Director in Hollywood

More than halfway through the film, the rescue team, after many dangers, finally finds the real James Ryan.

Leonardo DiCaprio, seeing his character finally appear, was overjoyed.

While watching the first half, he had already sensed the storm this movie would stir up during this summer season. Thinking about being part of such a project, Leonardo felt truly honored.

Roger Ebert was jotting down notes about the film's characteristics.

It was evident that Gilbert knew how to manipulate the audience's emotions and keep them from feeling bored.

The steady and powerful dramatic scenes, combined with several intense and climactic battles, ensured the movie maintained its depth while retaining the essence of a summer blockbuster.

However, for the film's theme to be fully conveyed, it undoubtedly needed a final battle, and sacrifices were inevitable.

In Roger Ebert's view, a director creating this type of film could only use the bloody and thrilling aspects of war to captivate the audience.

Doing so would at best make one a first-rate director but not a top-tier film master.

To reach the level of a film master, Gilbert needed to focus on human emotions and the human condition, enabling audiences to see the brilliance of humanity, inspiring them to cherish peace and reject war.

Sure enough, before the final battle, the members of the rescue team reminisced about their peaceful lives, as though bidding farewell to the audience in the theater.

In the climactic battle, one by one, the rescue team members sacrificed themselves.

Facing the Tiger tank, Captain Miller raised his pistol for a futile counterattack. In the end, a fighter plane arrived and destroyed the tank.

James Ryan could return home, but at the cost of the rescue team.

Was this exchange worth it? Every viewer asked themselves this question. Some believed it was not—after all, it was a simple math problem.

Others thought it was worth it—a matter of values, at least choosing to hope for something good.

"Don't let everyone down," Captain Miller, leaning against a bridge pier, said to James Ryan before his death. "Live a good life."

Captain John Miller wasn't a protagonist with plot armor; he was a civilian hero.

Before the war, he was a schoolteacher. After war broke out, he joined the army without hesitation. Such individuals like John Miller were not uncommon during that time.

Many in the audience shed tears. Emmanuelle Béart, while wiping her tears with a tissue, said to Sophie Marceau, "I know it's sentimental, but it's still moving."

"Indeed," Sophie Marceau sighed. "Gilbert has done an outstanding job. He's brought us a war movie destined to be etched into history."

Luc Besson, with his nose a bit sour, viewed the film more from a production perspective.

Having seen Gilbert's earlier works, he could tell that this film represented a significant shift for him—and he had done exceptionally well.

Clearly, the transitioning Gilbert had delivered a film with profound philosophical depth and immense discussion value.

This is something only a top-tier film master could achieve, and now Gilbert was well on his way to becoming one.

Harvey Weinstein, however, felt a touch of helplessness. Such an excellent film would undoubtedly be adored by the Oscar committee.

Unfortunately, the film wasn't distributed by Miramax. All the credit would go to Touchstone Pictures.

Oh, and Michael Ovitz.

Michael Ovitz didn't attend the premiere; he was busy dealing with the Paris municipal government.

He had already seen the film during an internal screening. The exceptionally high quality of the film left him very reassured.

To expand Disney's influence, Michael Ovitz planned to attend the Cannes Film Festival in a few days, leveraging Saving Private Ryan's momentum.

This excellent film deeply moved many in the film industry, not to mention the general audience.

Though the film's bloodiness made some female viewers uncomfortable, its emotional ending left them in tears. The journalists who observed this had already decided on their headlines.

"Gilbert's New Movie Makes Audience Cry..."

Or, "Movie So Spectacular It Leaves Audience in Tears..."

Such headlines, however, didn't quite hit the mark—they lacked the sensationalism typical of good journalism.

If Gilbert were writing the headline himself, he'd go with something like:

"Shocking: Gilbert Did This to the Audience at the Premiere..."

This kind of title would immediately grab attention, especially from those unacquainted with clickbait.

Of course, for a film as profoundly meaningful, filled with large-scale action sequences and brilliant battle scenes as Saving Private Ryan, it didn't need such gimmicky headlines.

For this film, being upright and taking the conventional route was the most appropriate approach.

