Chapter 73

The resounding triumph of "The Police School" in North America marked a significant turning point in the world of cinema. Its box office earnings reached an astounding $180 million, a feat that captured the collective attention of movie enthusiasts and industry insiders alike. This achievement, however, was not limited to North American shores, as the film's global box office receipts approached a staggering $250 million, firmly establishing it as a frontrunner in the film industry. What was even more remarkable was that it outshone other cinematic giants, including the critically acclaimed "Kramers," which, despite its accolades and substantial production, found itself trailing with a mere $50 million in earnings.

Amidst the celebration and scrutiny, a subtle discomfort emerged when comparing the two films. The intrinsic nature of Oscar accolades, often seen as transcending mere box office numbers, served as a poignant reminder that popularity did not necessarily equate to critical acclaim. Yet, within the confines of the industry, inevitable undercurrents of envy, jealousy, and resentment simmered, poised to surface. The question of whether the audience's judgment could be challenged loomed, but a cautious understanding prevailed — dissent had the potential to cast a shadow over the delicate equilibrium of the cinematic realm, particularly in an era where external factors increasingly disrupted the tranquility of audiences.

With the advent of November, the promotional machinery for the upcoming film "The Little Devil" gained unprecedented momentum. The blonde boy graced posters that were ubiquitous, and the film's marketing campaign reached new heights with full-page advertisements in newspapers. The release of the first TV trailer was not just a sign of a robust marketing strategy; it also marked a departure from the conventional family-centric theme, extending its reach to a broader audience beyond children.

The implications of these developments extended beyond mere promotional strategies; they signaled a subtle paradigm shift in Hollywood's distribution model. The perceived complexity of these strategies was juxtaposed against a backdrop of a methodical approach. The realization had dawned that imitation alone would not suffice; the trailer needed to be more than just an advertisement — it needed to be a narrative, engaging and suspenseful, weaving a story that captivated the audience's imagination. Yet, the elephant in the room persisted: What if the audience remained unconvinced? This question underscored the inherent risk, demanding unwavering confidence in the movie's quality, especially considering the exorbitant costs involved.

In an era where the production cost of a film could easily reach $20 million, coupled with an additional $10 million earmarked for advertising, the financial stakes were unprecedented. Hollywood's distribution model found itself at a crossroads, compelled to adapt swiftly to the evolving dynamics of movie promotion. Wall Street's focus on returns on investment was less concerned with the intricacies of filmmaking; however, the success of "The Police School" had set a new standard. Even if a movie fell short of its benchmark, achieving half of its success was deemed commendable, raising the bar for financial expectations.

The skepticism surrounding William White's second film lingered in the air, yet there was an anticipation that it, too, would navigate the complex terrain successfully. The landscape of Hollywood, where a $30 million box office was considered a triumph, underscored the challenges faced by the industry. The unprecedented viewer numbers of "The Police School," unmatched even by iconic films like Star Wars, highlighted the unique success of the film. It prompted contemplation on whether this success was a testament to the film's inherent quality or a reflection of a shifting landscape in audience preferences.

The designation of the most profitable movie became a subject of both envy and awe. In a society where capital held paramount importance, financial success eclipsed artistic expression. The uncertainties surrounding White Films' new movie created a palpable tension, as potential profits remained elusive, shrouded in the unknown.

While external pressures and investment offers knocked on the doors of White Films, the company remained steadfast in its commitment to internal processes and gradual expansion. William White's modularized approach to filmmaking, perceived as a departure from traditional Hollywood practices, remained an enigma. Critics questioned whether this approach, seemingly undermining the artistic essence of filmmaking, was a harbinger of a new era or an aberration in the annals of cinematic history.

As Hollywood grappled with this transformative moment, the realization dawned that the industry was on the cusp of a paradigm shift. The traditional models of production and promotion were being challenged, and Hollywood found itself at a crossroads, compelled to navigate uncharted territories to stay relevant and competitive in an ever-evolving cinematic landscape.