[Chapter 320: Make It Interesting]
"Even though model effects are still the mainstream technique used in special effects films, I dare say that within the next ten to twenty years, CGI will definitely replace model effects as the primary technology for special effects films. About ten years ago, Industrial Light & Magic created a fully CGI scene in a movie, and last year, Jim's film The Abyss even featured fully CGI characters. These are the most straightforward representations of this developing trend," Eric said, animatedly conversing with Stan Winston and Jas Caron at the restaurant. Though both n opposite him were seasoned special effects artists, Eric was well aware that he could hold his own in a discussion about the evolution of film effects. His knowledge as a ti traveler allowed him to see the trends in special effects more clearly than they could, and he quickly seized the lead in the conversation.
"Eric, I don't agree with you. While CGI can create more varied scenes, it is still quite expensive. Compared to that, model effects are considerably cheaper. You must know Jim's The Terminator only cost about $6.5 million. If CGI had been used, that $6.5 million probably wouldn't have even covered the effects budget," Stan Winston rebutted.
"Of course, I'm only saying that CGI is the main trend in the developnt of film effects, but model effects will always have their place. Speaking of which..." Eric casually turned to Jas Caron, "Jim, have you thought about making a sequel to The Terminator? I rember you ntioned in an interview that there were many regrets about the first film that you didn't get to realize."
At this question, Jas Caron and Stan Winston exchanged glances. They had been discussing for over half an hour, and their lunch was nearly finished. Caron hadn't figured out how to bring up the topic until Eric asked it.
"Eric, actually, I've already written a draft for the sequel. But I'm still looking for investors," Jas Caron said, feigning modesty. Although known as a tyrant on set, Caron was not actually hot-headed in his day-to-day dealings. When it ca to securing investnts for his films, he knew all the tricks, otherwise, he wouldn't have managed to get funding despite going over budget ti and again.
Eric understood Caron's subtle maneuvering and was fully aware of his current situation. Although Caron had not yet evolved into the legendary figure he would beco, Eric, as soone familiar with movie history, had a keen interest in the na. He maintained a habit of reading newspapers and magazines daily, staying fully inford about Hollywood developnts. Whenever news about Jas Caron cropped up in the papers, he would take
note.
Caron's film The Abyss had a whopping budget of $70 million, which was double what Warner Bros. spent on the global blockbuster Batman last year. Despite receiving nurous accolades and Oscar nominations, it had underperford at the box office, grossing just over $50 million in North Arica and $30 million overseas. With poor box office results, associated rchandise also tanked, resulting in a significant loss for Fox of over $30 million.
In Eric's mory, that was the only film by Jas Caron that had ever lost money for investors.
After such a major setback, Fox was unlikely to fund Caron's new movie, especially one that appeared even bigger in scale, like The Terminator 2. Although the first film had done well, it was still not enough for Fox to take another risk. Other major studios that had little collaboration with Caron were even less likely to invest.
In his recollection, The Terminator 2 had been produced by a small independent film company called Carolco, which had to scrape together $100 million for the project, ultimately grossing over $500 million worldwide. Although the investnt was hefty, Eric was certainly not planning to let this opportunity slide, and he had no intention of letting Caron off the hook either.
Thinking it over, Eric continued, "Jim, if possible, could you give a brief overview of the plot for The Terminator 2?"
Seeing Eric's interest, Jas Caron felt a flicker of hope. "Of course, but please keep it a secret and don't let it slip."
"That's a given," Eric nodded, then turned to Jennifer Connelly, who was dutifully playing the role of a wallflower. "Jenny..."
She smiled playfully, revealing her two small canine teeth. "Don't worry; I won't say a word." "Well, the general story goes like this..." Jas Caron succinctly shared his draft outline. Jennifer's eyes widened in disbelief as he spoke of his concept for the liquid tal robot. Eric already rembered the full movie and noticed that Jas Caron wasn't particularly gifted in storytelling. He simply listened attentively as Caron narrated, occasionally noting so differences between the outline and the final film, such as the fact that Linda Hamilton's Sarah Connor was not confined to a ntal institution in Caron's early draft. Of course, these were trivial details. During the entire narration, both Caron and Stan Winston kept a close watch on Eric's reactions. Noticing that Eric's deanor remained largely unchanged, Caron felt a pang of unease. If a story wasn't generating interest from potential investors, the likelihood of securing funding was slim.
"Jim, based on your concept, I imagine the budget must be quite high. Have you done a preliminary budget?" Eric eventually asked.
"I have, yes. Even though the concept of the liquid tal robot might increase costs, I only need $60 million to make this film. I don't need to use CGI for every scene; so parts can utilize more affordable models. I've discussed this with Stan," Caron confidently ntioned, inadvertently turning the conversation into a sales pitch, disregarding his earlier pretense of modesty. After all, Eric was one of the few people in his circle capable of securing that amount of money.
Stan Winston quickly chid in, "Yes, Eric, for so scenes we can replace the robots with rcury or models. An investnt of $60 million would suffice."
Sixty million? You must be joking! Eric thought to himself as his expression grew serious. "Sixty million is nearly ten tis the budget of the last film. Firefly has never handled such a substantial investnt in movies."
"Eric, trust , this film will not disappoint you..." Caron attempted to continue but was interrupted by Eric. Since Jas Caron had yet to find investors, it was important to keep the suspense alive. If Caron got his hands on the funding too easily, he would no doubt spend it with reckless abandon.
Eric had montarily considered suggesting that Jeffrey produce The Terminator 2, but he quickly dismissed the idea. The frugality of Jeffrey contradicted Caron's extravagant tendencies, and bringing them together would only lead to conflicts.
"Sorry, Jim. I need to think this through. A $60 million investnt isn't just pocket change. Let's talk about today's main business, though. Stan, I think you've caught on to so of what I'm planning. I'm looking to establish a special effects company and would like to invite you and your team to join. This new venture will take on most of Firefly's film effects work in
the future."
Stan Winston didn't seem upset because Caron was rejected; Eric's cautious response to the The Terminator 2 project was almost expected. If he had agreed right away, that would have been unusual. "Eric, why ? I an, there are plenty of talented effects teams around
Hollywood."
Eric recalled sothing Stan had said in his previous life. He smiled and replied, "Because they just do effects, but you use effects to perform."
This remark resonated deeply with Stan. It struck at the very nerves that had once driven his dreams. A long ti ago, Stan Winston had aspired to be an actor. However, the disparity between dream and reality was vast. After three years as a makeup apprentice at Disney, he opened his own Winston Studio. Eventually, he realized he hadn't completely abandoned his dream; actors perford with their presence, but he perford through effects. Thus, for all these years, Stan had maintained his passion for film effects and was often characterized as "mad" in his devotion.
This unwavering enthusiasm for special effects was a critical factor in Stan Winston's success. Truth be told, without Stan, Jas Caron would never have been able to create the classic The Terminator on the re $6.5 million budget.
It's worth noting that due to severe funding shortages, the Terminator in the first film was rely a simple tal model, lacking any chanical movent devices. Consequently, the effect shots of the robot's movents were shot fra by fra, resembling stop-motion animation. In a film with 24 fras per second, that amounted to 1,440 fras per minute for scenes lasting several minutes. The sheer complexity of that work was staggering -- not just anyone could endure that without a deep-seated conviction and passion.
*****
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