Made In Hollywood

Chapter 945: Infinite Possibilities

The media is a double-edged sword—Duke understood that very well. However, he never deliberately avoided certain matters. By this point in his career, although his personality didn’t allow reckless behavior, he didn’t need to keep silent either. Moreover, some media outlets under the Walt Disney umbrella had never ceased slandering or attacking him over the years.

There were also a few so-called professional film magazines that always spoke of him with disdain, as if the movies he made were synonymous with vulgarity.

"No matter how the media evaluates me, I’ve never been discouraged. Maybe occasionally, in some specific reviews or similar situations, but never before a movie’s release," Duke said.

Compared to earlier, his tone was full of confidence. "Those who never think about what we’re actually doing simply assume it’s a campaign to discredit us. My team and I are portrayed as the dumbest people in film history, with every movie we make being treated like garbage."

He shrugged, showing clear disdain. "But tell me—why would a studio spend two hundred million dollars on a project? You know that’s a massive budget. If we’re not making mainstream commercial films, are we supposed to spend two hundred million on an art-house movie? I won’t let anyone destroy my films. I’ll do everything I can to make movies that both I and the mainstream audience love."

"Speaking of your films..." Ellen DeGeneres’s tone gradually sharpened. "Which one is your personal favorite?"

"All of them," Duke replied without hesitation. "They’re all projects my team and I poured our hearts into—each one is like my own child."

"It’s said that last month you participated in a private Hollywood discussion panel attended by David Fincher, Quentin Tarantino, James Cameron, Steven Spielberg, and Peter Jackson, among many other top directors," Ellen asked. "Apparently, there was a huge disagreement during the meeting. Can you tell us why?"

"That was just a normal industry discussion," Duke replied casually. "Just like differing creative philosophies, we simply have different views on the future of cinema."

In reality, the disagreements at that meeting were far more serious than Duke suggested. They might directly affect the future of the film industry and even bring revolutionary changes to the way the independent film sector operates.

Since last year, major studios led by Warner Bros., 20th Century Fox, and Universal Pictures had been searching for new profit models for the industry. They planned to launch a product that would allow audiences to watch newly released films directly from home—without setting foot in a theater.

The idea was to stream new releases straight to users’ homes through a special set-top box. Each film would cost $50, available for 48 hours but viewable only once.

Additionally, it would require a custom-made set-top box to ensure users couldn’t record the movie, and they’d need to pay another $150 to purchase the device.

Without question, if this plan succeeded, it would give Hollywood a new revenue stream after the decline of DVDs.

The discussion Duke and the other major directors attended revolved precisely around this plan.

However, the proposal met fierce opposition from the quintessential representatives of independent cinema—Quentin Tarantino and David Fincher—who both publicly denounced it.

Meanwhile, Duke, James Cameron, Steven Spielberg, and Peter Jackson were among the strongest supporters.

The reason for this divide was simple: pure financial interest.

In the coming years, the average home setup could never rival the immersive experience of a theater. For directors like Duke, whose films were designed for the big screen, watching them at home and in cinemas were two entirely different experiences. Such a system wouldn’t harm their box office—it might even attract people who rarely go to theaters, thereby increasing the industry’s total revenue.

For directors like David Fincher and Quentin Tarantino, however, whose works rely less on spectacle, the difference between home viewing and theater viewing was far smaller. This meant their films would face a direct box office hit.

Indeed, their movies had never been known for massive box office numbers, earning more from later physical sales or streaming. But one shouldn’t forget that box office revenue forms the foundation of a film’s total income. If a movie doesn’t perform well in theaters, how many people can one expect to buy or stream it later?

Some claim that certain movies flop at the box office but thrive in the video market—earning eighty million dollars over ten years. Yet they ignore another fact: blockbusters like The Lord of the Rings: The Return of the King and Spider-Man made over a hundred million dollars in DVD sales in their first week in North America alone—not to mention additional home video revenue.

David Fincher and Quentin Tarantino weren’t fools—they knew this system would be a blessing for commercial directors and major studios but a nightmare for independent filmmakers.

