IMAX's DMR conversion technology had successfully secured a patent, and Dunn Studios was pushing to bring the first Hollywood IMAX-format blockbuster to life—Pirates League: Curse of the Black Pearl.
Both Spider-Man 2 and Pirates League: Curse of the Black Pearl were Dunn Studios' massive summer releases this year. The former hit theaters on May 3rd, the latter on July 3rd.
To hype up Spider-Man 2, Dunn Dunn and Natalie Portman recorded a song together and shelled out $5 million to produce a blockbuster music video.
But Dunn wasn't about to play favorites. He was a producer on both films, and for Pirates League: Curse of the Black Pearl, the big selling point was IMAX's giant screen!
Even if it was just a post-conversion, IMAX was IMAX. Twenty years from now, it'd still deliver a jaw-dropping experience—let alone in 2002.
Once it launched, it'd take America by storm, no question!
After "portfolio investing" and the "blockbuster strategy," Dunn was gifting Hollywood a third game-changer—IMAX-format films!
Once IMAX took off, it'd spark a boom in IMAX theaters, higher ticket prices, and bigger box office hauls.
This time, Dunn was literally handing Hollywood a paycheck!
New order, new model, new power—new Hollywood!
Changing Hollywood wasn't just talk for Dunn—he was doing it himself.
Post-production on Pirates League: Curse of the Black Pearl wrapped four months ago. Now, director Tim Burton was juggling two things: overseeing the IMAX conversion and diving deep into IMAX cameras.
He'd already gotten his hands on some converted footage and screened it in an IMAX theater. It was a whole different league from regular cinemas!
Tim Burton was a tech geek—pretty much the top dog in stop-motion animation in Hollywood today. But in front of IMAX's giant screen, he was hooked.
When Dunn swung by to check things out, Tim blurted, "For the next Pirates, I'm shooting straight with an IMAX camera!"
Dunn laughed. "Those clunky, heavy cameras aren't exactly easy to handle."
Tim smirked. "Didn't you preach standout effects? I've got it figured out—key shots with the IMAX camera, regular scenes with standard ones, then convert it in post."
Dunn choked on that one and shrugged. "Alright, looks like my blockbuster theory's really sunk in."
Tim Burton had a weird streak. Suddenly, he lowered his voice. "Dunn, IMAX is incredible. I'm telling you, Hollywood's future can't live without this tech. But those cameras are way too bulky—why not improve them?"
Dunn dodged it. "Sure, I acquired IMAX, but they've got independent control. I don't meddle in their operations."
Tim shook his head. "That's no good! Camera tech's complicated. IMAX is a small outfit—stick to service and support, I say. For equipment R&D, team up with a big player like Sony. Their camera tech's top-notch."
Dunn was so annoyed he wanted to kick the guy.
Of course he knew partnering with Sony would fast-track upgrades, making IMAX cameras lighter and easier for directors to wield.
But that'd mean sharing top-secret tech!
This was a patent! Money on the table!
IMAX's future profits hinged on patent fees and camera sales or rentals.
If they teamed up with Sony, who'd get that cash?
Plus, Dunn had donated the "Dunn Walker IMAX Technology Research Center" building to USC, where they'd launch IMAX-specific tech courses.
He wasn't about to plant a tree just for someone else to enjoy the shade!
Tim was sharp and knew Dunn's angle but brushed it off. "You've got plenty of money already. What's the harm in sharing IMAX tech? Besides, if IMAX cameras replaced the old ones, would IMAX's revenue really shrink?"
"Enough!" Dunn's face darkened, cutting him off. "Tim, stick to your job!"
"Ugh, capitalist," Tim muttered, shaking his head in disappointment.
"Please, use this capitalist's tech to chase your cinematic art, Director Burton!" Dunn shot back.
Tim froze, then cracked a grin. "Fair point, I guess."
…
Next up, Dunn was headed to Sillywood Animation Studios. Tosca Musk had practically demanded he drop by to check on Bone Treasure Adventures and give feedback.
He sat in the car, eyes closed, lost in thought.
In today's explosion of entertainment options, new film tech was the best way to lure audiences back to theaters.
Tim Burton had only converted one film to IMAX, and he was already obsessed with the tech.
