The Best Director

Indeed, in terms of technology and experience, Steven Spielberg, James Cameron, and Peter Jackson were in no way inferior to the three present. However, the selling point of this special interview inevitably carried the notion of the “USC Three Musketeers”: 59-year-old George Lucas, with 1.3203 billion in North American box office, ranking sixth; 51-year-old Robert Zemeckis, with 1.5418 billion, third; 24-year-old Wang Yang, with 1.8628 billion, second.

Put together, the movie tickets sold by the three could easily span the Earth’s equator. Two Oscars for Best Director, four nominations, countless trophies and titles… These three guys were representatives of the USC director system, all passionate for film technology, so the theme today was essentially about the bigwigs of USC, though the 24-year-old Wang Yang had yet to graduate.

But everyone knew that the aggressive way in which the spectacular Yang had grown up, the experience gained, the training received was far more intensive than the “academy graduation—graduate school—independent film—mainstream cinema” and “academy graduation—advertising/MTV—independent film—mainstream cinema” paths. The foundation was laid in the academy, yet some things were developed in practice—like 50-year-old USC dropout Ron Howard, who proudly held 1.3271 billion in North American box office, ranking fifth.

“‘The Polar Express’ was the first IMAX-3D feature film, using performance capture technology; ‘Star Wars: Episode III’ used Sony’s HDC-F950 digital cinema camera to shoot. ‘Firefly’ will be using the IMAX camera, with more and more films adopting motion capture technology and digital filming. There are now 210 digital cinemas worldwide… What are your thoughts on these new technologies? Are they an advancement, and can they potentially eliminate the traditional filmmaking model with digital methods?”

Looking at the three legendary directors sitting opposite her, Karen Chenoirth, the special interview reporter from The Hollywood Reporter, asked with a face full of delight—this interview would be a masterpiece! After all, seeing these three guys sitting together to discuss and respond to questions was a rare event, though the interview would also include promotion for their new films.

In the order of the movies she mentioned, Robert Zemeckis, wearing a brown leather jacket, sitting at the center front, was the first to answer with a smile, “These technologies are fascinating; they help you break through limitations. For instance, performance capture is more advanced than motion capture. We attached nearly 150 infrared-sensitive markers to Tom Hanks’ face, the infrared cameras inputted his facial performance into the computer, then we created animated images with the computer, giving us more freedom to shoot with a greater range of breadth, depth, and other parameters.”

As he spoke, he couldn’t help but get excited, looking at George Lucas and Wang Yang who were listening intently to his side, and said, “Can you believe it? Tom Hanks played six roles by himself, the conductor, the hobo, Santa Claus, the little boy… They all have different images and temperaments, but their body movements, facial expressions all come from Tom Hanks, everything is so lifelike. Without the new technologies, it wouldn’t have been possible.”

“I am a huge proponent of the digital revolution,” George Lucas took over, making his stance clear from the start. The father of “Star Wars,” now with white hair, said, “The promotion of digital filming and digital projection is inevitable, somewhat like the move from black and white to color, from silent to sound, from film to digital. I’m thrilled to see the development of digital technologies; I wish I could wake up one day to find there were 2100, 21000… digital cinemas.”

As everyone chuckled, George Lucas laughed a bit, spread his hands and added, “You can see the difference between ‘Star Wars’ and the ‘Star Wars Prequel’ in terms of special effects. I agree with Zemeckis that technology breaks boundaries! Many ideas, scenes that couldn’t be realized ten or twenty years ago are now possible, this is definitely progress! The higher the technology, the more capable filmmakers are at making good movies.”

“Yang, what do you think?” Karen Chenoirth then turned to Wang Yang. Compared to the elderly, white-haired Robert Zemeckis and George Lucas, this handsome young director seemed to have an aura of “shock”; the only commonality between idol-type directors and veteran directors seemed to be the wedding rings they both wore.

