Made In Hollywood

In the editing room of Duke Studio, the atmosphere was much lighter than it had been over the past month. The post-production work of Chicago was gradually nearing completion. Both Duke himself and Mike Dawson's editing team were under far less pressure than before, but their attitude remained serious and meticulous as they worked on the final cut.

"Mike, re-edit this section."

Pointing at the footage playing on the monitor, Duke said to the editor, "The narrative flow is out of rhythm here, change it to a parallel montage."

Then, in the segment where the female prisoner, Catherine, is executed by hanging, Mike Dawson followed Duke's instructions and re-edited the scene using the parallel montage technique.

Anna,who had been standing nearby observing, immediately understood the intent when the newly edited scene played.

This was a classic use of parallel montage: on one side, a glamorous stage performance was underway with the host introducing Catherine for her Hungarian disappearing act; on the other side, a reporter was rushing to the execution ground to broadcast live—the first woman in Illinois to be executed.

On the stage, Catherine climbed the high trial platform, while at the execution ground, she was escorted to the gallows. The same rope was lowered and placed around her neck, but the endings were starkly different.

The synchronized editing of these shots, contrasting and yet echoing each other, made the stage seem empty, with the audience's applause ironically given to the lifeless feet on the gallows.

After watching this segment, Anna felt as though life was just a magnificent performance, where a brutal death was transformed into something beautifully orchestrated by the director.

With the post-production nearing completion, although it had lasted for over a month, it felt insignificant compared to the lengthy filming process.

Leaving the editing room, Duke returned to his office, where Robin Grant, Penny Kallis, and Jamie Johnson from Warner Brothers were already waiting. The three parties were still discussing matters related to the film, mainly focusing on marketing and publicity.

"Warner has been making a big deal out of your collaboration with Tom Cruise," Jamie Johnson said. "The first-time collaboration between a major director and a superstar—who wouldn't capitalize on that? We're also targeting audiences who love nostalgia and drama. Based on current feedback, about 60% of opera lovers say they will watch the film to see how it compares to the stage musical."

Duke knew that Warner Brothers' promotional strategy was highly targeted.

Penny Kallis then added, "From what I know, the targeted marketing strategy has been quite effective. The film's production is complete, and there are just over two months until the release. Duke, you need to follow up on this."

"You're in charge of the specific timeline, Penny," Duke said, aware she was referring to Catherine Zeta-Jones.

"I already have a plan in place," Penny said without elaborating. Duke then turned to Jamie Johnson and asked, "What about distribution?"

"Given the film's subject matter, the number of theaters for the premiere will be limited," Jamie Johnson said after thinking for a moment. "They won't allocate many resources to it at first, so the release will be small-scale. We'll aim for an Oscar nomination, and once the nominations are announced, we'll release it internationally."

As long as it would help the film's earnings, Duke would cooperate with Warner Brothers. He knew this was typical for a musical film's distribution.

Jamie Johnson left shortly after, returning to Warner Brothers. After his departure, Penny Kallis said, "You're scheduled to attend the Toronto Film Festival soon. Don't forget to give Kate a heads-up."

The Toronto Film Festival didn't have a competitive section at that time, and Chicago would only be shown as part of the film exhibition, primarily for promotional purposes.

Compared to straightforward blockbuster films, a musical like Chicago had inherent limitations, and achieving success required a complex and multifaceted promotional effort, involving many different elements.

For instance, Tom Cruise's first-ever musical film, where he would sing and dance himself; or the gossip that began circulating in July, claiming that Duke and his co-star had fallen in love while filming Chicago, though no solid evidence had been found, and neither party had publicly responded.

"According to the plan, at the final stage of pre-release publicity, you and Kate will publicly hold hands and kiss, confirming your relationship."

As they left Duke's studio and headed to the parking lot, Penny Kallis continued outlining her plan. "Before and after the film's release, I'll work with Vivian to create the right moment for Kate to officially move into your mansion. You two will walk the red carpet at the premiere hand in hand."

"That's fine with me," Duke said, mentally preparing for the attention. "For the specific details, you can let Tina know."

Seeing that Duke was cooperating, Penny Kallis sighed, then added, "If Tom Cruise makes some big news during the film's release period, Chicago will get even more attention."

