Chapter 26

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The professional knowledge Jessica Chastain had learned told her that the opening and closing scenes should echo each other, one adding and one subtracting, indicating that the film contains strong emotional fluctuations and dramatic changes.

For example, many professional actors usually only read the first 10 pages and the last 10 pages of a script to determine if there are significant changes and if it can attract the audience.

If there are no such changes, the script is usually thrown into the corner trash can.

After a quick read-through, Jessica Chastain did not see anything particularly eye-catching in the script. Even though she had not formally entered the film industry, it was not difficult to deduce from the script's logic that the final film would likely attract people with blood, violence, and extremely sensitive themes.

A little girl is brutally murdered by a pedophile, and then another girl seeks revenge...

This is certainly not the content of a mainstream film.

However, she looked around the studio and at Murphy opposite her, understanding that a studio of this caliber could not produce a mainstream film.

The script was not particularly good, but its structure was very neat, very much in line with Hollywood's production model. Jessica Chastain specifically read the opening and ending scenes again. The opening scene was a girl being brutally murdered, and the ending was her friend brutally murdering the killer. This was very much in line with the requirement that the opening and closing scenes must echo each other.

From this perspective, the person opposite her had presented a relatively reliable script.

But how likely was it to succeed? Especially when she saw some of the bloody scenes, Jessica Chastain couldn't help but shake her head.

Sensitive subject matter, extremely large scale, and a likely low budget...

These thoughts flashed through her mind, and Jessica Chastain naturally concluded that it was a B-grade film project with a very low chance of success.

Suddenly, Jessica Chastain once again wondered if she had made the wrong choice.

Especially when she looked up and saw Murphy, who was clearly younger than herself, with no convincing power at all.

For a moment, she really wanted to give up, but thinking of the $300 weekly salary and the opportunity to be directly involved in film production, she abandoned this thought.

"This is likely to be a failed project..."

From the neat but unremarkable script, the shabby studio, and the unreliable boss, Jessica Chastain drew her own conclusion: "This studio is probably going to go bankrupt soon, but it's a rare experience. Witnessing the failure of a film project and a film studio can also help me accumulate some experience to avoid failure."

She did not have high hopes for this project.

Jessica Chastain remained calm, put the script aside, took the contact list and the phone on the desk, and began to contact the unfortunate candidates one by one.

Unaffected by the sound of the phone calls, Murphy was fully focused on drawing storyboards. This work had just begun, and he was currently drawing the opening scene of the script.

In the absence of sufficient funds, with a relatively simple script and cast, and a somewhat weak plot, it was necessary to use some special means to make the final film attractive.

Especially the opening scene, which plays a significant role. It sets the tone, mood, and style of the film, introduces the main characters, and shows the audience the background of the main characters.

But the most important thing is to "bind" the audience to their seats and make them feel, "This is a good film!"

Murphy admitted that the theme and scale of the film were quite large and leaned towards darkness, but with only $300,000 in investment, this was the simplest and most effective way for a low-budget film to succeed.

With his current abilities, $300,000 could not produce "Saw" or a highbrow art film.

He was just a beginner, and relatively simple films were the best choice.

Around 11:00 AM, Murphy put down his pen, and Jessica Chastain closed the file in front of her. "I've contacted everyone on the list, and six people are very interested in the positions."

She looked down at her notes. "Two of the six are lighting technicians, one is a set designer, two are makeup artists, and one is a prop master."

Murphy nodded, propped up his arm, and gently rubbed his temples, which had been aching for over a year, a lingering aftereffect of his special experience.

"Have you scheduled the interview times?" he asked.

"Yes." Jessica Chastain pushed a schedule toward Murphy. "Starting at 1:30 PM."

As a recent graduate, her thoughts were still relatively simple, and she specially reminded him, "Two of the six are interns who have not yet graduated."

"I understand." Murphy picked up the schedule, stood up, and said, "That's it for the morning, Jessica. Go have lunch."

