The turn of the century was inevitable. Just after entering 1999, the doomsday rumors that had been circulating among the public and media were in full swing, even becoming a trend. In a religious society like the West, doomsday theories always had a market. Statements about the devil's return to the world and Satan's descent into humanity were frequently thrown out by many famous religious figures and then sensationalized by tabloid media.
Even the internet and computer industries, which were considered America's sunrise industries, were plagued by rumors of the Y2K bug. Computers had permeated all walks of life in the United States, and if the Y2K bug truly erupted, American society would undoubtedly fall into chaos.
However, for the business and financial worlds, these issues were minor and negligible in the face of commercial profits.
Especially in Hollywood. As before, it continued operating as usual. As the old year passed and the new year began, apart from the ongoing busyness of stars, directors, and major companies, magazines such as Vanity Fair, Entertainment Weekly, and The Hollywood Reporter, which focus on Hollywood, released their year-end summaries in special New Year editions.
Vanity Fair published Hollywood's annual income rankings, Entertainment Weekly released the Hollywood Power Rankings, which it had been running for ten years, and The Hollywood Reporter revealed the North American box office rankings for 1998.
Duke was not only included in all three rankings but was also at the top of each list.
In The Hollywood Reporter's North American Box Office Rankings for 1998, The Matrix ranked first with a North American box office gross of $327.58 million, far surpassing Michael Bay's Armageddon, which earned just over $189 million, less than half of Duke's achievement.
Besides box office results, The Hollywood Reporter also provided commentary on the film:
"Last summer, we witnessed an awe-inspiring movie—The Matrix. We marveled at 'Bullet Time,' 'Explosion Time,' and ultra-cool 360-degree kicks. We experienced one of the most revolutionary moments in film history."
"Now, director Duke Rosenberg and his Matrix have been worshipped by fans worldwide. Audiences revisit every detail of the movie repeatedly, analyzing the metaphors in every line of dialogue and beginning discussions on existentialism and nihilism. Contemporary philosophers are delving into the film's philosophical connotations, with books like The Matrix and Philosophy continuously being published. Its religious undertones are receiving increasingly enriched interpretations, and debates about self-awareness in a future digital world have even become fashionable in religious circles."
Although several films released during the Thanksgiving and Christmas seasons were still showing in North America, no one expected films like Patch Adams or Shakespeare in Love to gross $300 million at the box office. It was indisputable that The Matrix would take the annual box office crown.
In addition to topping the box office rankings, Duke also secured the number one spot on the annual income rankings.
Vanity Fair's annual income list only accounts for salaries earned in the film industry, excluding investments and other asset appreciations.
With his base directing fee and profit shares from The Matrix, Duke earned a pre-tax income of $125 million, solidly securing the top spot.
Next on the list was James Cameron. As before, Cameron had waived his directing fee but retained profit shares. He earned $85 million in pre-tax income from the staggering box office and merchandise revenues of Titanic, placing second on the list.
Vanity Fair commented, "Duke Rosenberg is setting a new benchmark for commercial director earnings in Hollywood. Not only has his directing fee reached unprecedented heights, but it continues to push further. According to insiders, his total remuneration for The Lord of the Rings Trilogy, as a screenwriter, director, and producer, amounts to $45 million, with a stepped revenue-sharing agreement capped at an unprecedented 25% in Hollywood!"
However, in another ranking, James Cameron managed to reverse Duke's advantage.
In Entertainment Weekly's new Hollywood Power Rankings, James Cameron secured the top spot with the enormous success of Titanic. This complex ranking considers income, fame, and influence. Ranked second was Leonardo DiCaprio, who had become a global sensation. Third was Tom Cruise, who further cemented his status with Mission: Impossible. Keanu Reeves, riding the wave of The Matrix's success and his "cool savior" persona, placed fourth. Duke, as the film's director, was ranked fifth.
Since Titanic was released in 1997, Duke was the only individual to make it into the top five of these three heavyweight rankings.