Seemingly aware of her thoughts, Wang Yang raised his left hand, motioning with his hands as he replied, “It’s definitely an advancement. In the short term, the filming and viewing effects brought by digital technology might not match up to film, but it saves costs—and it’s not just about making more money for theaters and movie companies. Under this emerging production model, more people will get more opportunities. In the long run, it’s not surprising that digital will replace film.”

Zemeckis and Lucas both nodded in agreement as Wang Yang continued, “But this isn’t something that can happen in a day or a week. The digital push requires collective efforts and progress; it will take time. The benefits these new technologies bring to movies don’t need to be stated, and I think there’s no need to resist or deliberately pursue them—it’s up to whether you’re interested and whether your film needs it. Regardless, technology isn’t the core of a movie; it exists to better express and realize stories, characters, and creativity. If the emergence of digital means a better and cooler experience, why not? As long as storytellers continue to tell their stories, movies will still be movies.”

“Hmm!” Karen Chenoirth couldn’t help but nod. This young director, despite being significantly younger than Zemeckis and Lucas, spoke with such clarity and emphasis, providing a summary as the last respondent without seeming the least bit “daunted”—impressive! As she felt a surge of admiration, she carried on, “It seems that motion capture and performance capture are the future trend. Some actors worry—does this mean actors will be replaced? Or that they won’t be able to see their own faces on screen anymore?”

“Haha, that’s a complete misunderstanding!” Zemeckis immediately shook his head, explaining the performance capture system he had established: “All the motion and expression materials come from real human performances; we just capture, build the data, and use it.” Karen Chenoirth, however, had a question: “What about the material database? When a company has enough material data, can directors just sit in front of a computer to finish a movie?”

Zemeckis, Lucas, and Wang Yang all laughed together and nodded their heads. Karen Chenoirth also smiled in confusion. Zemeckis chuckled, “Indeed, you can. That’s called ‘virtual filmmaking.’ Not only the actors but also the scenes and props are synthesized by computers, which provides more shooting angles and makes some impossible camera movements possible. I know ‘The Matrix’ used such technology. But even with virtual filmmaking, actors won’t be phased out. If one worries about this, then animated cartoons and CGI animations also pose the same threat.”

“Each actor’s temperament and acting characteristics are different; people like to see real humans, real faces,” George Lucas added. He continued, “I’m that way myself. There’s an enduring charm in live performance that digital technology can’t replace, no matter how revolutionary, and that will never change.”

After Lucas spoke, looking at Karen Chenoirth, Wang Yang smiled and shared his thoughts: “But you can have more realistic, lifelike aliens, King Kong, ‘Planet of the Apes’… Indeed, the actors who play these roles can’t see their own faces on the screen, and neither can the director.” Both directors and Karen couldn’t help but burst into laughter. Wang Yang spread his hands and said, “This is part of filmmaking, thanks to them. In fact, capture technology won’t phase out actors; instead, it helps them to have more beautiful and expansive performances and allows directors to realize more fantastic ideas. It’s a great era of change.”

“It seems that these digital technologies are harmless and can better realize your cinematic dreams, your science fiction dreams,” Karen Chenoirth said with a change in tone, and then with a mischievous smile asked, “What do you think about your upcoming film projects? Mr. Lucas, Yang, I heard there is a competition brewing between you two.”

These three great directors have made significant contributions to science fiction films. If a fan suddenly walked in, they might faint from excitement on the spot.

With the ‘Back to the Future’ series and the ‘Star Wars’ series, no one can deny the status of masters like Zemeckis and Lucas. While the least accomplished of the magicians, Yang, has already grabbed an Academy Award for Best Director and is hailed as “the future of sci-fi films.” He has not shunned nor feared the challenge as his self-proclamation in ‘Firefly,’ whether a master or a mayfly, is well-known to the media and the public.

