"Is everyone here?" Lou Wasserman scanned the screening room and then directly stated, "Then let's begin!"
First to be screened was the version edited by Paul Collins.
Paul Collins was also present, sitting in a corner on the other side, his eyes on Gilbert. Gilbert met his gaze.
The two exchanged glances across the room. Paul Collins tried to defeat Gilbert with his sharp gaze, but Gilbert stared back unflinchingly.
Paul Collins thought to himself: Kid, you're still young in Hollywood. Let me teach you what editing truly means.
Gilbert didn't care about Paul Collins's intimidating glare. After more than a decade in the industry, he was still just a junior editor who edited films for others. Paul Collins was nothing special.
As Gilbert expected, Paul Collins's edited version was typical Hollywood fare. There were no surprises; it was solid and stable, adhering to the cautious attitude of Hollywood film companies.
However, for a film that dared to be unconventional, being "solid and stable" was its biggest flaw.
Indeed, after watching this version of "The Shallows," the Universal executives at the screening had a lukewarm response.
Akio Tani looked at Gilbert in the corner and then asked Lou Wasserman, "Lou, what do you think of this film?"
"It's alright. The visuals are beautiful, and Gwyneth Paltrow has her appeal. It might turn a profit if released to the video market," Lou Wasserman replied.
A selection expert behind him offered his opinion: "This is just an ordinary film, riding on the shark theme, and it's a bit boring. However, there are a few decent shots; you can tell the director put in a lot of effort."
Hearing a somewhat objective assessment, Akio Tani's expression improved slightly. Honestly, although he was the primary advocate for investing in this film, he didn't expect it to be a surprise hit. But for it to turn out so ordinary was a bit disappointing for him.
Gilbert, sitting in the left corner, was unconcerned by everyone's discussion; his edited version was up next!
Paul Collins, on the other hand, was growing restless. He hadn't expected his edited version to receive such an unenthusiastic reception. Of course, there wasn't any negative feedback either.
But for Paul Collins, it was still somewhat unacceptable.
He had heard that Homer Blake said Gilbert's edited version was amazing. If the company executives were highly impressed with Gilbert's cut, it would be a devastating blow to him.
Unfortunately, as a mere editor, Paul Collins had no right to speak in this setting.
For a moment, Paul Collins had various thoughts, such as turning off the power or threatening to resign to the executives.
However, Paul Collins managed to restrain himself and didn't dare to do such a thing.
"There's still Gilbert's edited version. Let's get to it quickly!" Lou Wasserman gestured to continue the screening.
Soon, another version of "The Shallows" began playing on the screen.
As a film selection expert, Mike Harris found it somewhat boring. He had watched the previous version and found it rather dull. What was the point of even having a "director's cut" for a film like this? Pure overthinking.
Mike Harris, no longer interested in what was on screen, leaned down and chatted with the person next to him, discussing recent Hollywood gossip.
But a few exclamations pulled him back to the screen.
"Holy cow, that was so dangerous!"
"Sh*t, is this really a movie? How is it so different from the previous version? This one looks so tense and thrilling..."
What was happening? Mike Harris focused his eyes on the screen, and once he looked, he couldn't tear his gaze away.
The predator's perspective from the handheld camera transformed the lens into the shark itself, with the female protagonist swimming ahead, creating an incredibly immersive experience.
The sharp and dazzling editing made the rhythm incredibly tight, completely different from the pacing of the previous version.
This version of the film was like a deadly flower; you knew it was dangerous, but you just couldn't look away.
So terrifying, so perilous, so exhilarating! It had been a long time since he had such an enjoyable viewing experience.
Not just Mike Harris, but most of the people at the screening stopped talking after watching the film.
The only sounds in the room were those from the screen and heavy breathing. Everyone's emotions were completely stirred by the film.
Watching the protagonist, Nancy, escape the shark's jaws again and again, while simultaneously trying to save herself.
With just one scene, a beach, a rock, a buoy, and a female protagonist, the entire story was formed.
The story was simple, but it was thrilling, terrifying, and engaging, causing adrenaline to pump rapidly and waves of viewing pleasure to wash over them.
It was like basking on a summer beach, making one want to shout out loud: "Amazing! So good to watch!"
At this moment, Gilbert looked at Paul Collins again, but Paul Collins wasn't paying any attention to him.
Paul Collins was biting his lip tightly, his face sweating, looking very tense, seemingly scared by the film's thrilling plot.
But in reality, he wasn't. Paul Collins was stunned by Gilbert's dazzling editing.
This cut was a hundred times better than his version; it looked like a completely different movie.
It was precisely this that made Paul Collins nervous. It meant Gilbert's edited film was better than his, meaning his work was a failure.
The film finally ended. The eighty-plus-minute movie felt like a rollercoaster ride—tense, thrilling, with no dull moments.
At this point, Akio Tani was happy. This was the result he wanted to see.
"Lou, what do you think of this version of the film?" Akio Tani asked.
"Uh," Lou Wasserman really wanted to say it wasn't good, but as a film executive, getting emotional was the biggest taboo.
Moreover, a good movie was a good thing for Universal Pictures.
So Lou Wasserman honestly said, "It's excellent. To be honest, I never expected this film to be so brilliant. It exceeded my expectations."
Akio Tani then asked the other executives, "What do you all think?"
Mike Harris stated, "Mr. Tani, this is the magic of editing. The same movie, with different editing, can become a completely different film."
Homer Blake then added, "This is Gilbert's edited version. Mr. Wasserman's decision to have both of them cut a separate version was a wise one."
Hearing that, Lou Wasserman's expression brightened considerably, while Paul Collins felt as if he was sitting on pins and needles.
At that moment, he just wanted to escape that awful place. Who knew what kind of monster Gilbert was, to possess such skill, leaving him completely unprepared for this outcome.
By this point, the victor was clear.
Everyone present, except for Akio Tani, were seasoned professionals in the film industry. They had good judgment and naturally understood which version of the film was better.
Even if Akio Tani didn't understand the film industry, as an ordinary viewer, he also thought Gilbert's edited version was excellent.
Thus, Gilbert's edited version was chosen for theatrical release.
Now it was the turn of the head of distribution to speak: "Although the film is excellent, we still need to have a meeting this afternoon to discuss how to distribute it."
This suggestion was very reasonable. After all, "The Shallows" relied entirely on its reputation as a spiritual successor to "Jaws" and Spielberg's executive producer credit to generate buzz.
Universal Pictures would first discuss the best way to release the film.
There would be another meeting in the afternoon, but today's screening concluded here.
Gilbert stood at the door, seeing off the executives. Many of them gave him approving glances and offered praise.
"Gilbert, well done."
"Gilbert, you've inherited your father's filmmaking talent. This film is excellent."
"Keep it up, work hard. The future looks bright."
Gilbert nodded continuously, expressing his gratitude. On the surface, he looked pleasantly surprised, but internally, he was already calm.
In his view, achieving this result was natural; there was nothing to be proud of.
He looked towards Paul Collins's seat, which was already empty. Paul Collins had left immediately.
Earlier, he had apologized and made peace with gifts. Now, chasing after him to scold him would only make him seem petty and vindictive.
Presumably, Paul Collins would also lose Universal Pictures' trust after this. As long as he didn't cause trouble again, Gilbert couldn't be bothered to deal with him anymore.
A successful person shouldn't be held back by failures, but should bravely stride forward, never backing down...