Chapter 49

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Even so, Murphy did not relax while filming. Not only did he shoot from four different angles in the morning, but he also spent almost the entire afternoon filming after lunch. When only one roll of black and white film was left, he gave the actors a long break. After the break, he continued filming.

He himself did not rest, sitting in the car and repeatedly watching the footage already shot to find any areas that could be improved.

Murphy placed great importance on this opening scene, which lasted only a few minutes.

For any film, the opening shot is like the key to opening the door to the world of light and shadow, leading the audience into the cinematic journey.

One could say that whether a film can capture the audience's attention in an instant and create a good chemical reaction with the audience, the opening shot plays a crucial role. Therefore, for directors and production staff, the opening shot is always carefully considered. Sometimes it can be the beginning of the entire film's story, and sometimes it can be the end, setting the tone and creating unexpected twists.

Murphy's planned opening scene for the film was simple: it immediately revealed the theme and the true nature of the main character, Jeff. This was indeed brutal, but it could make people subconsciously wonder if such a person would continue to commit crimes and what kind of fate they would face.

Whether he continued to torture other girls or someone sought revenge on him, it was all good bait to attract an audience to keep watching.

"Combined with the ending of the script,"

Bill Rossis and the agent named Mike still stood by the bushes from the morning. The former said to the latter, "He uses a typical opening shot technique that echoes the ending."

"The simplest and most brutal opening shot technique."

After observing the site for the afternoon, Mike was clearly more serious than in the morning, "But it's also the method with the lowest chance of failure for a new director."

He looked at Murphy in the distance, "A very smart person, with a very clear understanding of himself."

In Bill Rossis's eyes, such a technique was easier for new directors to succeed with, and there were countless classic films in film history that used this technique.

Mike suddenly turned his head and asked, "You're very interested in him?"

Bill Rossis did not deny it, saying directly, "Given our position in the company, we can't possibly get high-quality client resources. Actors of Julian Fellowes' level are already our limit. If we want to climb up, we can only try to cultivate new talent."

"Do you think he can do it?" Mike asked curiously.

"Who can guarantee such things?" Bill Rossis shook his head, "I just think he has some potential."

Mike understood his meaning. Every year, they, as agents of average status, would sign a few new talents. If these people succeeded, they would naturally rise with them. If not, there would be little loss.

"And he's a director," Bill Rossis emphasized.

Successful directors may seem much less glamorous than front-line actors, but the reality is quite the opposite.

Following a director is a universal value in the film industry. Looking back at over a hundred years of film history, the true leaders of the film industry have always been directors. Without great directors like James Cameron, Steven Spielberg, and George Lucas, there would be no golden age of world cinema today.

"Indeed, directors are the dominant force in the entire film industry," as a friend, Mike reminded, "But every year, millions of people in the film industry dream of becoming directors. How many succeed?"

"Everything comes with risks," Bill Rossis just smiled, "I think he has potential, and that's enough."

He knew very well how difficult the path to becoming a director was. Even the now-famous Ang Lee had been a househusband for six years before his success; even Quentin Tarantino had been an unknown video store clerk.

The shooting resumed, and Bill Rossis and Mike continued to chat quietly.

"I've been in this production for a long time," Bill Rossis crossed his arms and looked at the set, "First, to help Julian take care of Carey, and second, to observe this Murphy Stanton."

Mike frowned slightly, "Does he really have the potential that deserves your attention?"

"Although the paths to becoming a director are different," Bill Rossis was clearly determined, "there are some universal truths hidden in them."

"The most important point, of course, is to prove oneself with strength and achievements." He smiled at Mike, "We can't say that now, and directors who have proven themselves are not our level."

"What about the others?" Mike was clearly interested.

"Stress resistance! Being a director is a high-risk, high-pressure job. The hardships and pressure of filming itself are enough to drive ordinary people crazy."

At this point, Bill Rossis looked at Murphy with a hint of admiration, "I investigated, and he has faced a lot of setbacks, even spending a year in prison, but he did not become discouraged. After being released, he did even better, even daring to invest all his hard-earned money into this film."

Mike was somewhat dismissive, "Isn't he a lunatic?"

Bill Rossis countered, "Aren't all successful directors lunatics?"

He continued, "A director needs the ability to guide performances. Carey Mulligan is my signed actor, and she has made tremendous progress recently, and the most direct reason is Murphy Stanton."

These words were both for Mike and to convince himself not to miss such a promising person, "And the most important ability is to master the script. Akira Kurosawa once pointed out that to become an excellent director, one must first become a qualified screenwriter, and the script for this project was written by him."

"Of course, I'm not saying the script is outstanding. 'Hard Candy' is at most a competent and qualified script."

Mike had read the script, and Bill Rossis continued to analyze, "The script may not be outstanding, but it is full of elements that attract the audience. For today's low-budget films, to attract the audience, it's all about action, blood, and women. 'Hard Candy' has plenty of these elements."

Going through the script in his mind, Mike found that it was indeed the case. The script started with a violent crime, had a large-scale scene of a minor girl punishing a criminal, and interspersed with sensitive Lolita themes...

He couldn't help but look at Murphy, also becoming interested in this guy. The script was indeed not outstanding and had no creativity, but it was full of elements that attracted the audience.