Jessica Chastain had just relaxed when Murphy added, "After lunch, go to the USC School of Cinematic Arts and the California Institute of the Arts and post all the posters."

Jessica Chastain gathered her things and walked out, turning her head and pouting, clearly unhappy with the task.

Murphy could see this but did not say much. It was normal to encounter difficulties at the beginning of a project.

After a simple lunch and a brief nap, Murphy arrived at the Mitten Cafe in Old Chinatown before 1:30 PM, sitting in the same spot as before. He soon met the first interviewee.

"My name is Paul Wilson."

This was a somewhat shy young man sitting across from Murphy, with a slightly bashful smile. "I want to apply for the position of set designer."

Murphy briefly looked at the resume he handed over and asked, "You haven't graduated yet, have you?"

"No." Paul Wilson shook his head and then added, "But I have experience in this field. I participated in the production of two experimental films at my college, where I served as a set designer and lighting technician. I believe I am very suitable for this industry and want to achieve something in film."

After saying this, he quickly took out a videotape from his backpack and placed it on the coffee table. "This is the recording of the experimental films."

"Compared to many students I've met, you do have some experience."

Looking at the young man across from him, Murphy said seriously, "But experimental films are different from movies. Why should I hire you?"

Paul Wilson scratched his head, seemingly at a loss for words.

Murphy stared at him and continued, "Stanton Studios is a very professional film production company, and we offer very promising career opportunities to our employees."

Of course, such empty words were not very convincing.

"Have you seen the recent influential documentary 'Sin City'?"

This documentary had gained some recognition in the Los Angeles area due to its subject matter. Seeing the young man nod, Murphy smiled confidently. "This documentary was co-produced by Stanton Studios and Fox Los Angeles Channel 6. If you look closely, you can see this, and I..."

He pointed to himself. "I am the assistant director of 'Sin City.'"

As for the fact that Stanton Studios and he were only nominally involved, Murphy would never tell anyone.

Given his current relationship with the documentary's actual director, Kara Feith, the TV station would not disclose this information.

Paul Wilson's eyes lit up.

"You don't have work experience."

This statement made Paul Wilson's eyes dim again. Murphy was in complete control of the situation. "However, I appreciate ambitious young people, and Stanton Studios is willing to provide opportunities for these young people to get involved in the film industry."

Murphy deliberately spread his hands. "Although it's not a formal position, the opportunity to truly participate in film production is very rare in Hollywood. Stanton Studios is not producing commercials but real films!"

Paul Wilson was already nodding unconsciously.

"Mr. Wilson..." Murphy deliberately pointed to his resume. "I can see many of your unique qualities. I believe you are talented, and what you lack is experience. If you are willing, I can offer you an intern position in the upcoming film project and production team. You can work with professionals who have truly made films and mature quickly."

Although it was an unpaid position, the opportunity to participate in a real film production was already very rare for an intern. Paul Wilson did not hesitate and nodded continuously. "I am willing, I am willing to do this job!"

After securing this intern, Murphy instructed him to sign a formal internship contract later and saw Paul Wilson off with a nod.

He loved such free employees.

Although Paul Wilson lacked experience, he could handle some miscellaneous tasks without much problem.

In the following time, Murphy met the other five interviewees. However, he only secured another intern using a similar approach and did not finalize the candidates for the formal positions. He needed to meet more interviewees.

It was not hard to imagine that those who came to interview for such an unknown project and company had almost no impressive credentials. These makeup artists, lighting technicians, and prop masters, who had some relevant experience, had no independent work experience.

Of course, Murphy was also very clear that with the salary he could offer, he could not attract outstanding talent.

Starting any business is very difficult, and all available resources must be used. Murphy was no exception. In the evening, he went to Channel 6 to meet up with Kara Feith, who had just finished work, and met a prop master she introduced.

Ps. Fellow readers, do you still have any free appreciation tickets and Qidian coins? The 515 red envelope list is counting down. I'm here to ask for votes and appreciation tickets, let's give it one last push!

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