Chapter 166: Premiere

After going through the fax in hand, Simon called Amy to share his opinions and inquired about the casting progress for the lead role in "Batman."

There weren't many films at this edition of the Cannes Film Festival that caught Simon's interest. He hadn't planned on watching films but intended to use these two weeks to thoroughly organize his ideas for the "Batman" script.

Although "Batman" was scheduled to start filming next year, there wasn't much time to spare. The remaining time this year, aside from refining the script repeatedly, Simon also needed to create various high-tech gadgets for Bruce Wayne, such as the Batmobile. This iconic vehicle of Batman needed to be fully operational on the road, not just a model. From design and assembly to road testing, it might not even be completed by the time filming starts next year.

Moreover, a lot of the special effects planned for the film required a significant amount of time to prepare.

In the following days, Simon mostly stayed at his mansion in Le Cannet, brainstorming the script and keeping in touch with the team in the United States. Meanwhile, Janet and Jennifer toured Cannes with great interest. Janet even made friends with Natasha Kinski, though she didn't stay over like that night again. On Saturday noon, Natasha Kinski came over for lunch again, but her attitude towards Simon remained lukewarm.

On the other hand, the various activities of the Cannes Film Festival were in full swing after the opening ceremony. Of course, the main focus was on the screenings of films from different categories.

Besides the official competition and non-competition films of the festival, many film companies organized their screenings in cinemas, beaches, and auditoriums around the city. With hundreds of screenings each day, it was a true film festival.

However, the official festival films undoubtedly received the most media attention.

The organizers had carefully planned the screening schedule for each competition film, controlling the festival's pace just right.

The premiere of "Pulp Fiction" during the festival's first weekend was a result of the organizers' careful consideration. The weekend was the peak period for festival tourists. Choosing this time to release "Pulp Fiction" not only maximized public attention but also kept the film's related topics alive until the end of the festival.

Before "Pulp Fiction," the media discussed Krzysztof Kieślowski's "A Short Film About Killing" and a British production company's "Patty Hearst."

Kieślowski had not yet reached the peak of his later "Three Colors Trilogy," and "A Short Film About Killing" was considered his breakthrough work. Critics unanimously praised the film, and many media outlets predicted it would be a strong contender for the Palme d'Or.

"Patty Hearst" was based on the sensational 1970s kidnapping case.

Patty Hearst, the heiress of the American Hearst media empire, was kidnapped by a group of terrorists. After a series of brutal humiliations, abuse, and brainwashing, she surprisingly joined the terrorist organization and participated in several armed robberies, causing a media uproar.

Patty Hearst became the most famous sufferer of 'Stockholm Syndrome.'

After her arrest, the Hearst family used their vast resources, connections, and even a presidential pardon to successfully free her from a 35-year prison sentence.

Compared to the unanimous praise for "A Short Film About Killing," the media mocked "Patty Hearst."

Due to the influence of the Hearst family, the production, although choosing a sensitive subject, handled the story in a cautious and veiled manner. For instance, during terrorist training sessions, even though other female members were undressed, Patty Hearst remained fully clothed, as if she was not a hostage but a princess.

Le Figaro's critic mockingly wrote, "If you're afraid to shoot, then don't." The review suggested that the terrorists revered the Hearst family to the point that Miss Hearst should have been released immediately, rather than brainwashed into joining them.

In the 1980s, Cannes did not officially rate films until 1997. However, French media still organized a five-point rating system. Among the films screened, "Patty Hearst" unsurprisingly received the lowest score of 1.3, while Kieślowski's "A Short Film About Killing" scored a high 4.6.

This continued until May 15th, Sunday.

The red carpet premiere of "Pulp Fiction" was scheduled for 9 a.m.

Though the quality of the film was unknown, as Simon Westmoreland's second film following the globally successful "Run Lola Run," which grossed over $400 million, "Pulp Fiction" attracted significant attention.

Before 8 a.m., the area outside the Palais des Festivals was bustling. The media presence for this premiere was comparable to the festival's opening ceremony, with many fans who couldn't get invitations holding signs offering high prices for a ticket before the show started.

Aside from the "Pulp Fiction" crew, most of the main competition jury members and many Hollywood stars confirmed their attendance, making the star-studded red carpet event worthwhile for many spectators.

Seeing such a spectacle, Simon felt little pressure, while Orion Pictures' president Mike Medavoy appeared extremely nervous.

From the beginning of the year, Orion had released six films. Although the previous months were considered the off-season for movies, only "The Color of Money," starring Robert Duvall and Sean Penn and initially underestimated, was relatively successful, grossing over $26 million in four weeks. The other five were failures. "The House on Carroll Street," starring "Top Gun" actress Kelly McGillis, only recouped $450,000 of its $14 million budget.

These six films accounted for over a third of Orion's annual release plan. With one success and five failures, the projected total losses exceeded $50 million. Without one or two blockbuster hits in the upcoming lineup, Orion was bound to suffer losses again this year, potentially facing a crisis more severe than two years ago.

The situation had changed since then.

