Chapter 387: Overwhelmed (16)

Translator: Santos

A cinematic universe: by definition in the film industry, it refers to a shared world in which various films take place. Characters and plots within each movie may differ greatly, yet they all exist within the same overarching world. This shared approach isn’t limited to films; comics, animations, novels, and other media have adopted similar structures.

Of course, with this setup, the term “cinematic” sometimes drops out, yet the concept remains clear.

Columbia Studios’ planned cinematic universe project had been a familiar notion in the global film market, including Hollywood, for quite some time. Many studios had attempted such projects, with several achieving notable success.

However, cinematic universes rarely succeeded solely through film.

The difficulties are many: the staggering complexity of production, colossal budgets, casting continuity, and the extensive timelines involved. Launching a cinematic universe isn’t simply about making one film; it’s about managing an entire interconnected project simultaneously.

One film’s failure can’t stop the entire project.

The challenges extend to actor contracts as well. If a cast member needs to be replaced, continuity falters, and audience interest often drops significantly. Furthermore, Hollywood’s high-paid stars can’t be casually swapped at will. Yet, despite these layers of challenges, a successful cinematic universe can yield monumental profits and brand influence.

Even so, it’s no easy feat. Nearly impossible, some might say.

And here was Columbia Studios, daring to take it on. Hearing the scope of the project, Director Ahn Ga-bok’s initial reaction was one of amazement.

“No matter how big Columbia Studios is... This is remarkable.”

It was both astonishing and commendable. Deciding on a cinematic universe could make or break a studio, dictating its fate for years to come. Even as part of Hollywood’s Big Five, this was a serious gamble.

As Ahn Ga-bok processed the information, his mind shifted to a different angle.

“So *The Pierrot* becomes *The Pierrot: Birth of a Villain,* and Henry Gordon serves as the first villain of this new universe... The title makes sense.”

To Columbia Studios, the film *The Pierrot* symbolized the beginning of their cinematic universe. It would serve as an introduction to global audiences, a declaration that “We are launching a cinematic universe, with its first villain born in *The Pierrot*.”

Lost in thought, Ahn turned back to the executives sitting across from him. His English wasn’t perfect, but it was functional enough to ask the key question:

“If this is such an important decision, why are you only telling me now?”

It was a reasonable question. As *The Pierrot*’s confirmed director, Ahn Ga-bok would naturally have to reshape his approach with the cinematic universe in mind. In other words, it was late notice. The bald executive responded:

“We apologize, but we had reasons. Until recently, we hadn’t finalized whether to include Henry Gordon in our cinematic universe or keep him as a standalone character. The decision to launch him as our universe’s flagship villain was made recently.”

Issues with contracts, storyline coherence, and character rights had plagued past attempts at cinematic universes. Many characters were shared across different franchises, yet only a few ultimately became central to the overarching project. The bald executive’s explanation was calm and thorough, lasting around ten minutes.

In short, Columbia Studios had begun developing its cinematic universe years prior, with multiple characters and storylines already sketched out alongside *The Pierrot*.

“We plan to release individual character films within this shared universe, culminating in a major crossover film that unites them all.”

Ahn Ga-bok gasped inwardly, realizing the sheer scale and budget required for such a venture. He asked the executive, “So *The Pierrot* will join that crossover film?”

“Of course. That would be the climax of Season 1 of our cinematic universe. There may be adjustments depending on circumstances, but for now, this is the plan. Columbia Studios has high hopes and equal concerns riding on *The Pierrot*.”

Listening quietly, Ahn couldn’t help but feel both honored and burdened by the responsibility. Here he was, a veteran director from Korea, positioned at the forefront of a colossal project that could take Hollywood, and potentially all of Asia, by storm.

“And if... if Woo-jin wins the lead role...”

With a Korean director and actor taking the lead in Columbia Studios’ most ambitious project, it would undoubtedly go down in Hollywood history.

As Ahn’s imagination spiraled into the possibilities, the bald executive spoke up once more.

“We’ll inform you of additional details as they become relevant. Rest assured, any available information will be shared. By the way, the performance of *The Pierrot* may lead to future director offers for you in the cinematic universe. We ask that you bring your best to this project.”

