Director of Photography Department of Huayu

Chapter 198 The Black Guys Who Cause Trouble
Universal Pictures is already ecstatic. The public relations department has barely slept for the past two days, sending press releases one after another to various media platforms.

They neither anticipated nor expected the public reaction to be so intense.

The results were even better than expected.

Saturday, April 11.

The number of movie screens in North American theaters is like stars blooming in the night, as "Get Out" was released simultaneously in 2781 theaters yesterday.

The first-day box office figures are finally out.

It was capped at $1220 million.

The data caused an uproar in the industry.

A thriller with a budget of less than five million dollars, without top-tier actors, an established intellectual property, or even any flashy special effects, managed to carve out a niche for itself in the fiercely competitive North American market.

It even grossed $300 million more than Larry Charles's comedy film "Borat".

Most importantly, it's not a horror movie known for its gore and terror like "Saw".

Get Out seems to have more potential than imagined.

Major media outlets quickly followed up.

However, Variety described the start as an "expected victory," believing the film deserved this result as a high-quality social thriller.

The Hollywood Reporter was even more blunt:
Without any big-name stars or special effects, Wu Chen swept the hearts of North American audiences with a racial allegory thriller.

When Universal Pictures' David Lyndon and Mary Parent saw Wu Chen, they couldn't stop smiling.

Based on the opening day's performance and current word-of-mouth, we can roughly predict the future box office trend;
Unless some uncontrollable factors or the possibility of continued positive word-of-mouth emerges, the box office curve can be calculated.

“Wu, we regret betting against you. The baselines were set too low,” David Lyndon said with a smile.

"Isn't it a win-win situation for everyone? Higher box office revenue means Universal can earn more money."

Wu Chen chuckled and replied that there was no possibility of loss for Universal's distribution under these circumstances; it was only a matter of how much profit they would make.

Saturday's box office continued to climb, grossing $1430 million.

Theater managers began to proactively increase screenings, and many theaters simply extended midnight screenings, since this is a thriller and the viewing experience is excellent at midnight.

Some fans of this genre were even queuing up to buy tickets in the early hours of the morning.

On Sunday, box office revenue normally dropped to $1050 million.

The film grossed a total of $3700 million in three days, a result that made many production companies extremely envious.

The number of comments on IMDB is also skyrocketing, from just a few hundred to nearly a thousand, a remarkably rapid increase.

"After hearing some promotional material that basically said it was a great horror film told from a Black perspective, I decided to go to the cinema to see it."

Yes, I can understand that this is definitely the worst nightmare for Black people.

This film doesn't attempt to evoke "sympathy" for Black people, nor does it contain any didactic elements. It's simply an excellent old-school horror film set in a completely new context. By the way, I'm an old white man, and the actors...
This movie also made me remember the name of a Chinese director!

"Get Out completely shocked me. I'm not Black, but it was one of the best performances I've ever seen from an actor."

Perhaps timely social commentary will be particularly important when discussing this film;

But this cannot obscure the fact that this is a masterpiece of cinema, meticulously crafted and thoughtfully detailed.

"Wu, our friend, he did not come from this land, yet he uttered the cry that this land should utter most!"

"."

It is obvious that Wu Chen's fan base is expanding rapidly, and he has even begun to have a group of loyal fans.

"The Black community has been very vocal these past few days, and you will benefit from that."

Jason Blum summarized the media and public opinion over the past few days and came to a conclusion, which he couldn't help but admire.

"Wu, you've built up a fan base that even great directors take a long time to accumulate with just a few films. That's truly remarkable."

"It might just be luck," Wu Chen said modestly.

"Luck only helps those who are capable!" Jason Blum declared emphatically.
"Over the years, I've met too many people. There are quite a few who are lucky, but they disappear after a chance success. Only those with real ability can keep their luck in check."

"Perhaps." Wu Chen nodded slightly upon hearing this. "By the way, I have a question for you. Is Wen Ziren affiliated with Lionsgate?"

"Huh? You mean James Wan, the director of Saw?"

Jason Blum was taken aback. "You want to work with him? On a horror film?"

As far as I know, James Wan receives his royalties through Twisted Pictures, not directly through a revenue-sharing agreement with Lionsgate. He has a partnership with Lionsgate, but they are not tied together and there are no contractual restrictions between them.

If you want to collaborate with him, it would be best to have Michael help you make an appointment. Michael won't refuse; I'm sure he's still feeling frustrated about not being able to release "Get Out" these days.”

Jason Blum chuckled.

Wu Chen didn't hesitate and contacted Michael Burns that same day.

The main point is to make money as early as possible. Some untapped horror movies are lucrative opportunities, so there's no reason for him not to reach out and take them.

Sure enough, when Michael Burns received Wu Chen's call, he was filled with rage and regret.

