Test screenings are extremely important for films about to be released. Some producers even use feedback from these screenings to make necessary edits or recut the film entirely.
However, Duke and The Fellowship Expedition were not part of this category.
The reason was simple: both Duke and Warner Bros. were very satisfied with the feedback from the test screenings.
In one of the meeting rooms on Warner Bros.' office floors, numerous executives gathered. Duke and Charles Roven were also invited to attend. The meeting focused on The Fellowship Expedition.
The meeting was chaired by Doug Walter, who looked so excited it was as if the project he was overseeing was already a massive success.
Reflecting his mood, his voice was loud and clear. "Over the past week, we held three test screenings. Detailed data has already been compiled!"
Although everyone had a copy of the related documents, Doug Walter went on anyway. "Among the general audience, a total of 1,345 people watched The Fellowship Expedition. Of these, 1,215 rated it A+!"
Pausing briefly, Doug Walter seemed to be trying to draw everyone's attention. "Excluding A-, the A+ rating accounts for 98% of the positive reviews!"
Despite having the data in front of them, many Warner Bros. executives widened their eyes in disbelief.
Jamie Johnson, however, was one of the calmest. Having been fully involved in the marketing and distribution of The Matrix and The Fellowship Expedition, he was no longer surprised.
He had seen various edits and samples of the film during its post-production phase. The quality left him amazed and full of admiration.
Now, hearing the audience's overwhelming praise, Jamie Johnson couldn't help but recall the promotional tagline he devised: "If anyone in the world can successfully adapt The Lord of the Rings trilogy, it would be none other than Duke Rosenberg!"
He considered himself incredibly insightful and visionary for predicting Duke Rosenberg's success so early.
The film's exceptional quality and stellar promotional campaign, combined with glowing test screening reviews, clearly showcased its potential as a summer blockbuster.
Unlike the varying reactions of Warner Bros. executives, Charles Roven felt relieved and unsurprised by the positive reviews. Since The Rock, he had worked closely with Duke and knew the extent of his filmmaking talent.
What stood out even more than Duke's talent was his diligence. Despite his continuous success, Duke never allowed arrogance to creep in, maintaining his commitment to each film.
Only Charles Roven understood the monumental effort behind this trilogy. Starting in 1997, the team—including Duke—had practically lived in New Zealand, preparing for two years. If Duke's time spent drafting the script was included, the pre-production phase extended to four years!
The dedication of hundreds of people resulted in the finished film and its current achievements—none of which were by chance.
Compared to others in the meeting room, Duke was among the calmest. Based on the test screenings, he had made some cuts to scenic shots of New Zealand, sped up the pacing slightly, and enhanced the special effects. The initial feedback was satisfying.
Doug Walter continued, "As for theaters, 159 representatives from major North American chains attended the screenings. Out of these, 143 rated the film as market potential A+, 11 rated it A, with two A- and three B ratings."
He raised his head slowly, letting his gaze sweep across the room. "Theater evaluations resulted in an overall market rating of A+, which means we can secure the maximum number of theaters for the opening weekend!"
The number of theaters directly affects a film's opening weekend box office, which is especially critical for summer releases.
While the distribution company works to negotiate with theaters, cinema chains also pick films to prioritize. Despite relying increasingly on concessions for profits, ticket sales remain vital. Without ticket sales, there's no audience, and without an audience, there's no concession revenue.
A film capable of dominating the summer box office is precisely what theater chains look forward to.
By late April, Duke had received feedback from theaters. If no surprises arose, The Fellowship Expedition, with its stellar test screening performance, was set to break box office opening records.
The film was scheduled to officially open across approximately 3,600 theaters in North America during the Memorial Day weekend.
Meanwhile, sitting at his desk, Michael Ovitz looked at Michael Bay opposite him. "I've called AMG and Empress Entertainment executives more than once. Based on the current situation, Pearl Harbor will only open in around 3,200 theaters."
Michael Bay's long face grew darker. Since last year, he had been determined to compete with Duke Rosenberg in the summer box office to prove he was no mere imitator. To avoid comparisons, he even increased the emphasis on romance scenes amidst the intense battlefield sequences.
But even before the film's release, he was already losing ground!
The 400-theater gap would likely translate into an even larger box office deficit.
Forcing a smile, Michael Bay understood this gap was a direct result of test screening feedback and Duke Rosenberg's reputation. Surpassing him was clearly a longer-term goal.
Michael Ovitz didn't say much more. He had done everything possible, but Pearl Harbor's A- ratings from both audiences and theaters couldn't match The Fellowship Expedition's A+ ratings. This gap couldn't be bridged by words or relationships.
While Ovitz had connections within the theater alliance and Disney, Warner Bros. had no shortage of influence either.
For example, within the MPAA, Warner Bros. had many allies. Ovitz had tried to have The Fellowship Expedition rated R, but the effort failed, leaving it with the same PG-13 rating as Pearl Harbor.
In such battles, no company wanted to go too far. After all, both films contained sensitive scenes. If either studio escalated the conflict, other companies would only benefit.
For now, Ovitz's biggest hope was for Pearl Harbor to perform well at the box office. After all, Hollywood has seen films with poor test screening reviews succeed financially.
What's more, Pearl Harbor's A- audience rating wasn't terrible.
In Hollywood, summer blockbusters ultimately depend on market results, and Ovitz had done everything he could. Now, it was a waiting game.
May marked the beginning of North America's summer box office season, typically opened by a major production.
This year, the first weekend in May belonged to Universal Studios. Directed by Stephen Sommers, The Mummy Returns, with a $98 million production budget, debuted to both audience praise and a stellar $68.13 million opening weekend box office.
However, the second weekend brought competition from Pearl Harbor, a $140 million World War II epic.
Disney and AMG orchestrated a grand premiere for the film, with numerous Hollywood stars and even dozens of Pearl Harbor veterans in attendance.
Yet these veterans were unimpressed after watching the film.
Having experienced the horrors of war firsthand, they were unfazed by Disney's PR efforts. If the film had even half the realism and emotional depth of Saving Private Ryan, they would've sung its praises.
But what was this? A war with no realism, like a romantic fireworks show? To make matters worse, much of the plot revolved around a melodramatic love triangle instead of the war itself.
In an interview, one veteran said bluntly, "Is this a war film? Because it sure doesn't feel like one. This is clearly about a love triangle, with the war as a mere backdrop. Filming it this way is disrespectful to the battlefield!"
Although the veterans expressed their dissatisfaction, Disney's PR machine prevented their voices from reaching mainstream media.
Still, the film opened in 3,214 theaters across North America, grossing $59.07 million in its first weekend. It claimed the top spot, narrowly beating The Mummy Returns, which earned $33.74 million in its second weekend.
However, Pearl Harbor's poor audience reception overshadowed its impressive box office performance.
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