Made In Hollywood

Monster movies have always had a certain market in North America, and King Kong has been remade countless times. After Naomi Watts rose to fame through Chicago, her decision to join such a film suggests that Universal Pictures must have paid a hefty price. It's not easy to get a popular actress to appear in such monster-sidekick movies, as top-tier actresses rarely take on such roles.

Duke could vaguely guess that Nancy Josephson must have played a role in persuading and pushing Naomi Watts. Having invested heavily in her, Josephson would naturally want to maximize her returns while Watts was at the height of her popularity. The shelf life for Hollywood actresses is relatively short; by the time they reach 40, or even 35, most find their careers beginning to decline, whether they like it or not.

Though no one would directly voice it, the preference for younger and prettier women is not only a common mindset in Hollywood but also in this male-dominated society as a whole.

Later, many slightly older actresses went to extremes, undergoing injections and turning themselves into "zombie faces," all to maintain a youthful appearance. This serves as a vivid reflection of the career trajectory faced by actresses.

However, Duke refrained from pointing this out. Naomi Watts must also understand this. Few actresses would pretend to be above commercial films. Without sufficient box office appeal, even winning multiple awards might only place them in an awkward position like Meryl Streep—neither at the top nor the bottom.

Reaching this stage, who wouldn't want to be among the top-tier actresses?

To become one of the most elite actresses, one needs excellent box office appeal, like Tom Cruise or Julia Roberts. Even without Academy Award recognition, strong box office performances are indispensable.

Leaving the lounge, Duke walked with Naomi Watts around the set. The place was busy with scenery construction, so there wasn't much to see. After wandering briefly, they visited the props department and the Industrial Light & Magic (ILM) team in the special effects workshop.

"Is this a squid?"

Standing in front of a batch of special effects props, Naomi Watts curiously asked, "A futuristic sci-fi creature?"

Behind a glass window, the squid emitted a metallic sheen all over. Its long tentacles hung like springs, adorned with spikes and saws that gleamed coldly. Its grotesque metallic face, filled with densely packed red eyes, made it even more horrifying.

"This is a mechanical squid," Duke explained while beckoning to Collins, stepping behind Naomi Watts. "Some minions of the villains in the film."

Naomi Watts pointed to the squid's face and said, "It's so ugly."

"Darling, I'm not making Beauty and the Beast here." Duke shrugged. "A villain needs to look like a villain. Otherwise, is it even a Hollywood blockbuster?"

Over the decades, the American film industry has developed a streamlined commercial production model, shaping the movie-going habits of mainstream audiences in North America and the entire Western world. Most of the time, it's not that directors don't want to innovate, but that innovation often comes with significant risks, and risks frequently lead to failure.

The success of commercial films usually results from the accumulation of multiple elements. On the other hand, failure requires only one aspect to turn off the audience.

Apart from the mechanical squid models, the special effects team also created hovercrafts and miniature models of wheat fields. Particularly notable were the miniature wheat fields, densely packed on their bases, with towering "giant machines" standing among them. Even at reduced scales, they looked incredibly lifelike.

"What are these for?" Naomi Watts asked, intrigued by the wheat models.

"For planting things," Duke pointed to the one-foot-tall mechanical models. "When the crops mature, they harvest them."

"What exactly are they planting?"

"Human babies," Duke shrugged. "In the film, humans are no longer born from embryos but are grown using these devices, essentially mass-produced."

"Sounds like a groundbreaking concept," Naomi Watts' eyes sparkled. "I kind of regret it now."

Duke turned to her, and she smiled. "Regret not continuing to work with you."

Though she said so, Naomi Watts knew she couldn't accept the low salary offered for the female lead role.

Leaving the special effects workshop, the two exited the studio. Duke checked the time. "It's almost noon. If you don't mind the simplicity of the Fox studio restaurant, lunch is on me."

"Sure," she said, linking arms with Duke. "It's been a long time since we had a meal together."

