"On July 1st, the movie *Independence Day*, with a production cost of 100 million dollars, was released in North America as scheduled..."
In the studio used for the live broadcast, Gene Siskel sat on the couch in front of the camera and said to Roger Ebert across from him, "After the film’s release, it faced unanimous negative reviews across the United States. Some media and critics even gave it zero ratings. Duke Rosenberg, who had been smooth sailing up to this point, encountered significant trouble."
As if Duke’s films had become unpopular, he asked, "Roger, can you analyze the reasons behind this?"
"The failure Duke Rosenberg encountered was actually caused by multiple factors."
As if he were the most authoritative expert in the film industry, Roger Ebert began his analysis calmly. "Let’s start with the film itself. *Independence Day* has severe problems with its plot and structure."
"Anyone who has seen the movie or even the trailer should notice that *Independence Day* is yet another alien story, and once again, it’s about the fantasy of America saving the world. Aliens invade, the world falls into panic, and with the American president at the core, humanity fights back against the aliens, eventually bringing peace to the world. This kind of cliche has persisted in Hollywood for too long!"
"And this one is the worst I’ve ever seen, with a thin plot, gaping holes, flat dialogue, and simple special effects!"
Siskel timely asked, "Roger, can you give a few examples?"
"The most typical one is about using a computer virus to disable the aliens’ shields. Anyone with a bit of knowledge about computers knows that viruses are based on the architecture of a computer system. Are we to believe that the aliens’ systems are the same as ours? Do they use DOS? Or Intel’s CPUs?"
"Additionally, the film’s emotional appeal is cheap and crude..."
With Siskel’s assistance, Roger Ebert sarcastically tore apart *Independence Day*, from its plot to its structure, from its logic to its dialogue.
"Duke Rosenberg’s first two films, *Speed* and *The Rock*, received some positive reviews, but *Independence Day* is clearly his Waterloo."
Following the set procedure, Siskel asked again, "Roger, do you think *Independence Day*’s failure is related to a decline in Duke Rosenberg’s directing skills?"
This wasn’t just targeting the film, but Roger Ebert showed no signs of stopping. "I’ve spoken with Duke Rosenberg before, and his issues are clear. First, his overwhelming desire for destruction during filming completely overshadows his pursuit of cinematic art."
He paused slightly, seemingly organizing his thoughts. "Second, it has to do with his personal ideology. It’s easy to see that, for Duke Rosenberg, commercial success and box office results come first, while film quality is secondary."
Without waiting for his partner to ask another question, Roger Ebert continued directly, "Including *Independence Day*, Duke Rosenberg has released three films, and from these three, it’s evident that his filmmaking skills are limited. He keeps using the same tricks, and over time, people naturally grow tired of them."
"Can you analyze that in more detail?" Siskel asked again.
Roger Ebert cleared his throat before continuing, "First, he loves showing off. Flashy camera movements, sharp editing styles, explosive special effects—these are Duke Rosenberg’s most typical traits. They are also what audiences enjoyed about his first two films. They are indeed thrilling to watch, and these elements have become an inseparable part of his cinematic DNA."
"However, his penchant for showing off hasn’t changed in all three films. In contrast, his storytelling ability has evolved, but for the worse! *Independence Day* is a prime example! The story is perfunctory, the characters are flat, and there are numerous logical flaws, all of which make his ’showing off’ increasingly unbearable."
"Second, there’s the overuse of three techniques. From *Speed* to now, it’s been a few years, but Duke Rosenberg hasn’t shown any progress. He overuses slow motion, wide-angle shots, and explosions. Endless explosions—retired cops cause terrorist bombings, the U.S. military rebels also explode, aliens explode too. Everyone is racing to blow things up as much as possible, and then the protagonists, wearing invincible halos, elegantly escape the explosions in slow motion."
"Third, there’s no restraint! For those excessive chase scenes, explosions, slow motion, and special effects, Duke Rosenberg doesn’t hesitate to repeatedly cut down the plot, showing no interest in considering artistry or humanistic concern. Instead, he pushes his show-off tendencies and flamboyant style to the extreme. Take, for example, the shot he’s particularly proud of—a bomb dropping from an F-18 Hornet onto Alcatraz, triggering a massive explosion. He calls it the ’bomb’s-eye view,’ but it’s really just him amusing himself with his explosion games."
