studio isn't putting any skin in the game, we'll hold off on moving forward."
Barron felt a sense of relief. The financial commitment to live-action fairy tales was immense. Typically, studios like Disney would secure funding through partnerships or co-investments, and Davis Studios seemed like a promising partner.
Not long after, Martin Davis arrived, exchanging friendly greetings with both Alan and David, no introductions needed as they were well-acquainted. The trio settled into their discussion, the future of Disney's live-action slate hanging in the balance.
Alan started with a lighthearted jab, "These days, everyone in the film industry is talking about ' John Wick 3.' People are saying this is Martin Davis's world, and we're all just living in it. Even I'm tempted to think you're the star of this show!"
Martin chuckled and shook his head. "If there's a protagonist in this world, it's not me. It's the powerhouses in Washington and the big financial moguls. I'm just a guy who knows how to enjoy life."
Alan grinned, sensing Martin's playful deflection. "And enjoying life requires funds. So, tell me, what's your next big idea for making money?"
Martin didn't answer directly but threw the ball back into Alan's court. "I'm guessing Disney has already cooked up some plans of its own?"
The conversation was now in full swing, setting the stage for Disney's next chapter of live-action fairy tales. The decisions made that day would determine whether Disney's bold leap into the genre would turn into another fairy tale success or a cautionary tale for the ages.
Alan Horn leaned back in his chair, casually listing titles, "Some of these are simply live-action versions of our animated classics: 'Snow White,' "Cinderella,' 'The Little Mermaid,' 'Pocahontas, 'Tarzan.' You know the kind."
Martin Davis, always prepared, nodded thoughtfully before replying, "Disney's animated fairy tales have global recognition and a powerful brand legacy. The key for live-action adaptations is to capture the same magic that made those animated films timeless."
Alan leaned forward, eyes serious. "The first few films are crucial. If they flop, either commercially or critically, it could tank the entire slate. We have to nail it right out of the gate."
Martin agreed. "Success breeds success. We can't afford to stumble with the early ones."
David Barron, always the cautious planner, added, "The selection process will be vital. We need to be very deliberate in picking the right stories to start with."
Alan's gaze shifted to Martin. His eyes reflected the weight of the decision, but also the confidence that comes with experience. "So, what do you suggest we lead with?"
Martin pulled a folder from his briefcase and handed it to Alan. "Classics never go out of style. I believe we should start with 'Cinderella.' Stick close to the original. Don't over-modernize it, don't turn her into some cunning character just out to trap the prince. Let's keep it simple and true to the version everyone knows."
The room grew quiet as the words settled in. In recent years, the trend had been to twist these classic tales, making Cinderella sly, Little Red Riding Hood a femme fatale, and even giving Snow White less beauty than the wicked queen.
David Barron couldn't help but think back to 'Into the Woods,' the very film he had produced, a dark, satirical mashup of multiple Grimm fairy tales. It had combined 'Cinderella,' 'Little Red Riding Hood,' 'Rapunzel,' and 'Jack and the Beanstalk,' but wrapped it all in a veil of satire that was more cynical than enchanting. The result? A box office disaster.
Alan broke the silence, raising a valid point. "But right now, big adaptations are in vogue. Audiences seem to like edgier takes."
Martin's expression grew serious as he weighed his response. "Sure, but remember: the biggest audience for fairy tale films is families. Parents bringing their kids want something they can all enjoy together. Turning a fairy tale into a dark satire might get some attention, but it alienates the core audience, the families. That's a recipe for empty theaters."
He leaned forward, his tone carrying a hint of warning. "We shouldn't add unnecessary twists just for shock value. Let's stick to what makes these stories classics in the first place."
David Barron nodded in agreement. "Fairy tales are about princes and princesses. Simple, timeless, and magical."
They knew that 'Cinderella' wasn't just some ordinary girl, she was of noble birth, the daughter of a count. In the traditional European sense, Cinderella was already a princess in her own right. After all, commoners don't get invited to the king's ball.
