Chương 506: Chapter 506: Problem with the Scene
In the expansive lounge of Santa Monica Commerce Plaza, Los Angeles, Bale sat in solitude, his mind swirling with thoughts.
Suddenly, a gentle knock on the door pierced the silence. The manager's voice, tinged with a hint of urgency, echoed from outside, "Mr. Bale, fifteen minutes until the event commences."
Snapping back to reality, Bale acknowledged with a crisp, "Understood."
The event in question was the "Terminator 2018" road show, a pivotal promotional event. The choice of Santa Monica Commerce Plaza was no coincidence; it was here that the iconic encounter between John Connor, the T1000, and T800 in the Terminator series first unfolded. Hence, the location held significant historical weight, especially for the premiere of the road show in North America.
However, Bale's excitement was dampened by the film's lukewarm reception. The North American box office had only garnered $42.25 million in its opening week. In stark contrast, Martin Davis's latest film following "The Dark Knight" seemed to have had a more favorable debut. Bale reflected on the disparities: a $200 million investment against $40 million, the PG-13 rating versus the R rating, the vast difference in publicity scale...
The reality was undeniable: it was a resounding failure.
Bale, once overshadowed by Martin in "The Dark Knight," had hoped this new project would mark his resurgence. But reality proved otherwise, crushing his aspirations.
With a heavy heart, Bale checked the time, composed himself, and made his way to the event site through the corridors.
The moment he stepped onto the stage, a barrage of boos and jeers erupted from the audience, drowning out the host's introduction.
"Is this your idea of a Terminator film?"
"This abomination tarnishes the Terminator legacy!"
"Christian Bale, you're no savior!"
"Leave the stage! Your film is a disgrace!"
"Unworthy of this hallowed ground!"
The crowd was predominantly die-hard Terminator fans, their adoration for the original films as intense as their disdain for this latest installment.
In the 1990s, this very stage had welcomed Arnold Schwarzenegger for the "Terminator 2" promotion. Now, the fans vehemently rejected "Terminator 2018" as unworthy of the franchise's name.
"Leave now! All of you!"
The crowd's anger escalated into chaos. Cans of Coca-Cola flew onto the stage, their contents hissing upon impact.
Bale's expression darkened. The film's flop had already soured his mood, and this hostile reception only added fuel to the fire.
Bale had never been known for his patience. During the shooting of "Terminator 2018," a casual remark about Martin by a photographer had triggered a furious outburst from Bale, lasting over 40 minutes, uncontrollable even by the director and producer.
A Coca-Cola bottle struck the stage's edge, bursting open near Bale. Without hesitation, Bale turned and approached the audience.
Bryce Howard, standing nearby, hesitated, unsure whether to follow.
The audience buzzed with shock and excitement. Paparazzi and reporters scrambled towards the stage exit, eager to capture Bale's reaction.
The crowd pressed forward, the security barriers barely containing the surge of people.
Bale strode off the stage, his departure stirring a frenetic buzz among the press. The scene, awash with flashing cameras and hurried reporters, was electric with anticipation.
A TMZ reporter, ever eager to spin a story from thin air, called out with a raised voice, breaking through the cacophony. "Bale, did 'Terminator 2018's' failure prove that 'The Dark Knight's' success hinged solely on Martin Davis's acting prowess, not yours?"
Bale paused mid-stride, his back to the press, as the reporter's words cut through the chaos, reaching him with piercing clarity. He turned, fixing the reporter with a cold, unwavering stare.
Undeterred, the reporter pressed on, his voice tinged with provocation. "Martin's latest film is a box office hit with minimal investment. Yet, your recent leading role has ended in a substantial loss. Doesn't this contrast highlight your reliance on Martin's star power during 'The Dark Knight' era?"
Another reporter pushed their microphone past the barrier, their question sharp and unyielding. "Bale, don't you think you've failed to live up to your reputation?"
Bale, his expression hardening, turned decisively and began to walk away, each step a deliberate move to distance himself from the onslaught of questions.
A final question trailed after him, a voice calling from the crowd. "Your silence is an admission of guilt, isn't it, Bale?"
Without a word, Bale quickened his pace, leaving the tumultuous road show behind.
The next day, Los Angeles's entertainment media was abuzz with criticism of Bale. Accusations of him being unworthy of his fame and even labeling him as 'box office poison' dominated the headlines. The media, adept at playing favorites, had clearly thrown their support behind Martin, seizing on Bale's current struggles to amplify their narrative.
In a fit of anger, Bale announced his withdrawal from the 'Terminator 2018' promotional tour on social media, a decision he hadn't communicated with Warner Bros. The studio, taken aback by this move, was incensed.
