The crew was mostly composed of old members. Compared to the just-concluded The Lord of the Rings trilogy, Taken could only be considered a small project. According to the plan, the crew would shoot on location in Paris. However, all indoor scenes would not be filmed in Paris. France offered no tax incentives, and labor costs in Paris were even higher than in Los Angeles. All indoor scenes would be shot at Warner Bros. Studios in Burbank.
It took less than a week for Charles Roven to finalize negotiations with Liam Neeson, making him the first officially confirmed cast member of the production.
As always, Duke would be fully involved in the preparation process, maintaining control over the project's progress. The specific work, however, would be handled by Charles Roven, Anna Prince, and Wallace Lee, respectively.
The film did not require many main actors, and Duke's focus was naturally on the two most important roles—the agent father and his daughter. The former had been confirmed as Liam Neeson, but Duke had no intention of using the actress from his memory for the latter.
First, he couldn't remember her name; second, as a key decorative character, the daughter needed to be exceptionally beautiful.
Duke never minded having "decorative" actors in his films, but he held high standards for such roles. A decorative actor must fit the film's style; otherwise, their presence would be pointless.
For example, for the daughter role, Duke instructed the crew to issue a casting notice. Although not explicitly stated, no Latino, African-American, or Asian actresses would be considered.
Liam Neeson's identity as the father dictated that his daughter could not be portrayed by just any decorative actress.
Given the characteristics of Caucasians, Duke limited the age range of potential actresses to between 16 and 21. The daughter's role wasn't particularly brilliant, nor was it likely to attract the most outstanding young actresses of this age group.
Duke left the initial auditions entirely to Anna Prince and Wallace Lee, stepping in only for the final selection.
The preparation period for the project spanned four months, so there was no rush. Moreover, with Duke's standing and influence in Hollywood, there was no concern about finding suitable actors. Between mid-July and the end of the month, Wallace Lee auditioned nearly sixty young actresses and shortlisted some for a second round of auditions.
Beyond reviewing the work of each department, Duke was more focused on the film's commercial development. This was a modern action film, featuring frequent and extensive appearances of items such as mobile phones, media players, and cars.
Selecting the right brand sponsors posed no moral dilemma for Duke. With the reputation of being a director whose last three films each grossed over a billion dollars worldwide, even with a production budget of only $40 million, product placement fees for this film started at $3 million.
The mobile phone sponsorship, in particular, was of utmost importance.
Although camera phones were not yet as popular as they would be in the future, they were already a standard feature for many high-end phones. Manufacturers including Nokia, Philips, Siemens, Motorola, and Sony Ericsson were vying for the film's mobile phone sponsorship.
Since The Matrix, Duke had consistently worked with Nokia, and this time was no exception. Nokia secured the placement of four phones in the film for $6 million. Sony Electronics paid $5 million for all electronic playback devices featured in the film, and Audi spent $4 million for the car placements.
If the film grossed over $500 million globally, sponsors would pay an additional 20% in advertising fees.
Before the film even started shooting, $15 million in revenue had already been secured.
Additionally, a few more product placement deals were still under negotiation. Once finalized, the total could conservatively reach $20 million.
Duke was no longer the struggling young director he once was; he had become one of the hottest names in Hollywood and across the United States.
By early August, preparations for the new project were progressing smoothly. Meanwhile, The Return of the King grossed nearly $40 million in July, bringing its North American total to $554.25 million.
Overseas, the pace was slowing down, but the film still earned nearly $50 million during the same period, with its global box office total reaching $1.44218 billion.
Another project associated with Duke, The Matrix Revolutions, grossed $262.74 million in North America and surpassed $500 million worldwide, making it an undeniable success.
Thus, in early August, Warner Bros. hosted another grand celebration party, with Duke and Zack Snyder as the main stars.
Of course, the attendees included not only those already established in Hollywood but also those aspiring to break into the industry.
"James, are you familiar with him?"
In a corner of the banquet hall, a young man around 20 years old asked the actor beside him, "When will you introduce me to him?"
The young man's rebellious face still bore traces of youthful defiance. His short golden-brown hair stood up like his words—full of confidence, as if the world was in his hands.
Although James Franco was much older, he showed respect for the young man. Glancing at Duke, who was surrounded by a crowd, he said, "I've only met him once on the Spider-Man set. We're not close. There are too many people right now; let's wait for a better opportunity."
The young man, David, frowned. Despite inheriting much of his father's arrogance, he understood the importance of timing. He ordered two glasses of champagne from a waiter and sipped while chatting casually with James Franco.
"David, if you want to invest in Hollywood or its projects," James Franco said earnestly, "your best bet is with a renowned director's project. That offers the highest chance of success. Even if the film underperforms or fails at the box office, the ancillary markets can often recoup the investment."
"I understand that." David nodded. "Don't forget, I'm a student at USC's film school. I know a thing or two about this industry."
His words exuded self-assurance.
James Franco smiled wryly and offered a subtle reminder. "Hollywood investors classify directors into different tiers based on their track records over the past few years. Duke Rosenberg is undoubtedly at the top."
"Indeed." David nodded in agreement.
"What you need to figure out now, David…" James Franco clinked glasses with him, "is how to persuade Duke Rosenberg to let you invest."
"Isn't his new film's budget only $40 million?" David said matter-of-factly. "If he accepts my investment, I can easily double the production budget to $80 million and even double his directing and producing fees."
Hearing this, James Franco discreetly rolled his eyes but said, "Investing in films isn't just about money. Neither Duke Rosenberg nor Warner Bros. is short on funds…"
"So, it's a personal matter?" David smirked. "Limited-edition sports cars, luxury yachts, beachfront villas, supermodels, even private jets—whatever he likes, it's not a problem!"
He tilted his chin slightly. "Most importantly, by working with me, he'll gain the friendship of David Ellison!"
James Franco fell silent, unsure of what to say. The other man had a super-rich father who ranked among the world's top five billionaires. Growing up in a life of smooth sailing, David exuded confidence and competitiveness. James Franco, realizing his advice would fall on deaf ears, decided to stop talking.
David Ellison continued watching Duke, who was still mingling with others.
This was a celebration party, with carefully curated guests selected by Duke and Warner Bros., including many Academy members and influential individuals Duke had invited through his Jewish connections.
Most of these people were older, clinging to their positions as senior Academy members, unwilling to let go until their dying day. As they aged, their thinking grew more conservative. Although the Academy had made moves to appear more progressive in recent years by admitting younger members, its average age was still rising, nearing 55.
In this respect, the Academy's reforms had been largely ineffective. Those holding real power had no intention of making them successful.
The reason was simple. Compared to Hollywood's dynamic younger generation, these aging members found their influence waning. Many of them had once basked in fame and fortune. Why would they easily relinquish their remaining glory and profit?
This core group of sixty- and seventy-year-olds, who held the reins of the Academy, had no interest in developing careers as directors, producers, or performers. The idea of gracefully retiring was, in most cases, an idealistic fantasy.
"Hi, Duke,"
As the crowd around him thinned, George Lucas approached. "Well done!"
"Thank you." Duke raised his glass to clink with Lucas's and said bluntly, "I need your help, George."
"I know what to do." George Lucas drank with Duke, then added before leaving, "They might not like me either, but I can still sway some of them."
As George Lucas walked away, Ivanka informed Duke of something. He turned to see the young man from Spider-Man and another young man approaching him.