“Heh!” In response to the so-called rivalry, George Lucas laughed nonchalantly. It was not a dismissal of the younger colleague; he simply did not need to be concerned. He wasn’t worried about the “fear of the magical Yang” as some media provocatively suggested. Why be afraid? Lucas smiled and said, “Yang is truly incredible, but I have no intention of competing with him. ‘Revenge of the Sith’ is my last ‘Star Wars’ film, and I just hope to give the fans a complete conclusion. Then, I’ll have no regrets.”

Wang Yang also laughed without a care, setting aside box office concerns. The two films were not directly comparable. He himself grew up under the influence of ‘Star Wars.’ Surpass or overcome? He only knew he most definitely had a heart set on creating new sci-fi classics, an end and a beginning! He replied, “‘Revenge of the Sith’ has brought us a lot of positive pressure to emulate. ‘Firefly’ has many aspects to get right, and thankfully, we are ready.”

“‘The Polar Express’ is an IMAX-3D movie.” It was Zemeckis’s turn to answer, his voice filled with pride: “3D is a very fun thing, and IMAX-3D is even more so. When you have an IMAX screen in front of you and you’re wearing 3D glasses, it’s an incomparable viewing experience. I really hope that when ‘The Polar Express’ is released this year, everyone can go to a 3D theater, an IMAX theater to give it a try.” At this, Wang Yang couldn’t help but purse his lips.

Karen Chenoirth seemed to understand and nodded, although she had not seen a 3D movie or IMAX short. She laughed, “You are all solid technology fanatics. How do you view 3D, IMAX-3D? Will they become a trend? Mr. Lucas, Yang, will you shoot in 3D, IMAX-3D in the future?”

“A trend within a trend! I am convinced that soon there will come a day when everyone will watch movies with 3D glasses on,” Robert Zemeckis stated firmly, having personally tried it; incomparable was no mere self-praise. Good things have no reason not to become popular. He said, “After ‘The Polar Express,’ I will continue to explore digital technology, capture technology, to release more new works.”

George Lucas had a hearty smile, admitting candidly, “To be honest, I haven’t fully figured out what 3D is, haha! I will give it a try when I have the chance, and I am willing to try all new technologies.”

“Yes, 3D, IMAX-3D will be the trend,” Wang Yang said, nodding lightly, so much so that Karen Chenoirth felt it was a courteous response. But no one knew better than him the terrifying power of 3D. Robert Zemeckis didn’t know, George Lucas didn’t know, James Cameron didn’t know; the producers of ‘The Polar Express’ at Warner Brothers didn’t know, and the team behind ‘Avatar’ at 20th Century Fox also didn’t know…

According to data related to the future media database, James Cameron once said in an interview, “‘Avatar’s’ box office performance far exceeded our expectations. Initially, we were only hoping for about a 10% profit margin. In that case, the global box office would be far less than one billion US dollars.”

Not even close to a billion? What was the final box office total? It spiraled out of control to an astonishing global haul of 2.8 billion US dollars. Generally, the profit margin for a high-production-cost film is around 30%, but the profit from “Avatar,” which was initially thought to be a losing venture, far exceeded 30% and surpassed the highest expectations people had for the profitability of a film.

Was it because the film itself was too good? Or because of technologies like 3D cameras, motion capture, facial capture, virtual production, and IMAX? None of the above; maybe a few years later, no one will remember “The Polar Express,” they’ll only know about “Avatar,” because timing is the most important element.

The alignment of time, location, and people. The most fatal reason for the inability to create an “Avatar storm” now is not the outdated technology like 3D cameras, but because cinemas are not equipped to cooperate, with only 210 digital cinemas worldwide, and a combined total of only 75 3D and IMAX theaters available at the time of “The Polar Express” — less than a hundred! What good is excellence then? In 2009, “Avatar” had nearly 3,000 3D screens in North America alone, almost 200 IMAX screens, and countless digital cinemas…

Before the release of “Avatar,” Fox Company certainly accelerated the updating of equipment in major cinemas worldwide, but without foundational opportunities, all talk is empty. This foundation isn’t something one or two people can decide—it needs a comprehensive equipment revolution in theaters: equipment technology merchants, equipment manufacturers, cinema chains. The film production companies need to achieve high-quality 3D filming, and only a combination of the two could create an opportunity for a storm.