“I certainly will.”

“Thank you. Since *The Pierrot: Birth of a Villain* is crucial to our plans, we expect a large turnout for the public audition and screen test.”

From his tone, it seemed likely that Columbia Studios’ higher-ups would be in attendance.

“Of course, all details discussed here are confidential.”

---

Meanwhile, Woo-jin plunged into a rigorous schedule. With *The Beneficial Evil* Part 1 wrapped, his filming obligations had decreased, yet his workload hadn’t eased. A flood of commitments—commercial shoots, interviews, radio appearances, social media content, charity events, and various fan meetings—filled his calendar.

Woo-jin sighed to himself. “This is somehow tougher than filming.”

Even public events were piling up. For instance, his recent charity donation of 200 million won to support underprivileged children in Jinju made headlines, as did his plans to attend a charity event. On top of that, he couldn’t neglect fan engagement.

> *"[In the News] Woo-jin Connects with Domestic Fans Before Hollywood Debut, New Year Fan Meetings Planned."*

Alongside the fan meetings, Woo-jin’s days filled with overseas promotions, covering Japan and Korea.

Time flew by. With filming as his primary focus, other events could usually be cut back. But now Woo-jin was handling every commitment himself. Not that CEO Cho Seong-geon pressured him; in fact, Woo-jin had requested it. He wanted as much wrapped up as possible before heading to Los Angeles on the 20th.

At least he had his ace: the “pocket dimension,” where he could escape to recharge whenever he found a spare moment in his packed days. With his exhausting schedule, the days sped by. Ten days remained until his departure to LA, and his latest two films, *Strange Sacrifice* and *Symbiotic Leech*, continued to thrive.

In Korea, *Strange Sacrifice* dominated ticket sales:

> *Korea Box Office - Daily Audience Count*
> *Strange Sacrifice (Release Date: December 21, 2021) - 620,132 Viewers, Cumulative: 10,810,338*

And in Japan, *Symbiotic Leech* mirrored its success:

> *[Movie Talk] Japan Release of *Symbiotic Leech* Surpasses 10 Million Viewers!*

Together, the two films passed 30 million viewers. The intense interest in Woo-jin’s contrasting performances in each film drove audiences across both countries to theaters, and the industry buzzed with excitement at each day’s new records.

> *"Woo-jin’s Films, *Strange Sacrifice* and *Symbiotic Leech*, Surpass 30 Million Combined Viewers in Korea and Japan! How High Can They Go?"*

---

At DM Productions in Korea, the team met to discuss the international Netflix launch of *The Beneficial Evil*. Netflix Korea’s head director, Kim So-hyang, and key production staff gathered around a table in the large conference room. Director Song Man-woo, now visibly exhausted from editing Part 1, ran the meeting with barely a moment’s break.

Concerned, writer Choi Na-na asked him, “Director, are you really okay?”

With a laugh and a swig of canned coffee, Song replied, “Not at all.”

“So maybe you should see a doctor?”

“Already did.” He tapped his arm. “I’ve had several rounds of IV fluids.”

The intense editing had taken a toll, but Song reassured them, “No need to worry. I’ve survived tougher schedules. *The Beneficial Evil* Part 1 will be ready in less than three weeks.”

Kim So-hyang nodded, “We trust you. Everything looks set for the February 3 release.”

The release date was set, though kept under wraps as a precaution. Song, an industry veteran, was not the type to let a project fall behind.

“Editing Part 1 alongside filming has helped speed things up, so February 3 should be smooth sailing. How’s the promotional schedule shaping up?”

“All ready,” replied Kim. “Domestic and international campaigns, YouTube teasers, social media hooks—everything’s prepared. When do you expect the first teaser?”

Song replied, “With Woo-jin and Miley Cara in the spotlight, now’s the perfect time. We should have the first teaser ready in a few days.”

As the meeting concluded, Song offered, “Though it’s not finished, would you like a sneak peek at a few scenes from *The Beneficial Evil* Part 1?”

It was an enticing invitation, and the team eagerly gathered for a preview, setting the tone for what they hoped would be an explosive launch.