Director in Hollywood

"This shot needs to be shorter to create a tense and thrilling atmosphere."

"No, it should be longer so we can see the heroine's graceful figure."

In the editing room, Gilbert and editor Paul Collins clashed once again. They had been having such arguments frequently recently.

Paul Collins was a trusted employee of Universal Pictures, which reassured them about the film's editing.

Initially, Gilbert only made suggestions and did not intend to argue with Paul Collins. However, as he saw Collins's editing direction deviating from the main line, focusing more on Gwyneth Paltrow's figure and neglecting the film's crucial theme, Gilbert could no longer tolerate it.

"Your editing direction is wrong. This film is about escaping from a shark, and sharp editing is essential.

If you want to make an S film, why not go edit one in the San Fernando Valley?" Gilbert exclaimed.

Paul Collins, however, was indifferent. "Young man, you only have advisory rights; how I edit is my business."

"Editing may be your business, but you're destroying a great movie. I can't tolerate that."

"Then report it," Paul Collins shrugged. "Your actions have already crossed the line. Let's see whom the company will support."

In Hollywood, a new director typically has no say in editing rights and only has advisory rights. Whether their suggestions are accepted is up to others, not the new director.

If Gilbert were older, had more industry experience, and had some reputation, editors might be more inclined to consider his opinions.

But Gilbert was only twenty-one, with experience limited to being an associate director on "Hook." His youth and lack of credentials made him easily disregarded.

While this wasn't evident during shooting, it became apparent in post-production, where the editor's role carried significant weight and could easily keep Gilbert out of the editing process.

Paul Collins, despite Gilbert's suggestions, ignored them and edited according to his own vision. As a result, the film turned into a showcase of Gwyneth Paltrow flaunting her body on the beach and surfing, rather than focusing on escaping from a shark.

Gilbert found this change unacceptable. While Collins could accept the failure of "The Shallows" because of his experience, Gilbert could not. This was his first film, and a failure could jeopardize future directing opportunities.

So Gilbert was bold enough to challenge Collins for editing rights.

If the film failed, there was no telling when Gilbert might get another chance. He had no fallback.

Instead of worrying about offending people, he decided to push forward and seize control. If it failed, he could always invest in an internet company…

Soon, news of Gilbert and Collins's near-fight over editing rights reached Universal's upper management.

A director and editor almost fighting over editing issues? This was a serious problem.

What did Gilbert want? It was already a big concession to involve him in editing; did he want to go further?

Thus, Universal Pictures Vice President Lou Wassell summoned Gilbert and Paul Collins to his office to resolve the conflict.

The solution was simple: Gilbert was to stop interfering in the editing work, and everything would follow Collins's version.

But Gilbert did not back down in front of Wassell, who held the power over the film's fate.

He knew that Wassell had initially opposed the investment in "The Shallows," and it was Akio Tani who had pushed for the project. Yui was focused on Spielberg and "Jurassic Park," the most important current project for Universal Pictures.

"Wassell, the concepts for this project all come from me. I know best what this film should look like.

During filming in Hawaii, I discussed my ideas with Spielberg, and he agreed with me.

I gave Mr. Collins some constructive suggestions, but he refused to listen and edited according to his own ideas. He's ruining this film," Gilbert argued passionately.

However, for Wassell, Paul Collins was the trusted one.

Wassell maintained his composure and said with a smile, "Gilbert, I understand your frustration. But Paul is a senior editor with a track record of producing excellent films. We trust him to deliver a good film."

Gilbert disagreed vehemently: "Wassell, if you watch the final cut edited by Collins, you'll see it's nothing but an S film and has nothing to do with a thrilling shark movie.

The shark is the main selling point of our film, but Collins seems to disregard it entirely."

Paul Collins sneered, "Gilbert, I've been in this business for years and know what the market likes."

Gilbert retorted, "If you knew the market, you wouldn't be stuck editing my film. You should be editing "Hook" and later "Jurassic Park"

Collins was nearly choked by Gilbert's retort.

Gilbert didn't let up, addressing Wassell: "If Universal Pictures didn't trust my abilities, they should have removed me from the director position from the start or not approved the project.

But since the project is greenlit, it means Universal believes in its potential.

This is a shark film, and Spielberg is producing it. Have you forgotten the box office success of 'Jaws'?"

Gilbert's words reminded Wassell that this film was indeed produced by Spielberg, who had recommended Gilbert for editing.

Given Gilbert's claims of discussing ideas with Spielberg, Wassell had to consider if Spielberg genuinely supported Gilbert's position.

Although Spielberg rarely involved himself in this project, with the film in post-production, removing Gilbert could be seen as disrespecting Spielberg. Wassell feared that Spielberg might take the project elsewhere, which would be a significant loss for Universal.

Compared to the $62 million investment in "Jurassic Park," "The Shallows" seemed insignificant.

Wassell decided not to risk everything for a small issue and to eliminate any factors that could jeopardize "Jurassic Park."

So Wassell proposed, "How about this: I will suggest to the higher-ups that you two edit separate versions and then compare the final results."

This was essentially a way to appease Gilbert and prevent him from escalating the issue to Spielberg.

To Wassell, it was surprising enough that a young director like Gilbert could make "The Shallows." It was inconceivable that he could handle post-production editing.

Ultimately, comparing the versions would likely lead to Universal sticking with Collins's cut. Gilbert's version could be included as a special feature on the video release.

Both Gilbert and Collins accepted this solution and agreed.

As they left, Paul Collins taunted, "Kid, this industry is deep. Be careful not to get drowned. I might not see you again."

Gilbert was surprised at the use of metaphorical sarcasm by Collins and responded sharply, "You've been an editor for so long, and this is the best you can do?

Don't worry, I'm heading to the top. When I get there, I might throw you a lifebuoy."

The two parted ways, having exchanged no further words.

A few days later, Universal Pictures announced that Gilbert and Paul Collins would each edit a version of the film.

They could work separately and avoid seeing each other's unwelcome faces.