Staying in the hilltop mansion in the small town of Cannes, Simon gradually sorted out his filming ideas for 'Batman' these days.
In the preliminary plan, the first step will be to produce a 'Batman' solo film trilogy, using Nolan's titles: 'Batman Begins', 'The Dark Knight', and 'The Dark Knight Rises'. However, in terms of content, Simon intends to adopt a completely different plot setting, laying the groundwork for the entire DC cinematic universe by appropriately interweaving it with the 'Superman' series.
To realize the cinematic universe plan, the opening of the first 'Batman' film is crucial.
Simon actually has a very easy shortcut to success, which is to make the Joker the villain of the first film.
As Batman's greatest nemesis and the most popular villain in the Batman series, in the original timeline, the peak works of both Tim Burton's and Christopher Nolan's 'Batman' series featured the Joker as the main antagonist. The Joker, Batman's lifelong enemy, indeed holds an irreplaceable popularity and status in both comics and reality.
However, after careful consideration, Simon still abandoned this idea.
If the Joker were to be used, the first film would need a grand scale to match him. If the starting point of the story is too high, sequels would struggle to satisfy the audience's appetite, and repeatedly saving Gotham and the world could easily lead to aesthetic fatigue. Therefore, Simon plans to save the Joker as the ultimate boss of the trilogy for the final instalment.
As for the current opening, Simon doesn't intend to spend too much time recounting Bruce Wayne's transformation into Batman. Instead, he plans to start with Batman's process of integrating with the city after he begins his vigilante activities.
A vigilante suddenly appears in a city of sin, and the reactions and responses from various strata, the public, media, officials, criminals, and so on, are explored. At the same time, these subplots will revolve around a high-concept main storyline of good triumphing over evil. A villain appears, Batman defeats the villain, begins to gain the city's recognition, and the story ends.
While Simon was holed up in Cannes writing the 'Batman' script, in North America, this year's summer movie season officially kicked off in May.
On May 13th, Paramount released the seventh sequel to the classic horror film series 'Friday the 13th'. To Simon's envy, it opened on 1796 screens and grossed $9.8 million in its first week. Although the box office did not meet the producers' expectations, compared to the film's ultra-low production cost of only $2.8 million, Paramount recouped most of its production and marketing budget in the first week.
Apart from 'Friday the 13th Part VII', the other two new films from independent film companies made no waves. Ranking second was 'When Harry Met Sally', which officially lost its weekly box office champion spot after eight weeks of wide release.
In its tenth week, 'When Harry Met Sally' earned another $6.13 million, bringing its cumulative box office to $90.12 million, undoubtedly continuing its march towards the $100 million mark.
Although Hollywood has always envied Daenerys Films for producing the first film of 1988 to gross over $100 million, Simon was not satisfied with this achievement.
Paramount could arrange nearly 1800 opening screens for a horror film with a production cost of only $2.8 million, yet 'When Harry Met Sally' never broke through 1500 screens throughout its entire run. In the initial weeks, the golden period for box office harvesting, the film was shown on just over 1000 screens. This made Simon keenly feel the deep-seated wariness and obstruction of Hollywood's traditional powers against newcomers.
If 'When Harry Met Sally' had been given enough screen resources, its box office would certainly have surpassed the $100 million threshold, instead of being stuck at the awkward figure of $90 million. Although breaking $100 million later won't be difficult, with the arrival of a series of new films in the summer season, the screening scale and subsequent box office for 'When Harry Met Sally' are destined to shrink rapidly.
Immediately after.
On May 20th, the first major production of the summer season, 'Willow', landed in North American theatres. This medieval fantasy film, based on Western mythology, was jointly produced by MGM and Lucasfilm, utilizing a large number of the most advanced special effects technologies from Industrial Light & Magic studio.
However, the word-of-mouth for this $35 million big-budget film was mediocre. Variety magazine described it as 'a medieval version of 'Star Wars' that blends numerous mythological fables, with a stale story lacking innovation'.