As a fleeting thought crossed his mind—whether David Beckham could be brought in for a publicity stunt with Tom Cruise—Duke immediately shook his head. Not only was the truth of that rumor dubious, but Tom Cruise himself wouldn't agree to such a stunt. Moreover, David Beckham didn't seem to have much publicity value at that point.

He quickly dismissed the thought and made a call to his driver. As Penny Kallis got into the car, she asked, "Where are you headed?"

"To the car dealership!" Duke started the engine and turned out of the parking lot. "Tina's waiting for me. I'm planning to buy a few cars to fill up the garage."

Of course, that was a joke. With his new film about to be released, Duke would be attending numerous events in the coming months, and his home would also host several parties. A few luxury cars were a necessity.

The cars were ones Duke had already chosen, and Tina would be coming along to negotiate the prices. Not long after they arrived at the dealership, they finalized the purchase of an RV, an SUV, and a station wagon. Afterward, the vehicles would be delivered directly to his Duke Manor.

When Duke returned home, he found Catherine Zeta-Jones waiting in the living room, sipping tea and chatting casually with the housekeeper, looking very much like the lady of the house enjoying her afternoon tea.

When Duke entered through the door, the housekeeper, Emma, greeted him, taking his briefcase and quietly saying, "Miss Zeta-Jones has been here for two hours."

Duke nodded and walked toward the sofa, where Zeta-Jones stood up to greet him warmly.

"Darling, you're finally back!"

Hearing this, Duke asked nonchalantly, "What brings you here, Kate?"

The yacht they had ordered arrived three days ago and was docked at the manor's seaside pier. The company had even arranged for a temporary coach, but Duke had been too busy with the movie to try it out.

"I came to check it out," Catherine Zeta-Jones said, looking toward the floor-to-ceiling window facing the sea. "I wanted to experience it."

"I'll go change into something more appropriate," Duke said as he walked toward the stairs. He turned to the housekeeper and instructed, "Emma, let the coach from the yacht company know that we're going out."

The bustling summer blockbuster season had just passed, and another important release window was quickly approaching. New promotional and distribution plans were already being finalized.

Miramax, a film company established in the 1970s, rarely invested in large-scale productions but preferred niche and alternative films. After Harvey and Bob Weinstein's efforts and the company's acquisition by Walt Disney, it had become one of the most important independent film companies in the U.S. Last year, after the bankruptcy of Carlock Studios due to Cutthroat Island, Miramax had subtly become the leader among second-tier film companies.

"Anthony, starting in October, you need to move to Los Angeles!" Harvey Weinstein, squeezed into a sofa, said to the British director sitting next to him. "You'll need to cooperate with Miramax's promotional work. If you want to make an impact during award season, you'll have to attend all the public events Miramax arranges for you."

"I'll cooperate," Anthony Minghella replied without objection. "Is The English Patient definitely releasing in November, Harvey?"

"November 22," Harvey Weinstein nodded. "Thanksgiving weekend, the film will be released in a small-scale, limited release in independent theaters as an Oscar contender."

After hearing Harvey Weinstein's words, Anthony Minghella pondered for a moment and asked, "I heard Catherine Zeta-Jones mention that Chicago is also releasing that weekend."

"Don't worry, this is not Duke Rosenberg's specialty," Harvey Weinstein said with some hesitation. "I've heard that the distribution strategy for Chicago is similar to The English Patient, so there won't be any fierce competition in the market."

Mentioning Chicago stirred mixed feelings in Harvey Weinstein. It was a project he had high hopes for but discovered that the film rights had already been snatched up.

"So, Chicago is aiming for the awards season?" Minghella asked, furrowing his brow. "Could it affect our plans?"

"Who knows what kind of musical Duke Rosenberg will make, but I'll be prepared for the worst," Harvey Weinstein replied.

Having worked his way up from the bottom, Harvey Weinstein knew not to underestimate anyone. Those who had dismissed Duke Rosenberg in the past were now the laughingstock of Hollywood. "I've heard Warner Brothers already has a full strategy for Chicago targeting the awards. If the film is successful, it will definitely affect our chances."

He turned to the British director and said, "Anthony, don't worry. Miramax will come up with corresponding countermeasures!"

...

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