Through cable television, this show reached many people. Some thought Roger Ebert made some valid points, especially viewers over forty who often followed his reviews. Others felt he was nitpicking for the sake of nitpicking, particularly those in their twenties.
"It’s just jealousy. I love explosion films and fast-paced movies. Who can do it better than Duke Rosenberg?"
A young viewer in front of the TV muttered, "These critics are just a bunch of high-level complainers. They think they’re sophisticated, but they don’t even know what they’re talking about."
Another person said, "If you watch a movie with jealousy and bias, you won’t enjoy it, no matter how many times you watch."
Everyone has different opinions on things, but people are inevitably influenced by the surrounding public discourse. It’s hard to say what kind of impact Roger Ebert’s show would have on Duke and *Independence Day*.
Around midnight, a female reporter from the *Los Angeles Times*, Sarah, said goodbye to Duke and Nancy as she left an upscale restaurant, then drove straight back to the newsroom. She needed to complete the assignment from her editor overnight to ensure it would be in tomorrow’s paper.
Her fingers fell on the typewriter keys, producing crisp sounds. Sarah found herself somewhat regretful, realizing that her dream of becoming a film critic might end up on the opposite side of the critics this time. Her dream of being a critic might even shatter.
But she couldn’t afford to think too much about that now. This media job was her livelihood.
It was only at midnight that Sarah handed in her rushed article to the editor. The editor quickly laid it out, adding it to the prepared space, then sent it to printing houses scattered across the country. Soon, copies were printed and distributed to users all over North America.
Having coordinated with the production and distribution company in advance, Duke hadn’t participated in North American promotional events like the other actors. Instead, he focused on the ongoing public opinion war.
As the sun rose over the horizon on Sunday morning, casting light on the beaches of Santa Monica, Duke ran along the coastal road and entered his home. He went upstairs to shower, changed into fresh clothes, and headed downstairs. His mother was already seated in the dining room, waiting for him to join her for breakfast.
"Good morning, Mom," Duke said as he sat down and picked up his knife and fork. "Are you heading to New York today?"
"Yes..." his mother nodded. "New York is the fashion capital of North America. Saint Fia’s business is shifting to the East Coast."
"You could hire a professional manager to run the company," Duke suggested.
"I’m not ready to retire yet," Mrs. Leah quickly dismissed the idea. "And besides, there’s nothing much to do after retiring."
Knowing his mother’s personality, Duke didn’t say more. He turned to the maid and asked, "Ellie, has today’s *Los Angeles Times* arrived? Ah, thank you!"
The maid quickly handed over the newspaper. Duke turned directly to the entertainment section, where the front page headline featured his interview.
Normally, Duke didn’t pay much attention to media reviews of his work. A commercial director like him wouldn’t get favorable reviews from professional media. But today was different—this marked the start of a public opinion war!
"The tall and robust Duke Rosenberg exudes an unstoppable aura in his every gesture. Even in conversation, he conveys a sense of fearlessness. This *Los Angeles Times* reporter met this Hollywood director in his Santa Monica studio. You can completely imagine Duke Rosenberg as an undefeated fighter, like a bull reigning supreme in a Madrid bullring. In the entertainment industry, he is a master at crafting destructive spectacles..."
"When our conversation turned to *Independence Day*, which had a production budget of 100 million dollars, the 24-year-old Duke laughed off the pressure he was under—’In the film industry, if a director wants to make a name for themselves, they need to thrive on pressure and adrenaline’—his exact words."
"When asked why he made *Independence Day*, his answer was simple—’I just want to entertain the masses and bring pure, simple joy to the audience.’"
"When asked why his films always featured so many special effects, Duke Rosenberg gave an unexpected explanation—’Nowadays, anyone can watch movies on a VCR or TV. What makes you think you can get people into theaters just to see your film?’"
"Endless explosions, deafening noise, thrilling chases, the destruction of iconic landmarks around the world, interspersed with humorous banter—these are the reasons why many viewers enjoy Duke Rosenberg’s films. His first two movies, *Speed* and *The Rock*, were massive successes, and *Independence Day* is no exception. After grossing $22.45 million on Friday, the film took in another $24.29 million on Saturday. It’s no problem for it to be a big hit."
"However, the film’s professional reputation seems to be a bit troublesome, and the reporter also specifically asked Duke Rosenberg about his views on the fierce criticism from film critics..."
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