The entire shooting pace was very fast, and the experts sent by NASA also played a significant role. In addition to the preliminary preparations, the astronaut who has been in the crew also pointed out many positions in the shooting that were inconsistent with reality. His opinions were very pertinent, but Duke did not use much.

In fact, many of the details during the shooting are unscientific, and they all need to give way to the movie-watching emotions that director Duke wants to create.

For example, during the shooting, astronauts will condense water mist on their masks when they breathe, but the real situation is that they will consider this when designing space suits. Using special technology will make the masks spotless. Duke shot two different effects separately, and then chose the unreal one when deciding on the choices.

Because this allows the astronauts to visualize their breathing, and it is obvious that the existence of the mask will create a sense of claustrophobia. There is also a very obvious water mist in the subjective shot, making the loneliness of being isolated in space more prominent.

How to tell the story well with movies, how to balance the truth and drama, and how to make technology serve narratives the most important issue that directors need to consider.

Every director has his own style and philosophy, and Duke is no exception. It is natural to make the film add highlights, rather than making the audience bored when watching the movie.

When Scarlett Johnson was filming the radio of the dog barking and the baby crying, turning off all the equipment and preparing to die, Sophia Coppola happened to visit the set and discussed the scene with Duke.

"Seeing Scar sobbing silently there..."

Standing next to Duke, Sofia Coppola looked at Scarlett sitting in a rest chair and said, "I thought this was the best tragic drama I've ever seen, but when I think of your script, this feeling will all disappear. If Scarlett's character dies in the end, I feel even more shocking."

Hearing this, Duke couldn't help but give Sophia a pair of eyes rolling, "Dear. I think you have forgotten that this is a commercial film with a production cost of up to 200 million US dollars!"

Sofia Coppola shrugged with an indifferent expression on her face.

Duke emphasized again, "What audiences like to watch is the joy of counterattack success, rather than the useless achievements after struggling desperately."

"Have you ever asked Scar about the role?" Sofia Coppola asked suddenly.

"Of course there is." Duke returned to her seat and was about to start busy, "She thought this ending was very good."

If, according to what Sofia Coppola said, the heroine will die after countless struggles. This film will definitely fall into the Mariana Trench and will definitely lose all its money.

These two endings are nothing more than the choice of literature and business.

In fact, Scarlett has a very similar idea to him. When she was interviewed by The Hollywood Reporter a few days ago, the other party asked her why she left the art film and changed to the commercial route.

Scarlett's answer is very interesting. It is inevitable. Watching movies is an escapist. Life is already hard enough. Audiences don't come to the cinema to find hardships. Since we are entertainment stars, they hope to be entertained. But directors like Duke can package the tragedy of human nature into a charming survival adventure. If you complete this adventure sensoryly, you will also get a kind of rebirth. When you walk out of the cinema, you may immediately want to do something to experience the beauty of life. This is also a kind of hope conveyed by the film. It turns a heartbreaking story into a beautiful language and makes you want to work hard for life.

While Duke hadn't started working yet, Sofia Coppola walked over, stood behind the director's chair, and asked, "The female characters in the films you made in the past two years have become more and more prominent, more tenacious and stronger. Could it be that you really become a feminist?"

Duke just shrugged, but did not give a clear answer. "Who knows."

He turned his head, but found that Sophia had widened her eyes. She was looking at herself with curious eyes, so she had to say, "Times are changing, and movies are changing. I just think that such female characters are alive."

Sofia knew Duke very well and knew that he had not finished speaking, so she made a gesture of continuing.

After thinking for a while, Duke said to her, "We have been in this circle for so long and have seen too many artificially created dreams, and all stories of developing in an orderly manner through the recognition of patriarchal society. But we know that the world is diverse, life is different, and the way of survival is different, so now there are more and more movies showing different myths. They are movies I like and are really interesting movies."

"Don't you think fantasy movies like Disney are boring? It's sweet, but I don't find it interesting."

