Chapter 232: The Dawn of Technology
During their free time, Gilbert and James Cameron traveled to IMAX's headquarters in Toronto to tour the company.
"This is our latest generation of IMAX projection technology. It features an ultra-wide screen, greater detail, and the ability to capture more content within a single frame."
IMAX's technical director personally received the two Hollywood mega-directors. For IMAX, this was an incredible opportunity.
"This is our newly developed IMAX camera. Its technology has been tested and verified. When paired with our projection system, it delivers an unparalleled visual experience."
James Cameron, being a pragmatist, interrupted IMAX director Macaulay's enthusiastic speech and asked, "Do you have a screening room where we can see the results for ourselves?"
"Of course, please follow me." Macaulay led Gilbert and James Cameron into the company's private screening room.
Gilbert was unfazed by the large screen. After all, he had seen many IMAX films in his past life, so it didn't impress him much.
However, James Cameron was slightly taken aback by the massive screen. He marveled, "Watching a film on such a big screen must be an incredible experience."
Macaulay added, "This projection system is not just a revolution in cinematography and screen technology—it also enhances the auditory experience. We have specially designed the theater's sound system to ensure an immersive effect."
"Less talk, more action," Gilbert interrupted. "Let's watch a film first."
"Of course." Macaulay wasn't offended by the interruption and quickly went to prepare a film for screening.
The two directors found good seats, and while waiting for the film to start, James Cameron asked, "Do you think this technology has potential for feature films?"
"I think the potential is huge," Gilbert replied confidently.
"What about combining IMAX technology with 3D?" Cameron pressed further.
"That will require experimentation and improvements," Gilbert answered.
Soon, the film started playing. It was primarily a collection of short IMAX documentaries, lasting around twenty minutes.
After the screening, Macaulay asked, "So, what do you think? How's the image quality?"
Gilbert commented, "Your IMAX screen resolution isn't high enough yet. When I look at the edges of the screen, the image quality becomes blurry.
Also, the frame rate of your camera has some issues. It's higher than a standard film camera, but it's not very stable."
Macaulay gave Gilbert a thumbs-up. "Director Gilbert, you truly have a sharp eye. You're absolutely right—these issues do exist, and we are currently working on overcoming them.
We hope that in the near future, a fully developed camera system will be available."
For IMAX, making documentaries wasn't their ultimate goal—it didn't generate much profit.
What they really wanted was to establish a complete IMAX system, covering everything from cinematography to projection.
Winning the Academy Award for Scientific and Technical Achievement this year meant that Hollywood had officially recognized them.
James Cameron said, "I'm very interested in your system. Coincidentally, I've been researching a 3D cinematography system. Would your company be open to collaborating?"
This was the James Cameron speaking. If he wanted to collaborate with IMAX, Macaulay would never refuse. He was thrilled and agreed immediately.
"Absolutely! We would be honored to work with a director like you."
Though IMAX technology wasn't yet ready for commercial use, it was steadily progressing toward maturity.
By visiting IMAX, Gilbert ensured that he stayed at the forefront of Hollywood's technological revolution, preventing himself from falling behind.
After the IMAX tour, Gilbert returned to Los Angeles to continue promoting The Matrix.
At that moment, his assistant Anna brought him two updates.
The first was about the negotiations with Hasbro, which weren't going well.
Hasbro had no immediate plans to sell the Transformers rights. However, they were willing to sell the rights to G.I. Joe.
Gilbert frowned and asked Anna, "Is someone else competing with us for the Transformers rights?"
"Yes," Anna confirmed. "A producer named Don Murphy has been in talks with Hasbro since last year. From what I hear, they're close to finalizing a deal."
Sheena Boone, who was nearby, added, "I know Don Murphy. He primarily works with Paramount Pictures and has some connections with DreamWorks as well."
Gilbert frowned and said, "Sheena, I want you to handle this. Find out what terms Don Murphy has offered Hasbro. We'll increase our offer if necessary and secure the rights."
Sheena nodded, indicating her understanding.
Gilbert's thoughts were simple. A franchise capable of producing six or seven films would undoubtedly be commercially successful.
