26-27

*Chapter 26: Release *

In Macary State:

The final scenes of The Blair Witch Project were being shot, the production in its final stretch.

Meanwhile, with Universal’s promotional efforts:

The witch-related discussions online began to ignite.

“I think all of this is deliberately being covered up by the government. They don’t want us to know witches exist—just like the aliens in District 9.”

“But why? People have already fallen victim to the witch, haven’t they?”

“They didn’t fall victim; they just disappeared.”

“Oh, come on! Do you seriously believe the government’s excuse? Don’t you know the police already found the victims’ tapes? It’s said they recorded everything that happened before their disappearance. The government must have seen what’s on the tapes and decided to cover it all up!”

“I heard the tapes show the witch’s true appearance.”

“No way. The witch is just a legend!”

“Then where did the legend come from? Maybe witches really exist. Otherwise, why would those students vanish?”

With the power of the internet and Universal’s subtle promotion, The Blair Witch Project gained increasing traction. More and more people learned about the story of the witch. Some were curious, others fearful, while many expressed skepticism, sharing the tale with those around them.

The Maryland government was overwhelmed with calls inquiring about the missing individuals.

People wanted answers—about the victims and the truth behind the witch.

The Maryland state government, however, had no idea how to respond; they didn’t know the truth themselves.

They weren’t even aware of what the so-called tapes actually contained.

---

“Done.”

Meanwhile, in New York, the man holding the “truth,” Allen, sat in Ron Meyer’s office at Universal Pictures.

Smiling as he read the latest media coverage of The Blair Witch Project, he remarked, “Universal didn’t spend a dime on media promotion. This buzz in the papers is purely organic.”

This kind of reporting underscored the film’s growing momentum across America.

“I’ve reached out to theaters,” Ron Meyer said. “So far, over fifty cinemas are willing to screen The Blair Witch Project.”

Despite the buzz, theater owners remained cautious about the film.

They were unsure if such a low-budget, rough-looking movie could attract audiences.

“That’s more than enough.”

Allen wasn’t worried about the limited initial release.

The original The Blair Witch Project opened in only about twenty theaters before its explosive box office success forced others to pick it up.

“Alan, do you really think The Blair Witch Project will succeed at the box office?”

Unlike Allen’s confidence, Ron Meyer’s concern was evident.

The movie business is unpredictable. Even Universal itself couldn’t escape losses—its strong annual report last year was largely thanks to the surprise hit The Texas Chainsaw Massacre.

“Absolutely,” Allen replied without hesitation. Looking straight at Ron Meyer, he declared confidently, “Given the current buzz, as long as the movie makes it to theaters, there’s no way it’ll lose money. I have full faith in my script. But…”

“But what?”

Ron Meyer, relieved by Allen’s certainty, tensed up again as Allen continued.

“But this kind of viral marketing comes with a risk. Once the truth gets out, the media and audience backlash will be intense. Critics will pile on.”

“As long as The Blair Witch Project turns a profit, who cares what the critics say?”

As a product of capitalist society, Ron Meyer didn’t care about media backlash.

---

On February 17th, amidst widespread media coverage, the website that first posted about The Blair Witch Project announced the release of the tapes.

A few days later, on February 21st, at midnight, The Blair Witch Project, rated PG-13, premiered in 56 theaters across Los Angeles.

By this point, some keen observers had started questioning the narrative.

A tape documenting a disappearance couldn’t possibly be screened in theaters so openly.

Yet most people chose to believe what they saw.

They flocked to theaters, eager to uncover the truth behind The Blair Witch Project.

James Wan was one of those viewers. Unlike the others who sought answers, he already knew the truth: The Blair Witch Project was nothing more than a movie scripted and directed by Allen.

“Just as Alan said,” James Wan muttered to himself, seated in the theater.

From its short shooting schedule, James Wan had predicted that The Blair Witch Project wouldn’t be a polished film.

Indeed, most viewers in the theater expressed disappointment during the opening scene, with its shaky, amateurish camera work.

Yet they stayed.

The past weeks of viral marketing had convinced them they were watching a real documentary, not a fictional film.

This belief made them endure the shaky footage, immersing themselves in the story.

Once drawn into its world, the film’s horror felt all too real, gripping the audience.

---

When the movie ended:

“Phew…”

James Wan let out a long breath in the back row.

Even knowing the film was fictional, the theater’s atmosphere made him jump several times during the screening.

“A unique horror movie. The shaky camera doesn’t detract from the terror; it actually enhances it.”

Evaluating The Blair Witch Project, James Wan glanced around. The midnight screening wasn’t packed, but it had filled about 40% of the seats. From the shell-shocked expressions on the audience’s faces, it was clear: The Blair Witch Project was a success.

---

(End of Chapter)

Chapter 27: Box Office and Controversy

As expected, James Wan's prediction turned out to be accurate.