Hearing Duke's words, Sofia Coppola nodded in approval, "It's true. I even think comedy can't save these perfect fairy tales. Life has a strange noise and is only interesting when branches are branched. Just as your script of Gravity, if the protagonist has a happy family and her relatives are eagerly looking forward to her going back on the earth, it is far less attractive than her being a person who has lost her closest relative and has no hope of living. What can make her rekindle the *** that can rekindle her life."

"So," Duke turned around and said, "only such characters have resonance. Everyone can find themselves in a story, because there are different lives in every corner of the world. They can also be interesting, funny, and have a happy ending. However, such reunion is achieved through vivid twists and turns."

During the filming period, one of the things Duke paid the most attention to was his team's contact with Lucasfilm.

Starting from August, news that George Lucas confirmed that he would retire soon spread throughout the circle. Where will Lucasfilm go in the future have become the focus of many people's attention.

Indeed, Lucasfilm is not as good as the traditional six companies, but its profitability is terrifying. Moreover, through Industrial Light and Magic, it can affect the future development of the entire Hollywood film industry. Not to mention those large companies that are not very competitive, Hollywood's traditional six companies want to win Lucasfilm.

Of course Duke wanted to do it, but the competitors he faced were extremely strong.

Among the six major companies, Walt Disney has the most urgent desire to get Lucasfilm, while Sony Columbia Pictures is dragged down by its head office Sony Group and can basically be ignored.

Several other companies are taking action by looking at the offer and the timing.

If you want to impress Lucasfilm shareholders, you still have to look at the quotation. In such a transaction involving billions of dollars, there is no more critical factor than capital.

Duke has an advantage in terms of funds. In a few months, through stock transfers and bank financing, he has a huge flow of funds in his hands, enough to fight with any company in terms of price.

On the other hand, George Lucas, the key figure of Lucasfilm, is also Duke's advantage. With similar bids, George Lucas himself must be inclined to transfer his shares to Duke, which will give him a first move.

In addition, Time Warner also supports Duke. Due to the impact of liquidity tension caused by the group's rapid expansion, Time Warner cannot afford much real money, and still symbolically joins Duke's acquisition case and will hold shares in Lucasfilm in the future.

This is a good thing for acquisitions. Lucasfilm executives must understand that the company will be sold, but if it is sold, they will inevitably tend toward the six major companies with a wider platform. Time Warner is the best tool Dukela has used to offset the advantages of Walt Disney.

During the ongoing negotiations, Duke's team raised the offer to $3.8 billion, which is already a premium, but if necessary, he will raise the offer to $4 billion or more.

In addition, Duke promised Lucasfilm executives that as long as the acquisition is completed, the new Star Wars series will be launched immediately, which means that Lucasfilm's performance in the next few years may reach a peak, and their executives can also receive a considerable amount of rewards.

For Duke, getting more than 4 billion US dollars in Lucasfilm is simply a waste of money tree.

Lucasfilm's money-making ability will reach madness after the launch of the new Star Wars series.

Duke remembers it very clearly that the new Star Wars was not released yet, and its peripheral and peripheral authorizations were sold out. Ea has the franchise of the "Star Wars" game; Lego produced the best-selling Toy Empire Star Destroyer; Sony Entertainment's PS4 game console has the franchise of related dramas and bundled sets; Hasbro purchased the franchise of manufacturing related models of "Star Wars"...

This is just a part of it. Lucas Pictures earned more than one billion US dollars just by granting the copyright before the film was released!

This does not include revenue from DVD and streaming media. At that time, Disney made a lot of money by selling original movie DVD and streaming media. The first six films were very popular during the promotion period of the new film. The cost of re-release for Disney is very low, so Disney made this money without any effort.

The real winner of the acquisition of Lucasfilm was Walt Disney, another world that Duke had experienced. In 2012, Walt Disney spent $4 billion to acquire Lucasfilm from Star Wars creator George Lucas. The deal was later recognized as a low-priced sale. Walt Disney could recover the money by relying solely on product licensing and peripheral products.

But now, Walt Disney has no advantage in facing competitors like Duke. (To be continued.)
Chapter completed!