This was a classic battle that took place 2,500 years ago, a visual feast of clashing swords and flashing blades, and also a uniquely styled epic blockbuster.
Of course, in this era where epic films are gradually declining, if the style isn't unique and striking enough, 300 would probably have faced a box office disaster like King Arthur, Alexander, or Kingdom of Heaven.
The reason this film is captivating—aside from the historical factors outside the movie—lies more than halfway in its suffocating visual charm. Zack Snyder used blue and green screen technology to its extreme, crafting CG composite visuals with a charm that transcends realism.
Its dark and warm tones, splashing blood droplets, and rolling dirt are all repeatedly emphasized. Freeze-frame shots appear constantly amid the shifting rhythm of slow and fast cuts, easily stirring the audience's emotions. The film incorporates nearly all known techniques of visual tension, making the audience eager to keep watching.
And of course, there's no shortage of tall, strong men with eight-pack abs who shine like Hercules when they run. Every time the camera focuses on these men, you can occasionally hear female viewers screaming in the background…
As an epic film, it naturally doesn't lack intense war scenes.
In the Spartans' repeated repelling of enemy assaults, the brutal carnage suffered by the Persians is beyond words. The three hundred men are almost portrayed as god-like warriors—dealing with regular enemies is like chopping vegetables. In this harsh, bloody battle, the Spartan warriors faced death without fear, fighting until they shed their last drop of blood.
This is a film where gentleness is basically nonexistent. The screen is filled with broad shoulders, bulging biceps, and rivers of dismembered limbs.
300 doesn't need tenderness; all it has to offer is strength and resilience.
The film's features are extremely distinctive, but its flaws are just as obvious.
Because the visuals and pacing are so gripping, most viewers are unlikely to retain a deep impression of the characters or their personalities afterward. Even the protagonist Leonidas may not leave a stronger impression than Gerard Butler's exaggerated muscles.
Performance leaves only a faint trace in this film.
However, for a commercial movie, that doesn't really matter nor will it provoke the dislike of mainstream audiences.
Technically speaking, 300 uses the industry's most mature blue/green screen plus CG computer effects. The complex multi-layered visual compositions even surpass Iron Man in some respects.
Especially the frequent use of fast and slow motion transitions Zack Snyder pushed to the limit a technique Duke often used in his early years.
What makes a good movie?
If we're speaking from the angle of artistic depth, then 300, which wins through flashy techniques, definitely doesn't qualify as a good film.
But for most viewers, as long as they get what they want from a movie, that's enough. What these people want are spectacles and blood-pumping sensations. If it feels exhilarating, it's a good movie. You can't expect every film to reflect real-world issues, can you? The mainstream audience just wants simple entertainment.
From this perspective, 300 is a good movie.
Not just Duke Zack Snyder himself has always positioned himself as a commercial director.
Naturally, box office results are what they care about most. So when 300 opened in North America with a $71.88 million weekend, criticism or praise became less relevant.
What mattered was that the film had achieved tremendous commercial success.
With The Matrix Reloaded, The Matrix Revolutions, and 300 all succeeding in quick succession, Zack Snyder instantly became a red-hot director.
In the end, this industry relies on commercial performance. Even the most artsy films are funded by studios not for the sake of art but for the pursuit of profit.
"Zack has already become a very successful director."
Inside the banquet hall, before the event began, many people from Duke's team gathered and chatted casually. "Later on, Wallace Lee also got a chance to direct on his own. Though Underworld only made over $60 million in North America, it turned a profit through overseas markets and home video rights. I hear a sequel is already in development."
At this point, Tina Fey glanced at Anna Prinz. "Don't you want to direct on your own?"
Having worked together for many years, Anna Prinz understood Tina Fey was just making casual conversation and responded directly, "When I first entered the film industry, I really wanted to become a director who could helm big productions. But after more exposure, I realized the pressure is just too immense—so great it can break a person."
She laughed. "I don't want to carry that kind of pressure. Let Duke handle the heavy lifting. I'm happy just being able to do my job easily."
"Anna's goals are way too simple." Scarlett Johansson walked in from outside, just in time to hear the last sentence. She pulled over a chair and sat beside Tina Fey, saying, "Simple goals make it easier to feel satisfied and happy."