Still, they were powerless to change anything. Hollywood was still dominated by the "Big Six" era, and directors like Duke, James Cameron, Steven Spielberg, and Peter Jackson had all become shareholders in those studios.

Of course, Duke would continue to defend the irreplaceable position of theatrical screenings. At this stage, both creatively and economically, exclusive theatrical premieres remained essential.

Ellen DeGeneres went on to ask several sharp questions, but after more than twenty years in Hollywood, Duke handled them with ease.

As the program neared its end, their discussion turned to the film industry as a whole.

"Many directors have shared their personal top ten favorite films," Ellen said, looking at Duke. "Could you tell us your own list—excluding the ones you’ve directed yourself?"

"My top ten favorite films?" Duke repeated the question, his mind quickly turning. Then he not only listed the titles but also explained his reasons. "Star Wars—it created an unparalleled American legend and changed the way movies are distributed. Terminator 2: Judgment Day—even now, it remains breathtaking. Jurassic Park—it marked the beginning of Hollywood’s true domination of the global market. Forrest Gump—the undisputed Best Picture of the 1990s. Titanic—it not only ignited a wave of pop culture but also completely opened the global market for Hollywood"

"300, directed by Zack Snyder, pioneered an entirely new cinematic style. Avatar ushered the film industry into a new era. Toy Story 3 not only created the most glorious moment in animated film history but also pulled the off-track Pixar studio back onto the right path. Captain America: The Winter Soldier—even if it didn’t dethrone superheroes from their pedestal, it still reached new cinematic heights."

Clearly, given Duke’s personality and preferences, not a single true "old film" made his list, nor any so-called product of Hollywood’s "Golden Age" that so many Academy members nostalgically revere.

Was the so-called Golden Age of Hollywood truly more brilliant than the Hollywood of today? Anyone with clear eyes could easily arrive at the answer.

Ellen DeGeneres’s gaze fell upon Duke’s left hand as she tentatively asked, "Is that an engagement ring?"

Duke didn’t deny it and gave a slight nod.

"May I ask," Ellen continued, "Duke, are you engaged to Miss Scarlett Johansson?"

As always, Duke neither flaunted nor avoided such matters. "It happened just a few days ago," he replied.

Ellen seemed about to say something else, but Duke interrupted her with a small smile. "You’ll receive an invitation when the time comes."

"That would be such an honor," Ellen said, her face lighting up with delight.

Finally, she asked, "Do you have any new plans for the next few years?"

"Of course," Duke said confidently. "Both the Star Wars series and the Marvel series are at crucial stages. I’ll continue directing and producing more films in the future!"

The interview ended there. Duke politely declined Ellen DeGeneres’s invitation to her after-show party and left the TV studio directly.

This episode could be seen as a summary of Duke’s past, present, and future. He had expressed many of his genuine thoughts—especially about his production philosophy and creative direction in filmmaking.

Meanwhile, Star Wars: The Force Awakens continued its theatrical run in both North America and overseas. After surpassing $1.1 billion at the North American box office, its screenings and attendance inevitably entered the decline that every blockbuster eventually faces. Overseas, although new regions had joined its release, none were major markets, and the global enthusiasm had cooled down.

As of now, Star Wars: The Force Awakens had accumulated more than $3.1 billion worldwide, leaving behind a vast gulf for any potential challengers.

Although his wedding preparations were underway, Duke had entrusted that work to a professional company. His main focus remained on the next stage of plans for Marvel Studios and Lucasfilm.

Marvel had already entered Phase Three, with the internal war among the Avengers about to erupt. The second installment of the Star Wars sequel trilogy was in active pre-production, and the spin-off series would launch first...

At the same time, Duke was developing a new science fiction project about the future. Amid his busy schedule, he had already begun writing. However, since his upcoming work calendar was fully booked for the next two years, the project would have to wait. Fortunately, it was an original concept entirely of his own creation—one that required time to refine the world-building and polish the script.

There were still infinite possibilities waiting for him ahead.

...

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