Late July in Sydney marks the coldest time of the year. Today's weather wasn't great, with the sun completely hidden behind clouds. Thankfully, even in winter here, there's no worry about snow. Tightening his wool coat, Duke quickened his pace slightly with Naomi Watts, and soon they entered the restaurant in the Fox studio complex, open only to insiders.

Like most Hollywood studios, Sydney's Fox studio is divided into two sections: the Fox Studios Australia theme park, which caters to tourists, and the production zone, which houses the soundstages. The latter is generally off-limits to outsiders, as allowing public access would make filming and even dining impossible.

"Hey, Duke."

Someone greeted him as soon as he entered the restaurant. Duke responded with a brief exchange as he passed. "Here early today, Liam."

"My scenes finished quickly," Liam Neeson replied with a smile. "Got out a bit earlier."

Duke glanced around the restaurant. "What about George? Still busy?"

Liam Neeson knew Duke referred to George Lucas. "The female lead just arrived from New York. George seems to be talking with her."

After introducing Naomi Watts, Duke washed his hands, grabbed a tray, and picked a few suitable dishes with Naomi Watts. They chose a round table near the window to sit and enjoy their meal.

As Sofia Coppola had mentioned, George Lucas' Star Wars: Episode I – The Phantom Menace had also set up its base at the Fox studio and had begun filming before The Matrix crew arrived.

"When does The Matrix start filming?" Naomi Watts asked.

"At the earliest, September," Duke said after swallowing his food and taking a sip of juice. "It could be even later."

Naomi seemed reflective. "You're as cautious as ever, just like when I first met you—confident but never arrogant."

"Only thorough preparation can minimize failure," Duke replied matter-of-factly. "Pre-production doesn't get easier just because I've had a few hits. Any oversight could lead to failure."

As always, Duke never believed success came easily. Even with an edge, without decades of study and experience, borrowing ideas alone wouldn't suffice for success.

Success in this world is never easy; it requires continuous effort and hard work. Failure, on the other hand, is simple. Once complacency sets in, believing that success is guaranteed, one edges closer to failure.

The two chatted as they ate, occasionally reminiscing about past shared experiences. Growing up in a Western cultural environment, Naomi Watts, like Duke, was shaped by Western ideals. Neither dwelled on their previous relationship. With their current statuses vastly different from before, lingering emotions had faded naturally.

Duke wasn't foolish enough to lure A-list actresses with scripts or roles, nor was he naïve enough to think he could control anyone's life. Similarly, Naomi Watts, having secured her position as a top-tier actress with hits like Independence Day and Chicago, no longer needed to curry favor with anyone, even top directors.

In short, they now had a foundation for equal dialogue unlike ever before.

"You know, Duke," Naomi Watts said after setting down her knife and fork, "After the fire on set, especially when you comforted me in the hotel, I was crazily infatuated with you. I even thought about doing whatever it took to become your girlfriend."

The matter, having been addressed after Chicago, didn't bother Duke. He curiously asked, "What happened then?"

"Then I realized you wouldn't focus your attention on any woman," Naomi said with a light laugh. "At least not in the short term. No one would sustain a one-sided relationship where they give but don't receive."

"My mother said something similar," Duke muttered. Looking up, he saw George Lucas approaching with a tray, accompanied by a petite girl.

"Mind if I join you?" George Lucas asked before seating himself near Duke.

"Feel free," Duke said with a smile.

He then greeted the other person, "Take a seat, Miss Portman."

The girl, slightly taller than when he last saw her but still slender, placed her tray down, thanked him, and pulled out a chair. "It's nice to see you again, Director Rosenberg."

"Just call me Duke."

"Then... nice to see you, Duke."

She extended her hand, and Duke lightly shook it. "Nice to see you too, Natalie."

"You can call me Nat," Natalie Portman said politely. "That's what my friends call me."

Duke nodded, glanced at George Lucas, who was eating quietly, and asked Natalie, "Is your Broadway show over?"

"Yes, it's finished," she replied.

"Sorry I couldn't catch your performance."

Natalie smiled faintly at Duke's words. "It's okay. Your work must be very demanding. Besides, I met Mrs. Leah at the after-party."

.....

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