"Are you talking about yourself, Scar?"
Now slimmer after losing weight, John Schwartzman still sat on a wide lounge chair. He gestured with his hand about four feet off the ground. "The first time I filmed you, you were only this tall."
"Do you want me to call you uncle, John?" Scarlett turned her head and raised an eyebrow at him. "Mr. Schwartzman?"
John Schwartzman had suffered plenty at Scarlett's hands in the past, and he quickly shook his head. "Just call me John, please."
After joking around for a while, Anna Prinz couldn't help but ask curiously, "Where's Duke? He said he'd be treating us today. Why hasn't he shown up yet?"
"He was going to come over with me just now," Scarlett Johansson explained. "But on the way down the stairs, he got a phone call and went back to the study. Seems like something urgent."
She picked up the silver pot and poured coffee for everyone, saying, "Don't worry about him, let's talk about dinner. Duke recently hired a Chinese chef. His Chinese cuisine is quite unique—be sure to give it a try later."
Dinner was still being prepared. The chef Duke hired was a second-generation immigrant, capable of making dishes that stayed fairly true to traditional Chinese flavors, but also good at preparing Westernized Chinese food.
Naturally, Duke had the chef prepare Westernized Chinese dishes.
Upstairs in the study, Duke was on the phone with Rupert Murdoch. The media tycoon was being very polite, because those proposals Duke had made back then were now yielding tremendous results.
On his way downstairs, Duke had received confirmation from Time Warner: the delegation formed jointly by Time Warner and News Corporation had concluded negotiations with the far side of the Pacific, and a formal investment agreement would be signed on July 1st.
Over a year's efforts had finally paid off. While Duke was relieved, he was also very pleased. This meant that the vast market across the Pacific had now opened its arms to him and his films.
After returning to the study and exchanging a few words with Doug Walter, Duke received another call—from Rupert Murdoch.
The Australian-born media mogul didn't say much, but his tone was laced with excitement. The Warner-Fox Grand World investment negotiations had concluded successfully, and the ripple effects for News Corporation were already visible. Phoenix TV, owned by News Corp, would enter the TV market across the Pacific in the coming year as a satellite channel.
Although there would surely be a slew of restrictive policies and regulations, for Rupert Murdoch—who had been trying to break into that market since the 1990s—it was the fulfillment of a long-cherished dream.
And entry meant more opportunities.
Just like what Hollywood had been doing all along—the market had to be cultivated; it never formed naturally.
Finally, Rupert Murdoch extended an invitation to Duke to join him across the Pacific to witness the official signing of the Warner-Fox Grand World investment agreement.
Duke would be on vacation for the entire month of June. In July, he would officially begin preparing for his new film The Dark Knight. For a movie like that, a year was extremely tight—there was a mountain of work waiting for him.
So, after a brief consideration, Duke declined Rupert Murdoch's invitation and instead sent Tina Fey to go in his place.
Naturally, Doug Walter would also be going, representing Time Warner Group.
The market across the Pacific was worth this level of attention.
After finishing those phone calls, Duke left the study and first went to the kitchen. Seeing housekeeper Emma was there, he felt at ease and went on to the dining room.
The spacious dining room was decorated in a futuristic sci-fi style. The dozen or so people seated around the dining table were mostly core members of Duke's team. Not long after he came down, Sofia Coppola and Zack Snyder also arrived.
This team wasn't without its internal frictions—for example, Zack Snyder and John Schwartzman had likely spoken less than ten times in private over the past decade—but everyone knew clearly that they were not only collaborators but also deeply tied together by shared interests.
Conflicts only ever arose in private and never surfaced when teamwork was needed.
This had a lot to do with Duke's working style. From the beginning, he had understood that maintaining team collaboration through personal friendships was very unreliable. Tight contracts and mutual interests worked much better in this profit-driven industry.
Even those who had gone independent still maintained close contact and cooperation with Duke. What dishes were being served at this dinner wasn't important—what mattered was that these people were working together now and would continue working together for a long time to come.
Their next collaboration would be called The Dark Knight.
.....
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