From silent to talkies, black and white to color, 2D to 3D, there’s only one opportunity and one wave for the storm; there will not be a second wave. Even if 3D technology becomes more mature and impressive in the future, “3D” as a concept will not spark a second wave of global frenzy.

How frenzied was it? “Avatar” had a box office of 2.8 billion; followed by “Alice in Wonderland,” which simply converted from 2D to 3D format and rode the wave under the banner of “3D movies” to rake in a global box office of 1 billion. The heat of this trend was terrifying!

No one remembers “The Polar Express.” Current 3D movies and IMAX-3D movies are all pioneers; “Avatar,” a work that perfectly combined 3D technology and capture technology, caught the only best timing and tasted the most delicious fruit. It could even vary its promotional tactics easily because ordinary viewers had a huge novelty for 3D. Using “How to watch ‘Avatar’?” as a promotional tactic, mentioning only 3D, that meant…

Standard screen + digital, IMAX + digital, standard screen + film, IMAX + film… These dazzling viewing options were all brilliant promotional gimmicks. With the force of distribution and marketing, it led the internet users to debate “This is the best way to watch ‘Avatar\'” and internet forces to wildly hype up how magical 3D was, stating that missing out on the IMAX-3D version of “Avatar” would be a lifelong regret…

This created a fad, with everyone not wanting to miss out! And indeed, watching 3D was different from 2D, hence the 2.8 billion. This is viral marketing.

Wang Yang knew he was no longer the 18-year-old Wang Yang. When he first heard of a film in the year 2009 raking in 2.8 billion at the box office, it seemed so incredulous, so shocking… But long before that, including now, he almost instantly saw through the “why,” understanding how it should be promoted… What remained unchanged was the passion boiling over—would it be “Avatar” or “Alice in Wonderland”? Or just another member of the 3D craze following the trend?

He wouldn’t let himself miss out! With one excellent film, catching the only moment, he could do it too!

“I will make one! I like 3D,” Wang Yang smiled, thoughts flickering rapidly through his mind. Looking at Karen Chenoirth, he responded, “I like 3D, of course I’ll try it.” But not just yet, “Firefly” would be a warm-up for IMAX shooting. As for 3D and other technologies, “it’s not yet the time,” though he had already been planning to seek a collaboration with companies like IMAX to set up a research department for 3D technology, to push development while also ensuring Firefly Films had access to the most cutting-edge technology.

When the time came, not only would he seize the fruit, but Firefly could also launch a series of 3D movies, not falling behind.

Indeed, if we look at the information from the year 2009, the 3D filming technique of “Avatar” wasn’t difficult—it was the combination of a Sony HDC-F950 and a CineAlta-F23 camera, each representing the left and right eyes of a person, capturing two slightly horizontally parallax movie images simultaneously. This dual-camera 3D system was named “FusionCamera-3DSystem.”

Even before “Avatar,” the 3D movie “Journey to the Center of the Earth” in 2008 had already used this technology, of course, it missed that timing.

“Star Wars: Episode III” was shot with the HDC-F950, and now there’s no CineAlta-F23, nor do we know what sort of digital camera it is, but how did they modify it into a 3D dual camera system? That’s not something others will tell you.

“Mark, we can start setting up the 3D research lab now, now is a good time,” said Wang Yang.

In the spacious screening room, Anne Hathaway was projected on the digital big screen in “Magic Cinderella,” and though the image quality and colors were still inferior to film, sparsely scattered movie industry insiders sat in the audience, observing the latest digital projection technology from Texas Instruments. Watching Hathaway, no longer composed of film but of digital codes, Wang Yang leaned back in his chair with his arms folded across his chest and told Mark Slant sitting beside him.

