Director in Hollywood

Once 20th Century Fox's funds were secured, Gilbert led part of the crew to San Francisco for location scouting.

Meanwhile, Charles Roven sought support from the Pentagon, and after script approval, the Pentagon quickly endorsed the film.

Speed had promoted the Los Angeles Police Department, securing its support. Similarly, The Rock, with its themes of military and patriotic spirit, strongly resonated with Pentagon officials, so the crew easily gained their backing.

The support was substantial. The Pentagon provided F-18 fighter jets, M16 assault rifles, military uniforms, bulletproof vests, and other advanced military gear. They also permitted the use of Pentagon locations for filming and sent military advisors and liaisons, including a SEAL team directly participating in the shoot.

Hollywood and the Pentagon had a long-standing relationship; Tom Cruise's breakout film, Top Gun, was a classic example of this cooperation. All equipment was sponsored for free, with the crew only needing to cover labor and fuel costs.

In other words, The Rock was a quintessentially American patriotic blockbuster, demonstrating the importance American institutions place on promotional messaging.

Standing on the famous Golden Gate Bridge, the morning fog still shrouded the structure, making it loom mysteriously in the mist.

Gilbert spoke with the Pentagon liaison: "Major, is it possible for the F-18 to fly under the Golden Gate Bridge?"

Major Hall considered it, replying, "I'll consult with the pilots and get back to you."

Gilbert nodded, deciding that special effects could work if needed.

In San Francisco's ideal September weather, Gilbert instructed the director of photography, Dure Randolph: "Dure, from tomorrow on, have your crew shoot here daily. I need plenty of sunrise and sunset shots."

"Don't worry, Gilbert. I'll handle it myself," Dure assured him.

Gilbert and the team then surveyed several San Francisco streets, noting scenes that would require city government support for filming.

They later took a boat to Alcatraz Island for further scouting. Less than two miles from Fisherman's Wharf, the island was originally named Pelican Island from the Spanish La Isla de Los Alcatraces. It resembled a massive rock rather than an island, with many pelicans roosting on it.

The island earned its nickname, Alcatraz, from the isolation provided by steep cliffs and deep waters, which made access difficult. The federal government established a prison there. During World War I, a man named Philip Grosser, who was imprisoned there for refusing military service, wrote about his harsh experiences in a book titled Uncle Sam's Devil's Island, giving the island its notorious reputation.

Alcatraz Federal Penitentiary closed in 1963, becoming part of San Francisco Bay's iconic landscape alongside the Golden Gate Bridge and Fisherman's Wharf.

It's worth noting that there's a real "Devil's Island" in French Guiana, South America, where an even more infamous prison once operated.

On Alcatraz, Major Hall and other Pentagon advisors discussed topics like setting up positions and conducting special operations, all of which the crew needed help understanding. Though the movie was a commercial venture, Gilbert wanted to avoid glaring errors in military knowledge that could be mocked.

Shooting scenes on the island's surface was feasible, but underground scenes presented challenges. Gilbert, therefore, instructed art director Serena to build sets in a studio.

After wrapping up the San Francisco scouting, Gilbert returned to Los Angeles. In the Alcatraz studio, he reviewed Sofia Coppola's continuity and production schedules, along with Annie Burton's storyboards and scene compositions. He also had discussions with Dure Randolph about filming techniques and with Serena Hafe on the film's visual style, finalizing details one by one.

Sofia Coppola recommended her cousin, John Schwartzman, as the cinematographer. After seeing some of John's shots, Gilbert readily hired him.

Meanwhile, casting was nearly complete, and in mid-September, The Rock announced its lineup.

Roger Moore was cast as Captain John Mason, Nicolas Cage as biochemical weapons expert Stanley Goodspeed, and Ed Harris as General Frank Hummel. While the trio might lack major box office draw, their talent and grit made up for it.

This was Roger Moore's first collaboration with Gilbert. In a media interview, Moore admitted, "When Gilbert invited me, I agreed immediately. In Hollywood, no one would refuse a talented director's offer."

In truth, the media were surprised to see Moore back in action, as he'd mostly retired. However, it seemed retirement was more of a label; in reality, he simply hadn't been offered roles. But with this invitation, Moore agreed to a lower fee just to be part of the project.

Moore's pay cut became a media story, with Los Angeles Business Journal journalist Sarah remarking, "Roger Moore made a smart choice. If the film succeeds, the pay cut will come back a hundredfold."

And would Gilbert's film fail? No one could be certain, but based on his track record, success was very likely.

Nicolas Cage did not mention the story of using models to woo Gilbert, only saying, "I invited him to my home. We talked for half an hour, and he captivated me with the story. I was sold and immediately agreed to the role."

Naomi Watts, who was making a cameo, added, "I watched the story develop and loved it from the start. Even though it's a small role, I was eager to join, and Gilbert agreed."

These interviews were largely promotional, aimed at drawing media and fan interest, announcing the movie, the director, and the cast to build anticipation. The production team organized this PR, and the cast naturally cooperated.

Following the casting announcement, The Rock accelerated its preparations.

Though Gilbert was pleased with the Real Steel composer, his attachment to the original score led him to invite Hans Zimmer, fresh from The Lion King, to compose for The Rock. Gilbert shared the film's story outline with Zimmer and encouraged him to start creating the score with his own vision.

This was Zimmer's first time composing for a Hollywood blockbuster, as his previous work had mostly been on independent films and animation, such as The Lion King.

On seeing the cast list, Sean Connery was furious, lashing out in frustration. With his wife and son avoiding him, he had no one to turn on.

CAA agent Martin Bobb, keeping an eye on Michael Bay's Bad Boys and Mel Gibson's Braveheart, found time to check on Connery. Watching him simmer down, Bobb said, "Sean, wake up. Hollywood no longer needs a washed-up 007. Drop your foolish ideas." Bobb's tone was blunt.

With other stars, Bobb would sweet-talk and be mindful of their feelings, fearing a misstep. But with Connery, who depended on CAA's support, Bobb was his natural assertive self.

Connery, seething, managed to hold back his anger, knowing he couldn't alienate Bobb.

"So, what should I do?" Connery asked.

Having made his point, Bobb offered a solution. "Mel's Braveheart is in development, about Scotland's independence. You've always advocated for that. Joining this film is the perfect chance to push your views."

Connery recognized he had few options and reluctantly accepted Bobb's advice, joining Mel Gibson's Braveheart.

Unaware of Connery's shift, Gilbert continued preparations for The Rock.

After numerous production meetings and progress reviews, Gilbert led the crew to San Francisco to begin filming.

On the drive, Roger Moore asked, "I heard Connery was the first choice?"

Gilbert confirmed, "Yes, but his demands were too high, so we chose you instead."

Moore was pleased, patting his chest. "Don't worry. I'll prove you made the right choice."

Meanwhile, Gilbert's films had been performing well in the Chinese mainland. Real Steel, especially, had fascinated mainland audiences, being among the first Hollywood blockbusters to arrive there. Since its July release, it had earned 11.25 million RMB, making a strong showing.

More importantly, Real Steel had opened many mainland viewers' eyes, showing them a different style of filmmaking from across the globe.

But this was only the beginning. Upcoming releases like The Fugitive, Speed, and True Lies would also reach Chinese theaters.

Especially notable was True Lies, rumored to be uncut. Its release would likely astonish the Chinese audience, still new to Hollywood's approach to action.

Hollywood's entry into the Chinese market was beginning to challenge traditional Chinese-language cinema. The direction Chinese filmmakers would take in the future was up to them.

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