It's a commercial film with a serious nature, unsuitable for gimmicks or absurd marketing stunts.

"Dear Mrs. Ryan,

I am thrilled to inform you of good news: your son, Private James Ryan, is safe and returning from the European battlefield.

James demonstrated devotion to duty, outstanding courage, and unwavering perseverance.

Even after learning of his brothers' deaths, he continued to fight in the great war against tyranny and oppression.

On behalf of the War Department, the U.S. Army, and the American people, I extend our best wishes to you and James for your health and happiness.

Though the safe return of your son cannot erase the grief of losing loved ones in this tragic war, I wish to share with you the words that have sustained me in moments of sorrow and despair:

'May the Almighty ease your grief and consecrate your memory of the dearly departed, for their sacrifice for freedom was noble and profound.'

Respectfully,

Abraham Lincoln

Yours sincerely,

General George C. Marshall, Chief of Staff."

As the film's final moments unfolded through General George C. Marshall's letter to Mrs. Ryan, the story transitioned from the dramatic battlefields of Normandy to the pastoral serenity of a farm, then back to James Ryan's face.

He looked back in the direction he came from—towards the road home.

Audiences could clearly sense the film's color palette becoming brighter, gradually warming as James returned home carrying the hopes of the rescue team.

The transition was seamless, moving from the younger James Ryan to his older self. Once again, Gilbert's father made an appearance.

With his family standing at a distance, the elderly James Ryan gazed at Captain John Miller's gravestone. The camera panned across the cemetery filled with countless white headstones—each representing a life sacrificed for the country.

James Ryan made an emotional confession to the gravestone:

"I think of what you said on the bridge every day. I've tried to live a good life. I hope it was enough.

I hope it at least makes you feel I didn't waste everything you did for me."

James Ryan's wife approached and read the name on the gravestone aloud:

"Captain John H. Miller."

James Ryan then turned to his wife, saying, "Tell me I've lived a good life."

"What?"

"Tell me I'm a good man."

His wife glanced at John Miller's gravestone, wiped away James Ryan's tears, and said, "You are a good man."

In the final moments of the film, James Ryan saluted the gravestone. The camera lingered on it, the background adorned with a fluttering American flag. The movie ended.

"A Film by Gilbert."

"Produced by Melon Film Studio."

These few words appeared as the credits rolled, marking the conclusion of the film.

The ending was understated, yet this simplicity eased the sadness brought by the rescue team's sacrifices.

As the credits appeared, thunderous applause erupted in the premiere hall.

Gilbert, accompanied by the entire cast and crew, took the stage to bow. The applause was so enthusiastic that they had to bow three times before it finally began to subside.

"He always finds success," Tom Hanks remarked to the key members of the production team as he watched the audience, who were visibly moved amidst the applause.

Leonardo DiCaprio was visibly excited. "I'm thrilled to have been part of such a remarkable film…"

The film's exceptional quality had far surpassed Leonardo's expectations. He felt that the role of James Ryan could earn him one or two award nominations.

Hearing the conversation between the two lead actors, Gilbert turned around and said, "Leo, you'd better prepare yourself. When the film is released, you're probably going to get criticized."

Leonardo dismissed the idea. "If I get criticized because the film's bad, then I need to reflect on my own performance. But if it's because of the character, that just proves the film struck a chord with audiences."

The premiere concluded, and the film was set to be showcased at the Cannes Film Festival next.

To align the release schedule, major European markets and North America had all chosen May 4 for the film's release, ensuring European audiences wouldn't have to wait long.

After wrapping up the media and audience interaction, Gilbert received waves of congratulations.

Harvey Weinstein shook hands with him. "Congratulations, Gilbert. You've made a film that can truly be called a classic."

"Thank you, Harvey. I appreciate you attending the premiere," Gilbert replied politely. Whatever his opinions, he couldn't afford to slight Weinstein on such an occasion.

Harvey leaned in and said, "You know, I think this film has a strong shot at winning Oscars. If you let me handle the publicity, it's bound to sweep the awards."

"Thanks," Gilbert politely declined, "but someone's already handling the film's publicity."