Due to a pessimistic outlook on the film's prospects, distributor MGM only arranged 1024 opening screens for 'Willow', which was even fewer than 'Friday the 13th Part VII', let alone the upcoming 'Crocodile Dundee II' and 'Rambo III'. According to public data from the distributors, these two heavyweight new films are expected to open on 2800 and 2500 screens respectively. Such opening scales once again demonstrate the complete arrival of the full distribution era in Hollywood.
Unfortunately, as one of the most anticipated new films of this summer season, 'Pulp Fiction' is only expected to open on about 1500 screens. Simon is helpless about this, as it is already the limit of the resources Orion Pictures can mobilize.
Moreover, the critical reception of 'Pulp Fiction' has been continuously changing since its Cannes premiere. The media sentiment in North America has shifted particularly noticeably, with many well-known film critics criticizing the film's excessive violence and Simon's plagiarism of various classic films.
The reason for this situation is actually obvious: too many people do not want to see 'Pulp Fiction' succeed.
Simon had no way of finding out which party was behind the obstruction.
'Pulp Fiction' is scheduled to be released on June 3rd. Releasing one week prior are:
Paramount Pictures' 'Crocodile Dundee II' and Columbia Pictures' TriStar Pictures' 'Rambo III'. Releasing concurrently are Fox's 'Big' and Warner Bros. 'Funny Farm'. The following week will see Disney's 'Big Business', Paramount's "The Presidio," and MGM's 'Poltergeist III'.
Over a period of three weeks, six of the seven major film studios had new releases. Even in the hottest release windows, the total weekly box office is fixed; if one film takes a larger share, others naturally get less.
In this situation, 'Pulp Fiction' happened to be the most eye-catching among a plethora of new films. Even Simon himself, if given the chance, would not hesitate to attack competitors.
Aware of this predicament, Simon was no longer so optimistic about the results of the film festival awards. Neither Simon himself nor Orion had the human resources to contend with the entire Hollywood Big Seven. Others might just make a phone call, and the award might be gone.
This continued until May 22nd, the day before the closing ceremony of the film festival. The organizers officially sent out invitations to the winning crews to stay. It was only when Simon truly received the official notification that he completely relaxed.
May 23rd, Monday.
On the final day of the film festival, the main activity scheduled for the daytime was the re-screening of all nominated films in the main competition section. At the same time, information about the invited crews also appeared in the local Cannes media.
Among the 21 films in the main competition, five film crews received invitations to stay: Simon's 'Pulp Fiction', Clint Eastwood's 'Bird', Krzysztof Kieślowski's 'A Short Film About Killing', Fernando Solanas's 'The South', and Chris Menges's 'A World Apart'.
Among the five films, Kieślowski's 'A Short Film About Killing' had the highest buzz for the Palme d'Or. Prior to this, the film had already won the FIPRESCI Prize in the main competition, an award presented by the International Federation of Film Critics, completely independent of the film festival organizers, serving as a kind of award barometer.
As for 'Pulp Fiction', among the six major awards, Palme d'Or, Grand Prix, Jury Prize, Best Actor, Best Actress, and Best Director, outsiders generally believed the Palme d'Or was unlikely, acting awards were even more out of the question, and the jury was also unlikely to give Best Director to a young man like Simon, who was just twenty years old.
Thus, the final outcome would likely be either the Grand Prix or the Jury Prize.
Approaching seven o'clock in the evening.
Outside the Palais des Festivals on the Cannes waterfront, compared to the star-studded opening ceremony, the closing ceremony was much quieter.
The 'Pulp Fiction' crew received the invitation to stay yesterday, and John Travolta, Samuel L. Jackson, and Nicole Kidman, who had already left Cannes, flew back from the United States. Others such as Robert De Niro, Robert Redford, Madonna, and Sean Penn did not attend the closing ceremony for various reasons.
It's worth mentioning that for itineraries whose ultimate purpose is film promotion, Orion would certainly bear the expenses. Simon's private jet bill would also be sent to Orion in the future. Of course, the hilltop mansion in Le Cannet district was beyond what Orion could afford.