Meanwhile, various media outlets were publishing an array of eccentric rankings. Many people or elements associated with The Matrix emerged as winners on these lists.
For example, Charlize Theron made it into the top three of Men's Journal's "100 Sexiest Women." The New York Times' "Top 10 Classic Movie Moments of 1998" had "Explosion Time" firmly at number one.
Even Duke himself was ranked among the "World's 50 Sexiest Men" in a gossip magazine.
Having decided to take an extended break, Duke stayed in New York from before Christmas through the New Year. Apart from exercising, he spent most of his time reading, browsing newspapers, or chatting and having tea with Irene Lauder. He even visited Philadelphia to check in on Sofia Coppola's film shoot.
Her first feature-length film, The Virgin Suicides, was being filmed at a high school near the Wharton School of the University of Pennsylvania.
"You don't look any different than before," Sofia Coppola remarked during a break in shooting.
"I've been much better lately," Duke replied, sitting next to Sofia and glancing at the students watching the shoot. He continued, "Maybe all the accumulated fatigue from these years was triggered by intense work. Last Christmas..."
He sighed. "Not just physically and mentally, but I felt my drive was faltering too."
"Darling, you're too hard on yourself," Sofia said earnestly, gripping Duke's arm. "You keep pushing yourself forward without ever stopping to relax. Over the years, even during vacations, you've kept your nerves tightly strung. Among all Hollywood directors, not even the famously hardworking Spielberg is as relentless as you."
Duke thanked Sofia's assistant for the hot coffee, leaned back in his chair, and said, "I always have this sense of urgency. I want to keep succeeding. From a young age, I've understood that success doesn't come by chance. To succeed, you must work hard."
Sofia rolled her eyes. "You're already plenty successful."
"Which is why I've thrown all my work aside for now," Duke said after a sip of coffee. "I've given myself a long vacation."
Duke then shifted the topic to Sofia's film. "Is the shoot going smoothly?"
"Overall, it's going well," Sofia said, pointing to several actresses touching up their makeup. "I spent two years preparing the script and production plan. Your advice and my father's were invaluable. The cast is performing brilliantly, especially Kirsten Dunst. She's in fantastic form and undoubtedly one of the best actresses of the post-1980s generation."
As Sofia spoke about her actresses, Duke suddenly remembered someone he had overlooked. "Where's Scarlett? I haven't seen her around."
"She doesn't have any scenes today," Sofia replied after asking her assistant. "She was here this morning but left before lunch. She's probably touring the Wharton School nearby."
Someone came over to speak with Sofia, and she turned to Duke. "Feel free to look around. I need to get back to filming."
Since Duke was only there to visit and not disrupt Sofia's shoot, he conscientiously stayed away from the set and wandered around the area.
There wasn't much to see. Sofia chose this school for its historical background and classic architecture to depict a story set in Michigan. Duke circled the library, eventually feeling bored. He pulled out his phone and dialed Scarlett Johansson's number.
"I'm having coffee at Wharton's café with Mary. Are you coming over? Alright, I'll wait for you..."
After hearing Scarlett give the name of the café, Duke ended the call, left the school, and asked a crew driver to take him to the Wharton School. Inside the school, he asked a few students for directions to the café, which he found after nearly ten minutes.
Pushing open the café door, Duke immediately spotted a blonde girl waving at him from a table near the window. He walked over quickly.
"Hello, Director Rosenberg..." Scarlett Johansson's agent, Mary, hurriedly stood up to greet Duke. He nodded in acknowledgment and pulled out a chair to sit across from the blonde girl.
"Did you come here just to see me, Duke?" Scarlett asked expectantly.
"Uh, yes," Duke replied casually. "I came to visit you and Sofia Coppola."
The café was a bit crowded, so Duke pushed his chair back and said to the approaching server, "A latte, please."
The server, an exceptionally tall woman, suddenly stared intently at Duke and asked, "Why are you here?"
...
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