"This is a vast cyberpunk world. I bought the board game rights a long time ago and planned to showcase it to audiences through several original stories.
The stories include Johnny Silverhand and Arasaka Corporation's rivalry, the tales of the Edgerunners, the crisis of Past Shadows, and the legend of V."
Gilbert invited Doug Walter and Robert Iger to his home, handing them a complete project proposal and providing explanations about the plan.
Doug Walter glanced over it and sensed the sheer magnitude of Gilbert's ambition.
He asked, "So the series is just the beginning, with the goal of building the entire cyberpunk universe?"
"Exactly," Gilbert said. "Ever since establishing the Marvel Cinematic Universe development plan with Marvel Studios, I realized the potential of this model for development.
So after securing the board game rights, I have been planning to develop the cyberpunk universe.
I am a devoted fan of cyberpunk culture, and I hope to construct a convincing, captivating world through my own hands."
Robert Iger commented, "If you want to make it happen, it will require significant resources."
"Yes," Gilbert nodded. "That's why we need a series to test the waters, and I've brought Scarlett along."
Doug Walter and Robert Iger exchanged a glance, both sensing hesitation in each other's eyes. Yet both knew Gilbert's creative talent was unparalleled.
Although harboring some doubts, they still expressed support, pushing the boards to fully back the plan.
Undoubtedly, once the series is completed, it will air on the Warner and Disney series channels. This Edgerunners project is a limited ten-episode series, unlike other American TV shows that run in multiple seasons.
There were precedents; Band of Brothers, produced by Spielberg and Tom Hanks, was a limited series that received an excellent response.
Although the genres differ, it proved that film directors could successfully create TV series.
Doug Walter and Robert Iger returned to Warner and Disney, respectively, briefing their executives about Gilbert's plan.
As expected, Gilbert's proposal caused a huge stir. Many executives, like the two of them, felt some hesitation.
Disney's side was even more complicated. A minority group of shareholders led by John Disney outright opposed the plan, believing Gilbert should just stick to making films.
John Disney argued firmly, "It's not that we don't trust Director Gilbert's ability, but precisely because we do, we don't want him facing the possibility of failure.
To Disney, he is a valuable asset; he cannot fail."
Robert Iger frowned upon hearing this. John Disney treated Gilbert as an asset. In some sense, what he said wasn't wrong.
But Gilbert would certainly dislike hearing the term; no one wants to be coldly reduced to an asset—it's still a person.
Moreover, John Disney, while claiming to trust Gilbert's ability, was actually signaling his distrust to the executives.
John Disney's faction had been plotting to regain control of Disney since the Michael Eisner era.
Fortunately, Gilbert's successor, Robert Iger, was highly capable, uniting the executives effectively and continuing to lead Disney forward.
As a supporter of Robert Iger, Gilbert naturally became a thorn in John Disney's side.
Yet over the years, Gilbert's commercial success had been so outstanding that John Disney's faction could find no excuse to attack him.
Now, with Gilbert launching a series project, John Disney saw an opportunity, so he strongly opposed it.
John Disney, of course, understood Gilbert's importance to Disney. His idea was to push Gilbert off the board and have him work obediently for Disney.
In other words, to reduce Gilbert from a shareholder to a mere employee, collecting a fixed salary, with no influence over Disney's operations.
Naturally, Gilbert himself would never accept such a result.
John Disney failed to grasp a simple truth: a director of Gilbert's caliber could only be a collaborator, never a subordinate.
Luckily for Gilbert, John Disney's shortsightedness meant Robert Iger retained firm control over Disney.
So despite John Disney's frantic opposition and maneuvering, the executives still trusted Gilbert's ability and supported his plan.
Warner's side was much less complicated; Doug Walter smoothly passed the executive resolution.
Once both companies approved, the related plans immediately began. Even though Gilbert's new film, American Apocalypse, hadn't been released yet, the team immediately started the preliminary preparations.
Of course, the most important focus at the moment was the performance of several films during the summer season, which was crucial.
Following Iron Man, multiple test screenings were held, all receiving positive responses.
The excellent word-of-mouth encouraged Marvel Studios to invest even more resources. Starting from late May, Iron Man began limited previews, accumulating audience feedback until its wide release.
The opening of this year's summer season, however, was anticipated first by fans with Gilbert's film, starring Tom Cruise, Saoirse Ronan, Jude Law, and others, The Last of Us.
On May 4th, the Theatre in New York hosted the premiere of American Apocalypse.
This year, Gilbert broke tradition by holding the premiere in New York to cater to Eastern fans.
Nowadays, films not only shoot beyond Hollywood, traveling worldwide for locations, but even major events like premieres are increasingly held outside Los Angeles.
Premieres of Gilbert's new films have always been a focal point of the North American entertainment scene. At the event, attendees resembled an Oscar-caliber lineup.
Journalists loved such premieres, and fans were even more eager.
So two or three days before the premiere, fans set up tents along the sides of the red carpet, waiting for the event to begin.
On the day of the premiere, light rain fell. Staff set up coverings, shielding the entire red carpet area. As for the fans, they had to make their own arrangements.
Reporters had already positioned their cameras, waiting for the premiere to start.
At four in the afternoon, fireworks exploded, officially opening the red carpet ceremony. The first to appear were the film's behind-the-scenes staff. Though most fans didn't recognize them, the applause was enthusiastic.
After that came the arrival of the guests, collectively referred to as the women of Melon Manor, all in attendance except for the pregnant Jennifer Connelly—no one was missing.
Reporters did not see Naomi Watts, who was presumably accompanying Gilbert to the premiere.
Gilbert's close friend Leonardo had changed girlfriends again. Appearing with his new partner, he instantly dominated countless camera lenses.
Matt Damon and Ben Affleck attended together, while George Lucas brought his new girlfriend. The one Gilbert had seen with Naomi Watts last time had already broken up with George Lucas.
This time, Lucas's companion was an older Black woman named Melody Hobson, the head of DreamWorks Animation.
George Lucas had a strong interest in politics, and this new girlfriend carried significant political connotations. This was their first public appearance together.
However, today's focus was not on the couple, but on the main creative team of The Last of Us .
.....
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