[Chapter 349: George Lucas]
After leaving the set of Scream, Link visited the nearby Industrial Light & Magic to check on the special effects progress for Batman Forever. The film had started production on its special effects in April, and after over four months, it was nearing 99% completion, with the expectation that it would wrap up within the week.
Link reviewed the special effects and found Andrew Adamson, the producer responsible for that part, pointing out 12 details that needed to be addressed, asking him to pay attention to them and correct them promptly.
Andrew took note and assured Link that the effects team would make the necessary adjustments during the final review. Link checked the material a couple more times but found no further issues.
He then called Richard Fox, the head producer at Warner Brothers, and informed him that the post-production of Batman Forever was scheduled to finish this week. He asked when the studio would hold the screening, preferably before October, as he planned to film in North Africa then.
Richard replied that they would arrange it for the end of the month. Link agreed.
...
"Hey, Link, great to see you here!" Just as he hung up, he spotted the director George Lucas approaching from the elevator.
At 51, George Lucas had gray hair and a refined appearance, complete with round glasses. He was not only a famous director in Hollywood but also the head of Industrial Light & Magic. The company had been founded in 1975 and had provided visual effects services for over 100 films in the past two decades, including the Star Wars series, Jurassic Park, Terminator 2, The Mask, and others.
Lucas had also made over two billion dollars through his ventures, becoming one of the wealthiest figures in the entertainment industry, second only to Link and David Geffen.
"Mr. Lucas, it's great to see you here," Link said with a smile, extending his hand for a shake.
"Haha, I've heard you've been around the company a few times. I didn't manage to see you before due to scheduling issues. I heard you were in today, so I decided to come talk. Do you have some time?" Lucas inquired with a friendly smile.
"Of course! I'd love to chat with you!" Link replied.
Under Lucas's invitation, Link went up to the office, enjoyed a cup of coffee, and discussed films, the current North American market, and the increasingly popular CGI technology.
When the conversation turned to movie special effects, Link, who didn't have deep technical research knowledge, suggested 3D effects, utilizing light and shadow effects and basic tools to provide viewers with a more dimensional viewing experience. He mentioned he was exploring this technology.
Lucas found the idea intriguing and promised to have the special effects team investigate it, hoping for more opportunities for collaboration. Link agreed.
After chatting for over ten minutes, Link excused himself.
...
[T/N: The next part os about Feihong Yu asking Link to review her graduation project, titled The Son's Boyfriend.
The movie followed a mother from the mainland who learned her son was ill and undergoing surgery, traveling across the country to care for him, only to discover during her stay that her son's friend Edward was frequently by his side, caring for him.
Initially, she thought they were just close friends, and she felt relieved until she accidentally saw them kiss. She was shocked and fainted on the spot. Waking up, she sternly reprimanded her son, demanding he end his relationship with Edward, but he refused, insisting they were in love.
The mother was nearly faint again from disbelief. A cold war began between them. She sought doctors to 'cure' her son's 'disease' and make him a normal man who would marry and have children.
Throughout her search, she encountered many similar cases and several doctors on the subject, eventually realizing her son was normal and that this was a common phenomenon. The media, films, and neighbors all urged the public to learn to accept and respect their family members' choices, but she remained unyielding.
Later, her son's condition worsened, requiring a kidney transplant to survive, and without hesitation, Edward offered his kidney for the son. The mother, moved by Edward's sacrifice, eventually came to accept the reality.
The final scene showed the mother sitting between the hospital beds, one hand stroking her son's hair, the other resting on Edward's shoulder. The image was harmony personified.
From a screenwriter's perspective, it felt lazy, lacking proper research, and a deeper exploration of the characters' true feelings.]
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