After the midnight premiere of The Blair Witch Project, Universal Studios received the first-day box office statistics the following day: $678,000.

This meant that The Blair Witch Project had already achieved what most Hollywood films strive for—breaking even—on its opening day. From that point onward, every dollar earned would be pure profit.

"Congratulations, Allen. It seems your promotional strategy for The Blair Witch Project has been a success," said Ron Meyer, Universal Studios' executive in New York.

"Congratulations to you as well, Mr. Meyer. Universal has another box-office hit on its hands," Allen replied calmly.

For Allen, the box office trajectory of The Blair Witch Project was entirely within expectations.

Meyer's last shred of concern was replaced with a wide, uncontrollable smile as he glanced at the opening day's earnings.

Based on these numbers, The Blair Witch Project was undoubtedly a success.

However, even Meyer, who anticipated significant revenue from the film, could not have foreseen just how extraordinary the profits would be.

By the second day, the box office had surpassed $2 million, and by the third, it soared to $5 million.

The increase in ticket sales naturally correlated with a surge in theater attendance.

Fifty-six theaters, all fully booked, were packed with moviegoers drawn by the intrigue surrounding the "Blair Witch" phenomenon. Eager to uncover the "truth," audiences flocked to the cinemas. After watching the movie, many were further convinced of the witch's existence. They eagerly shared their beliefs with others, drawing even more people—many previously unaware of the "Blair Witch" incident—to theaters.

At this point, The Blair Witch Project was destined to leave an indelible mark on Hollywood's history, whether as an artistic masterpiece or a contentious spectacle. Its astonishing box office earnings alone were enough to captivate any Hollywood investor.

The first to react were theater owners.

The overwhelming success at the initial 56 theaters left them thrilled. By the time the opening day's numbers were released, theater chains across the country were already contacting Universal Studios, clamoring for copies of the film.

They couldn't care less about the mysteries or controversies surrounding the "Blair Witch" phenomenon. For theaters, box office revenue was all that mattered.

By the second week, The Blair Witch Project expanded to over 2,000 theaters across the United States. These theaters, spread throughout major cities, significantly amplified the film's influence.

On its second day of wide release, the film earned over $21.37 million, leaving Hollywood in awe.

Never before had there been a film as profitable as The Blair Witch Project.

With a production budget of less than $200,000, this low-quality DV-shot movie had astonishingly raked in $20 million at the box office.

Had Hollywood's standards fallen so low that even basic cinematic appreciation was lost?

Critics were quick to voice their dismay.

Prominent film critics lambasted The Blair Witch Project, dismissing it as nothing more than a deceitful ploy by Universal to rake in ticket sales. Spurred by media sensationalism, skepticism toward the film quickly made headlines across major outlets, fueling rampant rumors.

Many agreed with these criticisms. A closer examination of the so-called "evidence" on websites, newspapers, and magazines revealed numerous inconsistencies in the "Blair Witch" story. Key points, such as the timeline and the tapes, raised serious doubts about how such material could have been so conveniently released and turned into a film.

However, some remained firm believers, convinced that the media's allegations were merely a government ploy to cover up the witch's existence.

As The Blair Witch Project surpassed $80 million at the box office, the debates only grew more heated.

Facing mounting skepticism, Universal's PR team promptly issued a response.

They declared that the "Blair Witch" backstory was nothing more than a fictional narrative created for promotional purposes. The three "missing" students featured in the film were merely actors, alive and well, and the entire "Blair Witch" event was purely fictional.

Unsurprisingly, Universal's statement dampened the film's meteoric box office run to some extent.

However, the move was necessary. As public discourse reached a fever pitch, even Maryland's state government considered launching an investigation. To prevent the situation from spiraling further out of control, Universal had no choice but to prepare for the worst.

Fortunately, while the announcement dealt a blow to the film's "authenticity," the buzz surrounding The Blair Witch Project had already peaked. Even though the public now knew the story was a marketing tactic, their curiosity still drove them to the theaters.

Remarkably, some die-hard believers continued to insist on the witch's existence, claiming Universal was merely a tool used by the government to conceal the truth.

Amid the controversy, the film's box office performance showed little sign of decline.

In just over two weeks, the movie grossed an additional $20 million in one week, surpassing $100 million in total earnings.

Keep in mind, The Blair Witch Project was made on a budget of just $150,000.

While the film's financial success was unprecedented, its critical reception was equally abysmal.

Critics were relentless in their condemnation, calling it the worst film they had ever seen.

Even Roger Ebert, who had previously awarded The Texas Chainsaw Massacre a four-star review, gave The Blair Witch Project his lowest rating, dismissing it as a cheap, attention-seeking disaster.

He singled out the film's writer and director, Allen, claiming he had no business making movies.

(End of Chapter)