Simon and his entourage arrived outside the Palais des Festivals. The closing ceremony red carpet event was already nearing its end. Everyone quickly passed through the media channel and entered the Lumière Grand Auditorium inside the Palais des Festivals.
Perhaps it was a deliberate arrangement by the organizers, but the cast and crew of 'Pulp Fiction' were seated next to the 'Willow' crew.
This special effects film, spearheaded by Lucasfilm, was set to be the closing film of the festival.
However, Simon did not see George Lucas; only Ron Howard, the director of 'Willow', and its lead actors, Val Kilmer and Joanne Whalley, attended the closing ceremony.
After its release last Friday, 'Willow' only grossed $8.3 million at the box office in its opening weekend, far below the producers' expectations due to poor word-of-mouth.
The film could only hope that subsequent distribution channels would help recoup its expensive production and promotional costs.
Simon had actually been following 'Willow' closely, as a film utilizing the most advanced special effects technology of the era could provide him with considerable references for making 'Batman'.
Moreover, Ron Howard, a versatile commercial film director who, though a notch below Spielberg, greatly interested Simon.
The two chatted for a while during the brief lull before the ceremony began and even exchanged business cards.
7:00 PM.
The closing ceremony and awards presentation of the 41st Cannes Film Festival officially began.
The host was still Mathilda May from the opening ceremony, and the atmosphere of the awards ceremony was as meticulous as it had been during the opening.
After Mathilda May's emotional, speech-like address, guests took to the stage, and the first award presented was the 'Technical Grand Prize'.
Yes, the award's name was indeed the Technical Grand Prize, and it was one of the few technical awards at the Cannes Film Festival.
These peripheral technical awards did not come with an envelope or a trophy, only a certificate.
As the actress on stage, Jane Birkin, announced the result, Simon's heart couldn't help but skip a beat.
If 'Pulp Fiction' were to receive such an award, it would be quite a joke.
A technical award like this was essentially a consolation prize, a way of telling the creative team in advance that their work was done and they wouldn't be winning anything else.
Fortunately, Jane Birkin quickly announced the result: Clint Eastwood's 'Bird' fortuitously won the award, which was within many people's expectations.
Watching the old cowboy force a smile as he walked onto the stage, Simon generously joined the others in applauding enthusiastically.
Next, after presenting several more awards, including the Golden Camera and Best Short Film, and a musical performance, Mathilda May began introducing the main competition jury to the stage.
Many in the hall perked up, as the six most important awards of the main competition unit were next.
The jury members were seated on stage, and the first award announced was Best Actress.
This year's Best Actress award resulted in a rare 'triple tie,' with the three leading ladies from Chris Menges' 'A World Apart' jointly sharing the honour.
The Best Actor award went to the black actor Forest Whitaker for his role in 'Bird'.
Simon remembered him as one of the few black actors to win an Oscar for Best Actor.
However, Forest Whitaker's presence in Hollywood had always been understated; despite his excellent acting skills, he mostly played minor supporting roles.
The Cannes organizers clearly had no intention of arranging or controlling the pacing of the awards.
After presenting Best Actor and Actress, Best Director immediately followed.
After Argentinian director Fernando Solanas won this award for ' The South', only the most crucial awards remained: the Palme d'Or, the Grand Prix, and the Jury Prize.
Of the five films from the main competition that had been held back, 'Bird' and 'The South' had already been passed over.
The final three awards would undoubtedly go to 'Pulp Fiction', 'A Short Film About Killing', and 'A World Apart'.
The presenter for the Jury Prize was the renowned French director Louis Malle.
Watching the elderly man on stage slowly introduce the award, Simon felt a small hand reach over and press on the back of his.
He turned his hand, caught the woman's small hand, and squeezed it, whispering to Janette beside him, "It wouldn't be this one, would it?"
Janette blinked in confusion, then shook her head: "I really don't know, Natasha didn't tell me".
Considering the films' seniority, Kieślowski and Chris Menges had both been established for a long time.
'A Short Film About Killing' and 'A World Apart' were also excellent, so it was perfectly reasonable for 'Pulp Fiction' to receive the last Jury Prize.