Alan, ever the strategist, trusted Martin's instincts. "Once the script is ready, you'll have the final say. If you don't think it's right, we won't move forward."
He paused and then asked, "So besides 'Cinderella,' what other stories do you think should be on our list?"
Martin didn't miss a beat. "There's 'The Jungle Book' from 1967. A boy raised in the wild, surviving in a jungle among animals, this one is perfect for live-action, especially with today's motion capture technology."
Alan jotted it down, clearly interested.
Martin continued, "Then there's 'The Lion King.' It's arguably the most successful animated film Disney's ever produced. The fanbase is huge and cross-generational."
David Barron, however, raised a concern. "But it's entirely about animals… how do we manage that?"
Martin smiled. "We can wait a few years until CGI is even more advanced. When the technology's ready, we do it entirely in CGI and bring the savanna to life."
The room hummed with possibility. As they discussed, it was clear they weren't just crafting a film, they were laying the foundation for an era of new fairy tales. Disney's magic, reimagined for a new generation.
Alan's mind buzzed with anticipation. It was common knowledge that industry giants like himself shared more than just competition, they often exchanged ideas and even reached silent agreements on the direction of the film industry. With rapid advancements in digital technology, a future where real actors might be replaced entirely by CGI seemed inevitable. The big six Hollywood studios, though rivals, were united in understanding the potential and risks of this evolution.
The conversation between Alan, Martin, and David then shifted to the specifics of the upcoming projects: 'Cinderella,' 'The Jungle Book,' and 'The Lion King.' Martin's vision was clear, each film would be released in a strategic order, with 'The Lion King' positioned as the grand finale. Including the already-in-progress 'Beauty and the Beast,' these four films were set to roll out over the next five years.
By that time, Robert Iger's tenure as Disney's CEO would be nearing its end, and the stakes would be high. The financial rewards for Disney's top brass would reach staggering figures, setting the stage for significant shifts in leadership. The inevitable dance of power and politics would follow, with shareholders poised to bring in fresh blood. Even Alan Horn, as influential as he was, might find himself stepping away from the studio, leaving behind a transformed Disney where creativity and commerce waged their constant war.
For Martin, the focus remained steady. His studio's distribution deal with Disney was locked in until 2019. With plans solidified, he exited the Disney building and headed toward the studio lot where post-production for 'The Shallows' was in full swing.
The project was at a critical juncture, with the editing team working tirelessly to trim over 2,500 minutes of footage down to a tight 200-minute cut. Meanwhile, the special effects team was busy swapping out the studio's green screens for a stunning, photorealistic bay, ensuring that every shot looked authentic.
Meeting with producer Louise, Martin inquired about the progress. She offered a reassuring smile, confident as always. "Don't worry, Martin. Everything's on track. Focus on your other projects, I've got this under control."
Martin chuckled, sensing her calm assurance. "I'm starting to think my presence in post-production isn't even necessary."
Louise couldn't help but laugh. "As much as it pains me to admit, that's the truth. You have a clear vision, and with a top-tier team handling the edits, crafting a solid thriller isn't a challenge for me."
Martin playfully sighed. "You've been in the industry for over two decades, and you're a gold-standard producer. I guess I'll admit, your post-production skills might just rival mine."
Louise leaned in, smirking as she gave him a light-hearted jab. "Let's not forget, you still have the final say on the edit. We agreed, you'll make the call on how the film ends up looking."
Martin nodded. "I'll be back after wrapping up the 'John Wick 3' and 'Interstellar' promotions. I want to be hands-on for the final cut."
With 'Interstellar' slated for a July release, the promotional engine was already in motion. Martin had participated in a couple of events, but the real focus remained on the runaway success of 'John Wick 3.' The film's trajectory suggested it could break the $500 million mark domestically, with overseas markets showing equal promise.
As June arrived, Martin regrouped with the key creatives for 'John Wick 3' and embarked on an international promotional tour, starting with South Korea, Hollywood's strategic gateway to the Asian market.