He wasn't trying to monopolize every profitable project in Hollywood, but Transformers was simply too valuable to miss.
He realized he might have a habit of "collecting" movie franchises. Seeing all these famous franchises under his control was even more satisfying than hosting a lavish party.
"What's the second piece of news?" Gilbert asked Anna.
Anna reported, "Our negotiations with that board game company went smoothly. They agreed to transfer the rights without much hassle, only asking for $200,000."
"That cheap?" Gilbert was taken aback. "Are there any additional clauses?"
"Not really. They just hope the game can be quickly promoted, just like Harry Potter and the Sorcerer's Stone, which is now at the top of the North American bestseller list," Anna replied.
Ever since Gilbert acquired the rights to Harry Potter and the Sorcerer's Stone, he had teamed up with Warner Bros. and Disney to promote the novel series.
Initially, both Warner and Disney wanted to work with Gilbert individually on Harry Potter, but he played hard to get, and neither side was willing to back down.
With Universal and Paramount eyeing the project hungrily, Warner and Disney ultimately decided to collaborate once again to jointly promote Harry Potter.
Fate had slightly shifted its course—what was originally a Warner-exclusive project now had Disney's involvement.
And because of Gilbert, the two companies were working together more closely than ever. This growing alliance was putting immense pressure on the rest of Hollywood.
If the two companies didn't belong to separate media conglomerates, someone would have likely taken them to federal court on antitrust grounds by now.
But that was beside the point.
When two of the world's most powerful media giants joined forces to promote an already high-quality novel, the impact was nothing short of phenomenal.
Since its North American release, Harry Potter and the Sorcerer's Stone had sold 3.5 million copies, securing the top spot on the season's bestseller list.
Most importantly, the novel received overwhelmingly positive reviews. It wasn't just children who loved it—adults, too, were captivated by its dazzling magical world.
The unprecedented success of the campaign made Warner and Disney even more aware of Harry Potter's brand value.
J.K. Rowling was currently working on the second and third books, and the series' marketing efforts were progressing smoothly. Warner and Disney had already begun discussions about adapting the novels into films.
Gilbert was also considering whether he should personally direct the Harry Potter series.
However, with The Matrix nearing release, Chicago in the pipeline, and The Lord of the Rings in pre-production, he was stretched too thin.
Still, he could always take on a producer role, overseeing Harry Potter to ensure it stayed on the course he envisioned.
Since the board game company was willing to sell the rights for just $200,000, Gilbert didn't hesitate and instructed Anna to finalize the deal.
Sheena Boone asked, "Are you planning to shoot a cyberpunk story?"
"No," Gilbert shook his head. "The timing isn't right. The technology isn't there yet. We need more time."
Sheena Boone was about to mention that her agency had many talented actors, but upon hearing Gilbert's words, she immediately held back.
"By the way," Gilbert asked Sheena Boone, "is Vin Diesel still under your management?"
"Yes. I've lined up a few projects for him. Right now, he's a second- or third-tier actor with decent prospects," Sina Boone replied.
"I have an idea for a racing-themed film. It wouldn't require a huge budget, and I think he'd be a great fit for the lead role," Gilbert said.
Sheena Boone's eyes lit up. "Will you be directing it yourself?"
"I don't have the time, but I see potential in this project. Lock in Vin Diesel, and if possible, let's get this film rolling by summer."
The project Gilbert was referring to was The Fast and the Furious. If a movie series could last for eleven installments, that meant it was an undeniable moneymaker.
And when it came to profitable ventures, Gilbert had no intention of missing out.
As for Cyberpunk 2013, the board game he had just acquired, Gilbert already had a rough plan. He wanted to experiment with something different.
CD Projekt Red had crafted an excellent narrative in the previous timeline. Though set in a cyberpunk world, it offered a deeply immersive experience.
Some might argue that cyberpunk stories weren't particularly appealing, and the few existing films in the genre hadn't performed well at the box office.
Gilbert analyzed the issue and concluded that while the visual aesthetics of cyberpunk were compelling, the heavy inclusion of Japanese cultural elements made it feel like a foreign import.