“OK, I got it,” Mark Slant nodded. The matter of the 3D research lab had already been discussed, and he knew what Wang Yang was talking about. Thinking of the prospects Wang Yang had described, as well as his own judgments, a glint of light flashed across his glasses. He asked, “Are you sure 3D is going to explode?” Wang Yang casually but firmly replied, “I’m sure. In a few years, you know… it’ll be another storm! Too bad ‘Firefly’ won’t be able to catch up.”

Hearing him mention “Firefly,” Mark Slant remembered something and quietly asked, “Didn’t you say you had a new idea for promoting ‘Firefly’?” Wang Yang nodded with a smile, indeed having a new idea which he thought should be quite fun. He laughed and said, “All the companies’ online marketing strategies are to flood the world with posters, still images, and news, the more the better. Don’t you think something is missing? Trailers.”

Giving a thoughtful glance at Mark, Wang Yang continued with a laugh, “Did you watch the MTV Awards ceremony? One of the most popular segments every year at the MTV Awards is the parody videos.” Mark Slant suddenly said, “You mean we launch a parody trailer?”

Uncertain whether he was referring to his own parody idea, Wang Yang explained, “It should be called a spoof. Think about it, we edit the footage of ‘High School Musical’ into a ‘Firefly’ trailer, but all the music, the dialogue, those sounds, the title, director, leading actors, release dates… all remain the original ‘Firefly’. In other words, just changing to similar images, the same Jessica, you fight and I dance, a ‘High School Musical’ version of ‘Firefly’ trailer.”

“I see, I see…” Mark Slant couldn’t help but chuckle, looking at the big screen and laughing, “A ‘Cinderella with Magic Hair’ version of a ‘Firefly’ trailer? I haven’t thought it through yet, how can this be promoted?”

“The ‘Cinderella with Magic Hair’ version is not for us to make, we first do some with copyrights we own, ‘The Pursuit of Happyness’ version, ‘Juno’ version, ‘The Hangover’ version, ‘Ice Age’ version…” Wang Yang listed a few names like he was drawing a blueprint and laughed, “Then we allow all netizens to use Firefly Film’s video library to make various spoofed trailers, hold an event, and encourage the netizens to create their own.”

Mark Slant’s glasses shone brightly, seemingly seeing the mischievous smile playing at the corner of Wang Yang’s mouth, like that of a playful child. He then heard Wang Yang laugh again, “You know what? As long as the atmosphere is fun and cool enough, technically proficient netizens will naturally create all sorts of versions, versions of classic films from various countries, a ‘Forrest Gump’ version of a ‘Firefly’ trailer, a ‘Titanic’ version of a ‘Firefly’ trailer…”

“Just imagine!” Wang Yang raised his hands excitedly, his voice growing louder unconsciously and then come down to a whisper, “If the entire internet was filled with ‘Firefly’ trailers, with thrilling music and hilarious images, after watching the parodies, they go see the original… the whole internet full of it! What would happen?”

“Well…” Mark Slant pretended to ponder, “It would make a high box office.” Wang Yang snapped his fingers lightly with his right hand and clenched his fist, “That’s it.” Mark Slant nodded in agreement, “That’s viral marketing.” However, Wang Yang couldn’t hold back a chuckle, ‘Firefly’ hadn’t even started shooting yet. He laughed, “First, I need to shoot ‘Firefly’ well, then cut a perfect spoof template trailer out of it.”

“Hey!” After quietly watching “Cinderella with Magic Hair” for a while, Mark Slant suddenly uttered a hey, looking Wang Yang up and down, and clicking his tongue, “Yang, I’ve noticed that since you got married, your appetite has grown even bigger.”

Wang Yang shrugged and raised an eyebrow, “No way around it, the baby will be born next year, I need to earn more milk money.” (