Warner executives, feeling betrayed, swiftly added Bale to their blacklist of actors.
...
In June, at Astra Studios, the filming of "Inception" commenced under Nolan's direction. The initial focus was on the indoor scenes, where Martin's character traits led to an intensification of the action sequences.
On a set meticulously crafted to resemble a Japanese palace, Martin, wielding a prop pistol, executed a ballet of violence. Gunfire echoed as he dispatched assailants dressed in black, each movement a dance of precision and power.
"Cut!" Nolan's voice halted the scene.
Martin approached a stuntman, clad in a suit hiding protective gear, offering a hand to help him up. "Are you okay?"
The stuntman, new to working with such a renowned actor, was pleasantly surprised by Martin's genuine concern. "It's okay, it's okay."
As Nolan approached, Martin inquired, holstering his prop gun. "Is there a problem with the action sequence?"
Nolan, gesturing emphatically, replied, "Your movements are too polished, too perfect. It's as if you're channeling Jonathan, not Cobb."
Martin, puzzled, asked, "Is excellence a problem?"
Nolan invited Martin to review the footage at the director's monitor. The playback revealed Martin's prowess, a force of nature, swift and formidable.
"Do you see the issue?" Nolan probed.
Martin, observing closely, nodded in realization. "My makeup, movements, and acting are flawless. The issue lies in the fight choreography. I'm portraying Cobb, not Jonathan. I need to embody a dream thief, not a super-assassin."
"Yes," Nolan affirmed, "Your portrayal should be more subdued, to reflect Cobb's vulnerability, not his invincibility."
Martin nodded, his expression one of understanding and resolve. "I get it now," he said, fully grasping the nuance of his character.
Nolan, reflecting on the situation, admitted, "This isn't just about you, Martin. The action director and I misjudged. We didn't anticipate your skills to be this advanced. It seems you're still channeling Jonathan's intensity."
The issue was unique to their set. Often, crews struggled with actors not meeting the physical demands of roles. Here, they faced the opposite challenge: Martin's portrayal was too powerful, too swift. For his current role, he needed to dial it back, to appear less formidable.
Nolan, Martin, and the action director convened, pausing the shoot to reevaluate the choreography. It was essential that Martin's character, Cobb, didn't overshadow the supporting actor Mene in terms of physical prowess.
Mene, who had been training with Martin, was an apt benchmark. They needed to strike a balance in their on-screen dynamic.
When filming resumed, Martin consciously slowed his pace. His actions, once crisp and efficient, now carried a deliberate sense of struggle and realism.
Nolan, a purist in his craft, insisted on capturing the scenes authentically, avoiding CGI wherever possible. The Japanese-style palace and other sets were painstakingly constructed to offer a tangible sense of place.
By late afternoon, Martin, now out of makeup, followed Nolan to a different studio where Mene was rehearsing for a pivotal action scene. They were preparing for a complex sequence in a dream corridor, envisioned to play out in a rotating environment.
Nolan, ever ambitious, had sought out Professor Mordecai, a renowned physicist from the University of Casablanca, and invested heavily in constructing a massive centrifuge, a rare piece of equipment in modern filmmaking. Such devices, once common for space and zero-gravity scenes, had fallen out of favor due to the rise of CGI.
Martin arrived to find the colossal steel centrifuge in motion, its size and engineering a testament to Nolan's commitment to physical effects. Inside the centrifuge, Mene and stunt performers trained within a rotating corridor set.
An elderly man, accompanied by an assistant, was meticulously overseeing the centrifuge's operation. Nolan gestured to Martin, signaling the centrifuge's slow halt.
Introducing the physicist, Nolan said, "This is Professor Mordecai, a brilliant mind from Casablanca."
Martin, always respectful of knowledge, eagerly shook hands. "Hello, Professor."
Professor Mordecai, a balding man with a prominent nose, was unexpectedly enthusiastic. "My daughter adores your films. Could I trouble you for a signed photo for her?"
With a warm smile, Martin agreed, "Absolutely, I'll make sure it's taken care of."
Grateful, Mordecai then turned to Nolan, suggesting, "This centrifuge shouldn't just be scrapped post-filming. Could I have it dismantled and shipped to Casablanca after you're done?"
Nolan, after a moment's thought, replied, "You'll need to cover the disposal costs."
Mordecai promptly agreed, confident his university would fund it.
As Mordecai made the arrangements, Martin remarked, "He's really dedicated."
Nolan nodded, acknowledging the challenging conditions local academics faced. "If it weren't for our film's budget, and Mordecai's need for research funding, we might not have had the opportunity to work with him."
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