In Seoul, the promotional event was a major affair. Martin, as expected, held the spotlight at the center of the campaign. Meanwhile, Clara, the film's leading lady, was elevated to a co-starring role, ensuring that local audiences connected with both the action-packed energy and the characters driving the story.
The stage was set, not just for the success of these films, but for the unfolding of a new era in cinema, one that blurred the lines between tradition and technology, fantasy and reality. As Martin, Alan, and David continued to shape Disney's future, they weren't just making movies, they were creating a legacy.
The South Korean media couldn't contain their excitement. Without needing any external push, they began showering 'John Wick 3' with glowing praise. Clara was quickly elevated to international stardom, with headlines declaring her as the next global sensation.
In South Korea, 'John Wick 3' became a cultural phenomenon, sweeping the nation with its high-octane action and charismatic leads. Although the media stopped short of claiming Martin Davis was Korean, they didn't hesitate to fan the flames of rumors. Photographs of Martin and Clara in close proximity were plastered across tabloids, with stories spinning narratives that Clara was now Martin's official girlfriend. Some even went so far as to announce their supposed engagement, predicting a wedding was just around the corner.
Amid all this hype, Martin wasn't just there to promote his movie. As the face of Samsung's mobile division, he also made appearances at several high-profile events. This marked the final year of his endorsement contract, and Samsung pulled out all the stops, hosting glitzy gatherings packed with Korea's most famous female stars. Martin and his crew attended these lavish parties, but unlike the rumors and gossip that often swirl in such circles, he kept things strictly professional. Of course, any aspiring actress hoping to break into Hollywood was welcome to seek him out once they were stateside.
After wrapping up the South Korea leg of the tour, the 'John Wick 3' team headed south to Hong Kong. However, given the R-rating and intense nature of the franchise, the films never made it to the screens in China, the world's second-largest movie market, so no promotional activities were planned there.
From Hong Kong, Martin and his crew embarked on a whirlwind tour across several major international cities, often switching locations every two days. The excitement surrounding the film was palpable as 'John Wick 3' made its global debut in early June. With the momentum of the previous two films, the now-iconic internet meme "Give me back my dog's life," and Martin's undeniable star power, the movie set off a frenzy worldwide.
In its first week alone, 'John Wick 3' raked in $145 million across more than 50 countries and regions, breaking records and dominating box offices. And this was just the beginning, the film was yet to hit screens in additional overseas markets. Disney's distribution network had grown significantly in recent years, and before the movie's release, deals had already been secured in over 100 countries, covering all six continents.
Meanwhile, back in North America, 'John Wick 3' entered its second weekend with strong momentum. With positive word-of-mouth and an ongoing buzz driven by trending discussions, the film showed little sign of slowing down, earning another $73.81 million. Within just ten days, the North American box office had soared past the $300 million mark. While the initial wave of enthusiasm was beginning to settle, the box office remained steady without any drastic drops. According to estimates from Disney and Davis Studios, the final North American take was poised to exceed $500 million, a figure that would cement its blockbuster status.
Disney, ever the master of cross-promotion, capitalized on the film's popularity. The studio released a special teaser for the next chapter in the Thanos and Jonathan storyline, and they cleverly slipped in ads for 'Guardians of the Galaxy,' scheduled for release later in the year, during the opening credits of 'John Wick 3.' Although Marvel Studios couldn't lure Martin to join their superhero universe, nor were they willing to pay the exorbitant fee it would take to sign him, they made the most of his market appeal through their Disney connections.
The buzz didn't stop there. Marvel Comics approached Davis Studios to explore acquiring the comic rights for the 'John Wick' franchise, with Dark Horse Comics also throwing their hat into the ring. The interest extended beyond comics, several gaming companies lined up with proposals to develop both mobile and PC games based on the series.
With so many lucrative opportunities on the table, Martin was in no rush to make decisions. He left the negotiations in the capable hands of his trusted business partner, Jessica, allowing her to navigate the deals while he stayed focused on the relentless promotional circuit.
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