"Is that so?" Harvey looked disappointed. "That's a shame. It seems we'll be rivals at the Oscars next year."

"May the best man win."

"Indeed, may the best man win."

After Harvey left, Luc Besson approached Gilbert. "Congratulations. The film is even more spectacular than I imagined."

Gilbert replied, "Ultimately, it all depends on how it performs in the market."

"You're not aiming for awards?" Luc Besson asked.

"Of course I am, but I'd rather the market embrace the film. At the very least, I hope the box office isn't too disappointing."

Luc Besson admired Gilbert's straightforwardness and gave him a thumbs-up. "You're impressive. You know what you want and stay focused on it. I should learn from you."

"Let's learn from each other…"

After Luc walked away, Sophie Marceau approached with Emmanuelle Béart. "What did he say to you?"

"He said he wanted to learn from me," Gilbert replied dismissively. Then he turned to Sophie. "Are you free in a few days to attend the Cannes Film Festival with me?"

"Of course I'm free," Sophie replied, understanding that this was a valuable opportunity to appear alongside Gilbert. She pulled Emmanuelle along and added, "Why don't we both accompany you? We could also…"

"Also what?"

"You'll find out when the time comes. See you at Cannes."

Emmanuelle managed to say a few words of congratulations before Sophie dragged her away.

Finally, Roger Ebert had a moment to speak with Gilbert. "I must congratulate you, Gilbert. You're on the path to becoming a true master of cinema."

"Thank you, Roger. You've always supported my films," Gilbert said.

"No need to thank me. Supporting your work has also earned me a lot of recognition, especially among younger moviegoers," Roger said candidly, not hiding the fact that his praise for Gilbert's films was partly for his own benefit.

Gilbert smiled and took the opportunity to ask for a favor. "During awards season, I hope you can put in a good word for me."

"Of course," Roger agreed without hesitation. "But you know, Gilbert, it's not easy to win an Oscar on your first try."

"I'm not asking for much—just a nomination. I think the film has a shot at Best Picture," Gilbert replied.

"It certainly does. If the Academy doesn't give you Best Director, they'll likely award Saving Private Ryan Best Picture. Even Tom Hanks has a strong chance at Best Actor," Roger analyzed.

For actors to contend for Oscars, it often required both a strong film and active publicity efforts.

Of course, if someone like Harvey Weinstein handled the publicity, winning an Oscar would become much easier.

Gilbert, however, had refused to collaborate with Weinstein. While Hollywood was rife with questionable characters, Gilbert didn't want any professional dealings with him.

As for the Oscars, while they were important, they weren't the ultimate goal.

The true aim of Saving Private Ryan was the summer box office.

After the premiere, most of the crew stayed in France to prepare for Cannes, though Leonardo had to return to the set of Titanic.

European media outlets attending the premiere wasted no time publishing their reviews.

France's Cahiers du Cinéma, often critical of Hollywood films, surprisingly gave a fair and positive review—a rarity.

"Saving Private Ryan delivers a profoundly impactful experience. Beyond its stirring narrative and emotional resonance, it stands out for its visceral visual impact.

The film vividly recreates the monumental D-Day invasion of Normandy, immersing audiences in the intensity and brutality of war.

Its grand and harrowing battle scenes, coupled with graphic depictions of violence and carnage, evoke a sense of awe and terror.

Using a documentary-style approach, the film's portrayal of the battlefield is both shocking and deeply moving."

Le Figaro focused on Gilbert himself: "As we applaud the film, let us not forget that it was directed by a young man under 26 years old.

It's astounding that someone of his age could achieve such a feat. This is something French filmmakers should learn from."

The Times highlighted the film's realism and moral inquiry: "The war scenes are strikingly authentic, exploring the meaning of sacrifice and the value of rescue, while advocating for peace.

The film's profound humanistic message and its values are worth reflecting upon and embracing.

We must not forget those who made sacrifices for freedom and peace, and we should carry their spirit forward."

For once, North American outlets lagged behind their European counterparts, as the film had premiered in Europe.

Yet amidst the glowing reviews and fanfare of the premiere, a few discordant voices began to emerge.

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