Originally, cyberpunk was a purely Western concept born in the 1980s. However, the Japanese became fascinated with the genre and infused it with their own cultural elements, creating a distinct subgenre—Japanese cyberpunk.
That wasn't necessarily a problem. What truly mattered was figuring out how to make the story engaging.
Gilbert believed that instead of making a film as cryptic as Blade Runner, it needed a more grounded narrative—something akin to a cyberpunk Forrest Gump, making the genre more accessible.
CD Projekt Red's approach was already promising. The protagonist, V, had a clear, personal goal: to make a name for himself in Night City and, ultimately, to survive.
There were no grand ideals like cyber-revolution or saving humanity. It was a personal journey, and that made it compelling.
If Gilbert were to tackle this project, he would start with Cyberpunk: Edgerunners and David's story, then explore Johnny Silverhand's past, before finally following V's journey and incorporating Phantom Liberty.
With this structure, he could easily make five or six movies.
Of course, this was just the fantasy of a gaming fan. If he ever seriously pursued the project, extensive market research and preparation would be necessary.
Launching it prematurely without proper groundwork could lead to failure—something Gilbert had no intention of risking.
For now, all of that would have to wait. The Matrix's marketing campaign was in full swing.
Starting in April, Gilbert, along with Keanu Reeves, Charlize Theron, Laurence Fishburne, and Hugo Weaving, embarked on a promotional tour, appearing on various talk shows.
Interestingly, when a host asked about the inspiration behind The Matrix, Gilbert replied, "The initial concept came from the book Simulacra and Simulation by French philosopher Jean Baudrillard.
"It describes hyperreality based on simulacra and explores how society and reality are replaced by symbols, ultimately dissolving into a virtual world.
"I required every actor to read the book before filming. In fact, one of Laurence's lines comes directly from the first page of the first chapter."
The audience, though largely confused, found the explanation deeply intellectual. Not wanting to appear ignorant, they nodded along and applauded.
Even more amusingly, after the interview, The Matrix extended an invitation to Jean Baudrillard to attend the film's premiere, and he graciously accepted.
It was unclear how Baudrillard would react upon seeing the film—probably not too positively. After all, for commercial reasons, The Matrix only touched on philosophy superficially.
He likely wouldn't have much praise for it, which meant Warner and Disney would need to do some damage control.
Beyond the usual promotions, The Matrix was also in a subtle battle with Armageddon, directed by Michael Bay, since both films were releasing on the same day.
Armageddon was a project packaged by Michael Ovitz's International Creative Management (ICM) in collaboration with Sony's Columbia Pictures, with DreamWorks also investing.
DreamWorks also had Deep Impact, co-produced with Paramount, but since that was coming out in July, it wasn't a direct competitor.
Armageddon, however, was Columbia's primary focus. According to Steven Spielberg, if DreamWorks had been in charge, he would have rescheduled the release to avoid clashing with Gilbert.
But Columbia's Japanese executives, influenced by some dubious intel from Michael Ovitz, believed The Matrix was too cerebral and difficult for audiences to grasp.
Confident in Armageddon, they went head-to-head with Gilbert.
Michael Bay, ever the brash director, went wherever The Matrix's promotional team went, determined to overshadow them.
He told Ovitz, "My goal is to neutralize The Matrix's influence and make Armageddon the topic everyone talks about."
Ovitz fully supported his strategy.
However, they underestimated one thing—the power of internet marketing.
Even though online promotions weren't as influential as they would be in later years, Gilbert had leveraged them early, achieving impressive results.
If one looked at trending topics, The Matrix consistently dominated the top spots.
In terms of traditional publicity, Gilbert's reputation still gave The Matrix the upper hand.
While Bay was persistent, he simply didn't have Gilbert's star power.
Frustrated, Bay believed that once Armageddon triumphed over The Matrix, this perception would change.
Meanwhile, an interesting invitation arrived from The Oprah Winfrey Show.
However, Gilbert declined.
Since its debut in 1986, The Oprah Winfrey Show had become the most popular talk show in America. Oprah was now one of the most well-known hosts in the country.
But the show's primary audience was housewives, a demographic that wasn't The Matrix's target market.
That was the main reason for Gilbert's refusal.
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