Hollywood's growth often hinged on its directors.
George Lucas brought CG to the mainstream. Robert Zemeckis pioneered motion capture. Christopher Nolan made IMAX a global sensation. James Cameron lit up 3D films. Michael Bay was the first to shoot IMAX 3D straight.
Even Ang Lee, clueless about tech, boldly innovated with 120-frame films.
Every ambitious director backed new film tech relentlessly, risking failure to test it in their own movies.
Lucas's Star Wars soared. Zemeckis's Polar Express flopped. Cameron's Avatar triumphed. Ang Lee's Billy Lynn tanked…
Dunn's eyes snapped open. He called James Cameron.
After Unsinkable netted Cameron a $200 million payout, he was buzzing, ready to chase his grand vision. He'd stormed off to research 3D tech for a documentary.
Dunn told him Dunn Studios would pay $50,000 a year to fund his 3D camera research, paving the way for future 3D films.
Cameron was over the moon—like a kindred spirit had found him.
It wasn't the $50,000 he cared about—it was Dunn Walker's full-on support!
After that call, Dunn dialed Bill Mechanic. "Bill, I've noticed directors are crazy about IMAX tech. DMR conversions lose some resolution and crop the screen. I think in the next few years, Hollywood's going straight to IMAX cameras. That means we've got to lighten them up."
Bill went quiet for a bit. "Tech's not my thing… but if IMAX could, they wouldn't have made those cameras so heavy in the first place!"
"I get it, no pressure," Dunn said. "Point is, film cameras are heavy by nature. Digital ones cut the weight a ton. Digital shooting's the future, and IMAX digital cameras need to be fast-tracked—urgently!"
In his past life, IMAX lagged behind 3D for years. Beyond cost, it was IMAX's strategic missteps.
After Avatar blew up in 2009, 3D films took off. Camera makers raced to build 3D cameras.
Back then, Cameron shot Avatar with two cameras at once.
Later, 3D cameras evolved—one rig, two lenses—way more convenient than Cameron's setup.
IMAX developed 3D cameras too, but they focused on IMAX film 3D cameras!
Already bulky, their film 3D cameras were monstrosities—three people couldn't even lift them!
They needed a cart!
Who'd use that on a set?
IMAX even thought these had potential, designing two models: 3D-15 and 3D-30. Their only use? Filming 3D Hubble telescope shots—because they could sit still.
Hollywood naturally snubbed them. 3D and IMAX formats clashed, forcing one to be converted in post.
Studios picked IMAX for conversion—3D straight shots versus 3D conversions were night and day!
For four years, IMAX screens starved for content. Nolan stuck with IMAX for The Dark Knight Rises, converting to 3D in post, but most films shot 3D and converted to IMAX.
That stalled IMAX's global growth big time.
It wasn't until 2014, when IMAX rolled out lighter digital 3D cameras, that they found their footing.
With a shared 3D-IMAX platform, they swept the world.
In this life, Dunn wasn't letting IMAX repeat that four-year blunder—prime time for new film tech.
They had to start on IMAX digital cameras now, then jump straight to IMAX digital 3D cameras later. IMAX film 3D? Out the door!
Bill said, "Alright, I'll talk to IMAX myself. Film sources dictate format success—with your backing, they'll figure it out fast."
"Film sources dictate format success! Well said, Bill!" Dunn laughed, giving him props.
Bill paused, then lowered his voice. "Dunn, heard the latest from Columbia Pictures?"
"Nope—what's up?"
"They've confirmed it: Bad Boys is getting a sequel. Producer and director? Jerry Bruckheimer and Michael Bay."
Dunn's face went ice-cold. "Disney fired Jerry Bruckheimer, and Columbia still hired him?"
"Maybe that's exactly why Columbia could greenlight it so smoothly," Bill said.
Dunn sneered. "Looks like they really took my warning as a breeze."
Bill's tone grew heavy. "It's public now, and Sony Pictures is all in on Bad Boys 2. Even if you step in, it probably won't stop them."
"Stop them? Why would I?"
Dunn's lips curled into a sharp, cold smirk. "I gave them one chance—don't make Bad Boys 2, don't use Jerry Bruckheimer or Michael Bay. They didn't listen. Well, they can't blame me now!"