"This shot needs to be shorter to create a tense and thrilling horror atmosphere."
"No, it should be longer so we can fully appreciate the female lead's beautiful figure."
In the editing room, Gilbert was once again at odds with editor Paul Collins. They'd had countless similar arguments recently.
Paul Collins was Universal Pictures' own guy, and having him handle the film's editing undoubtedly made Universal feel more at ease.
At first, Gilbert simply offered suggestions and had no intention of arguing with Paul Collins.
But seeing Paul Collins' editing direction slowly drift away from the main plot, focusing entirely on Gwyneth Paltrow's physique and ignoring the film's most crucial theme, Gilbert finally couldn't hold back.
"Your editing direction is all wrong! This movie is about escaping from a shark's jaws, and sharp editing is critical.
If you want to watch a softcore film, why don't you go edit in the San Fernando Valley?" Gilbert demanded loudly.
Paul Collins, however, replied indifferently, "Young man, you only have the right to suggest. How I edit is my business."
"Editing might be your business, but you're destroying a fantastic movie, and I can't tolerate that."
"Then go report it," Paul Collins said, spreading his hands. "Your actions have already crossed the line. Let's see who the company listens to."
In Hollywood, rookie directors genuinely don't have the authority to dictate editing rights; having a suggestion right is already a privilege.
Whether or not those suggestions are followed is up to the studio; it's not a rookie director's call.
However, if Gilbert were older, had weathered the industry's storms, and had some reputation, an editor might listen to his opinions to some extent.
But the problem was, Gilbert was only twenty-one, and his work experience amounted to just being an executive director on Hook.
Young, lacking qualifications and experience, he was easily looked down upon.
It wasn't an issue during filming, but in the later stages of editing and production, an editor, a crucial role, naturally wields much more influence, fully capable of excluding Gilbert from the editing process based on their position.
Paul Collins was exactly like that. No matter what suggestions Gilbert offered, he ignored them all, editing the film entirely according to his own vision.
As a result, the movie became about Gwyneth Paltrow showing off her figure on the beach and surfing in the ocean, rather than a shark escape.
Such a change was something Gilbert absolutely could not accept.
Paul Collins could accept Shark Beach's failure because he was a seasoned editor with qualifications and experience.
But Gilbert couldn't accept it, because this was his very first film. If it failed, he had no idea when he'd get another chance to direct.
That's why Gilbert dared to go against all odds and fight Paul Collins for editing control.
Damn it, if this movie failed, who knew when he'd get another chance anyway? He had no retreat.
If he hesitated now, afraid of offending people, he wouldn't get anything done.
Better to just charge ahead and seize power! Worst case, if it failed, he wouldn't direct anymore; he'd just invest in internet companies...
Soon, news of Gilbert and Paul Collins fighting over editing rights, almost coming to blows in the editing room, reached Universal executives.
A director and editor almost fighting over editing issues? This was outrageous!
What was Gilbert trying to do? Letting him be involved in the editing was already a huge favor; did he want the moon?
So, Universal Pictures Vice President Lou Wasserman called Gilbert and Paul Collins into his office to resolve the conflict.
The solution was simple: Gilbert was to stop interfering with the editing, and everything would be based on Paul Collins' cut.
But facing Lou Wasserman, who held the power of life and death over the film, Gilbert didn't back down an inch.
He had long known that Lou Wasserman had initially opposed the investment and greenlighting of Shark Beach; it was Akio Tanai who insisted on it.
Akio Tanai's focus was on Steven Spielberg and the Jurassic Park project, which was currently Universal Pictures' most important undertaking.
"Mr. Wasserman, all the ideas for this project came from me. I know best what the final film should look like.
When we were filming in Hawaii, I also discussed my ideas with Mr. Spielberg, and he agreed with me.
I also gave Mr. Collins some honest suggestions, but he completely refused to listen, editing the film only according to his own ideas.
What he's doing is ruining this movie." Gilbert's voice was emotional, and his words sharply criticized Paul Collins.
However, for Lou Wasserman, Paul Collins was the trustworthy one.
Lou Wasserman maintained his composure, smiling as he said to Gilbert, "Gilbert, I understand how you feel.
But Paul is our company's senior editor. Countless great films have been born from his hands, and we trust he will edit a good film for us."
Gilbert disagreed vehemently, "Mr. Wasserman, if you've seen Mr. Collins' cut, you'll find that he's edited a softcore film, with absolutely no relation to a thriller shark movie.
The shark is our film's biggest selling point, but Mr. Collins seems to completely ignore the shark."
Paul Collins then said to Gilbert in a mocking tone, "Gilbert, I've been in this business for so many years. I understand very well what the market wants to see."
Gilbert immediately shot back, "If you understood the market, you wouldn't be stuck editing my film. You should be editing Hook, and in the future, Jurassic Park."
"You..." Paul Collins was almost breathless from Gilbert's retort.
But Gilbert wasn't done, continuing to speak to Lou Wasserman, "If Universal Pictures doesn't trust my ability, they should have kicked me off the director's chair from the very beginning of the project's inception, or not greenlit the project at all.
But since it has been greenlit, it proves that Universal Pictures still believes this film has some prospects.
This is a shark film, a shark film produced by Director Spielberg! Has Mr. Wasserman forgotten the box office legend created by Jaws?"
Gilbert's words indeed reminded Lou Wasserman that this film was, after all, produced by Spielberg, and it was Spielberg who recommended Gilbert be involved in the editing process.
Coupled with Gilbert's earlier statement about having discussed ideas with Spielberg, Lou Wasserman had to consider whether Spielberg truly agreed with Gilbert.
Although Spielberg rarely inquired about this project, the film was already in post-production.
Kicking Gilbert off would be a slap in Spielberg's face, and it was hard to guarantee that Spielberg wouldn't overthink it.
Many people were eyeing the Jurassic Park project, and if Spielberg were to take the project to another company, it would be a huge loss for Universal Pictures.
Compared to the $62 million investment in Jurassic Park, Shark Beach seemed so insignificant.
So Lou Wasserman felt he shouldn't risk losing big by focusing on something small. He needed to eliminate all factors unfavorable to Jurassic Park.
Thus, Lou Wasserman said, "How about this: I'll suggest to the higher-ups that you two edit separately, and then we'll compare the final cuts to make a decision."
In reality, this was simply a way to placate Gilbert, to prevent him from taking the issue to Spielberg.
In Lou Wasserman's eyes, he was already surprised that a young director could even make Shark Beach, let alone complete the post-production editing.
Later, after a comparison, Gilbert would be disheartened, and Universal Pictures would still release Paul Collins' cut.
As for Gilbert's version, it could be included when releasing the videotape; a director's cut could also add a selling point to the videotape.
For both Gilbert and Paul Collins, this was an acceptable solution, so they agreed.
As they left, Paul Collins scoffed, "Kid, this business is deep water. Be careful you don't drown; I might not see you around later."
Gilbert was surprised that this American knew how to use such a metaphorical insult; quite cultured, indeed.
However, he didn't back down, retortin, "You've been an editor for so many years, and this is your level.
Don't worry, I'm heading to the top. When I see you drowning, maybe I'll take pity on you and throw you a lifesaver."
When words are at odds, silence is better. The two turned and left, exchanging no more words.
A few days later, word came down from Universal Pictures, instructing Gilbert and Paul Collins to each edit a version.
The two were able to work separately, no longer having to see each other's irritating faces.