On stage, Louis Malle finally opened the envelope, glanced down, and, amidst everyone's expectant gazes, read out the result: "The Jury Prize goes to 'A Short Film About Killing', congratulations!"
Clap, clap, clap—
Amidst the applause from below the stage, Simon distinctly felt many eyes around him turn his way.
From the beginning, Kieślowski's 'A Short Film About Killing' had consistently been the most highly anticipated film for the Palme d'Or at this year's Cannes Film Festival.
The film had not only received the highest media score of 4.6 but also won the FIPRESCI Prize in the main competition, which was considered a barometer.
Now, Cannes had awarded the Jury Prize, the lowest-ranking of the three major awards, to 'A Short Film About Killing', meaning Kieślowski was clearly out of the running for the ultimate Palme d'Or.
As for 'A World Apart', this film about the struggle against racial segregation in South Africa had made it this far largely due to the absolute political correctness of its subject matter.
Although the film's director, Chris Menges, was a two-time Oscar winner for Best Cinematography, 'A World Apart' was only his first directorial effort.
Apart from its thematic depth, the film was in no way comparable to 'Pulp Fiction' in other aspects.
However, The Cannes Film Festival, compared to Berlin and Venice, was precisely the one that paid the least attention to thematic depth.
After Kieślowski delivered his acceptance speech, French César Award-winning actress Sandrine Bonnaire took the stage to present the Grand Prix.
When everyone in the Lumière Grand Auditorium heard the name 'A World Apart', the outcome was no longer in doubt.
While Chris Menges was still on stage, Simon noticed out of the corner of his eye several figures around the hall quietly leaving their seats and hurrying out.
Beside Simon, Janette's cheeks were flushed, and the others also had clear expressions of joy on their faces.
After all, leaving their mark on a Palme d'Or-winning film at the Cannes Film Festival would undoubtedly be a great help to their future careers.
Even John Travolta, a leading actor who had rapidly risen to fame with 'Grease' ten years prior, could finally shed his awkward image as a teen film actor.
The title of 'King of Dance' was no longer appropriate for an actor who was already thirty-four and nearing middle age.
The final moment arrived.
The presenters this time were jury president Ettore Scola and Nastassja Kinski.
The 'double tie' scenario that Simon had been slightly worried about didn't happen.
After a few pleasantries between the two presenters, Ettore Scola opened the envelope, and Nastassja Kinski read out the now-undeniable result: "The Palme d'Or goes to 'Pulp Fiction'".
Even though this outcome was anticipated, there was a very brief but noticeable pause in the hall.
Then, warm applause erupted.
In his previous life, he could only be a silent observer, watching others' glory and others' cheers.
Now, feeling the applause around him, even with the mindset of two lifetimes and the experiences of so many people in his mind, Simon couldn't help but feel a surge of excitement within his body.
Getting up, he hugged Janette tightly for a moment, then embraced and shook hands with Travolta and the others, as well as the main cast and crew of 'Willow'.
Only then did Simon quickly walk onto the stage amidst the still-unabating applause in the hall.
He reached out and shook Ettore Scola's hand, softly thanking him.
Simon saw Nastassja Kinski next to him open her arms and lean towards him, so he cooperatively hugged the woman.
However, Nastassja Kinski used the opportunity of the cheek-kiss to lean into Simon's ear and say directly, "Lend me the house".
Simon was just as direct, smiling and whispering back, "No".
Nastassja Kinski tightened her embrace around Simon, then moved to the other side for another cheek-kiss, continuing, "Do you want to see me self-destruct right now?"
Simon actually wanted to see it, but considering the consequences of the woman going mad, he decisively surrendered, nodding and saying, "Okay, I'll lend it".
Nastassja Kinski hummed in satisfaction, then released Simon.
Their little exchange didn't arouse suspicion from others; even if noticed, most likely thought Nastassja Kinski was congratulating Simon.
After being briefly entangled by Nastassja Kinski, Simon approached the microphone, pondered for a moment, and began his impromptu acceptance speech.