"We really regret it. Thrillers and horror films were Lionsgate's forte."

Universal Pictures snatched this golden opportunity, leaving Michael Burns frustrated that Lionsgate wasn't powerful enough and lacked Oscar resources, allowing such a golden chance to slip through his fingers. "Michael, I'd like to contact James Wan. Could you help me arrange a meeting with him?"

“James Wan?” Michael Burns was taken aback.

"Hmm, it won't affect your project, will it?" Wu Chen asked with a smile.

"Of course not. Wan isn't the screenwriter or director for Saw 4 anymore, but he seems to be working on a new movie. I can help you make an appointment."

At this point, Michael Burns became particularly enthusiastic:
"Wu, as you know, Lionsgate has always focused on horror and thriller films. We are absolutely professional in this area. You can consider cooperating with us."

He didn't believe Wu Chen was just chatting with James Wan. In the adult world, there are no simple motives, especially between directors.

"Don't worry, Michael, I'll definitely remember you when something good happens."

"."

Meanwhile, at Warner Bros. Studios headquarters, the conference room was dimly lit.

Several executives sat around the conference table, and one of them spoke first: "Universal's media relations for 'Get Out' have kicked off, and the momentum is beyond our expectations."

Alan Stone, vice president of international distribution at Warner Bros., frowned as he reviewed the first-week report and public opinion for Get Out.

"I heard Wu Chen brought 'Get Out' here first?"

At this point, someone will naturally raise an objection.

Global publishing president Jeff Robinoff looked displeased upon hearing this, but responded calmly:
“Warner Bros. had no choice. Martin Scorsese’s ‘The Departed’ was already secured before Wu Chen arrived. It’s a core contender for this year’s Oscars. We can’t give up ‘The Departed’ for a low-budget thriller.”

As soon as these words came out, everyone fell silent.

Indeed, as Jeff Robinoff said, no one would have easily decided to change the core of the Oscar race at that time, especially since the other party was Martin Scorsese, a great director from the Academy.

"Let's increase our resources for the Oscar race. Let's talk to Martin Scorsese, Leonardo DiCaprio, and Matt Damon. Winning an Oscar requires not only our efforts, but theirs as well."

Warner Bros., of course, wouldn't sit idly by and quickly reacted to prepare for the upcoming public relations season.

To Warner Bros.' surprise, a poster for Get Out was posted on the bulletin board inside a Black community church in South Los Angeles.

In less than an hour, the forecourt was packed with people.

I didn't come to see a movie.

A meeting is scheduled.

"Gentlemen, tonight we are not here to discuss the security issues in the slums."

A middle-aged Black man wearing a baseball cap, a T-shirt, and an old jacket stood up, holding up the folded "Get Out" newspaper.
"Today we have to talk about Wu, that Chinese director."

He made a film about 'us,' and it was more accurate than anything we made ourselves.

A murmur rippled through the crowd.

"He said something we've never been able to say: when you step into a white person's house, you still have to worry about whether your brain will be traded as an asset!"

"He makes horror movies, but we all know they're not fictional stories."

“Look at the screenings in New Orleans, that’s our reality, brothers and sisters! It’s the silence, the fear, and the lost dignity we’ve endured for decades. He filmed it!”

He suddenly raised the newspaper in his hand and slammed it on the podium with great force. "Shouldn't we also stand up and support this movie?"

"What are we going to do?" someone shouted.

"What?!" He sneered, his eyes flashing.

"We're going to launch a 'Black Audience Petition' campaign, writing letters to the Oscars, publishing articles in the media, and saying the same thing on radio, podcasts, in schools, and in community groups—this film represents us."

"Yes!"

"We can't let Hollywood keep making us the foil every year, saying we have no market and no story!"

"This time, someone has spoken out, and we're going to make them hear it!"

Someone stood up, raised their arms, and shouted, "Say it out loud!"

The crowd chanted in unison, "We are Black, and we are proud!"

A thunderous applause erupted, with people holding up newspapers, printed posters, and hand-drawn slogan boards.

"Use film to fight for justice!"

"Get Out is not fiction; it is real."

Wu Chen: Our own director!

This night wasn't just in South Los Angeles.

Brooklyn, Atlanta, Chicago South Side, Baltimore, Oakland
Countless Black communities spontaneously organized "Get Out," spreading the word in churches, bars, on the streets, and on underground radio stations.

They regard Wu Chen as a "cross-border spokesperson" and a "more silent yet more real cry than Malcolm X".

During a CNN nighttime interview, renowned Black host Angela Payne even stated live:
"This film is a backlash against the repression of our generation. It is not politically correct, it is historically correct."

At the end of the program, she looked directly at the camera and said:

“Academic Award judges, if you’re watching, please nominate him. Otherwise, you’ll only be proving his film right.”

(End of this chapter)