After last year's stock market crash, capital investment in the entertainment industry significantly decreased. Even the Big Seven studios faced financial crises. Coca-Cola was privately negotiating with Sony to sell its Columbia Pictures shares. Universal Studios was struggling, hoping the "Back to the Future" sequel could turn things around.

In such a climate, even if some capital was willing to invest in Hollywood, it would prioritize partnerships with the Big Seven. Second-tier studios like Orion would find it difficult to recover from a crisis as they had two years ago.

"Pulp Fiction" was the film most likely to support Orion's performance this year.

However, unlike family-friendly commercial films, "Pulp Fiction" was quite unconventional. Due to Simon's influence, Orion's executives, including Mike Medavoy, had little say in the project.

The film's release on June 3rd was crucial. Media feedback and awards from the Cannes Film Festival were vital for "Pulp Fiction."

Although Medavoy had received some reassuring positive feedback from acquainted jury members, he had been extremely busy recently. Just last night, he hosted a media party at the renowned InterContinental Carlton Hotel in Cannes, entertaining mainstream media attendees to ensure even if they were not fully satisfied with the film, their reviews would be tempered.

Compared to "Pulp Fiction's" initial production budget of $8 million, Orion had already invested $5 million in marketing and public relations. If the film received positive reviews and showed box office potential, Orion would undoubtedly increase its investment, likely matching the film's production costs.

Despite his anxiety, Medavoy energetically greeted every important guest attending the premiere, with his assistant following closely behind, reminding him of names on a long list.

As 9 a.m. approached, Medavoy finally sat down next to Simon. Everything that could be done had been done; the rest was up to fate.

In the packed Lumière theater, as the lights dimmed and the screen lit up, Orion Pictures and Danerys Productions' logos flashed, followed by the definition of "pulp fiction." The appearance of Sean Penn and Madonna on the big screen marked the beginning of the film, set in a roadside café.

Penn, sitting sloppily in a booth with Madonna opposite him, engaging in rapid and somewhat perplexing conversation, caught everyone off guard.

Many media personnel vividly remembered the disastrous outcomes of Madonna's previous films, so seeing the pop star on screen immediately sparked thoughts of a misstep.

Although it was known that Madonna and Sean Penn would cameo in the film, most hadn't expected Simon Westmoreland to place them at the beginning.

As the audience listened to Penn and Madonna's incessant chatter, some unbiased viewers noticed Madonna's surprisingly good performance, possibly her best yet, but were still confused by the plot.

The sudden robbery by Madonna, portrayed as a frenzied character, gave some critics a different perspective.

However, the brief prologue abruptly ends after the couple's outburst.

The official title sequence follows, shifting focus to John Travolta and Samuel L. Jackson's characters, Vincent and Jules, discussing mundane topics like hamburgers while driving, maintaining the film's initial incessant style. As the narrative unfolds, with Vincent and Jules arriving at the hideout of some young rebels and unexpectedly resorting to violence, the story takes another turn, focusing on Robert De Niro's character, the boxer Butch.

De Niro's portrayal of Butch, listening to the mob boss Marsellus's advice with a seemingly expressionless face, reveals a deep-seated restlessness. His meeting with Vincent lays the groundwork for future plot developments.

After De Niro's brief appearance, the story shifts back to Vincent. After retrieving a briefcase and indulging in a wild night, Vincent takes Marsellus's wife Mia out as instructed. At Mia's insistence, they visit the Jack Rabbit Slims restaurant.

Half an hour into the film, many viewers find themselves immersed in the narrative, especially during Vincent and Mia's iconic dance scene, which leaves them craving more.

However, unlike conventional films, "Pulp Fiction" defies expectations, making it impossible for even the most avid film enthusiasts to predict the storyline.

Vincent and Mia's dinner ends with a dramatic twist: Mia mistakenly overdoses on Vincent's drugs, leading to a desperate and shocking adrenaline shot scene that revitalizes the audience's interest.

The story shifts again, focusing on the tale of a gold watch.

Christopher Walken's Captain Koons recounting the watch's history amuses those familiar with "The Deer Hunter," especially when De Niro's Butch reveals further connections between characters, eliciting laughter from the audience.

In "The Deer Hunter" (1979's Best Picture Oscar winner), Walken and De Niro played prisoners of war in Vietnam. This subplot echoes that film, with Captain Koons returning from a POW camp to deliver Butch's father's painstakingly preserved gold watch.

Combining elements from both films, Walken and De Niro's interactions become intriguing. Butch's identity as a boxer also nods to De Niro's role in "Raging Bull."

Butch's escape after winning a fight introduces Janet's character, cab driver Esmeralda Villalobos, captivating the audience.

Their brief exchange in the taxi showcases De Niro's effortless performance and introduces a new actress whose disheveled hair, pale face, bright eyes, seductive red lips, and charming accent create a mysteriously edgy and irresistible character.

The audience, captivated by Esmeralda's presence, begins to eagerly anticipate her return in the narrative. This anticipation persists until Butch unexpectedly kills Vincent, pulling viewers back into the story and leaving them astonished at the subsequent 'tragic fate' of Butch and Marsellus.

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