Chapter 54

Seeking recommendations and votes for the Three Rivers!

After returning to Los Angeles, Murphy first took two days off, hiding in his house in the Latino community, catching up on sleep. Perhaps the unusual experience had left him with a lingering headache, and the frequency of its occurrence had increased over the past few days. Although it wasn't as excruciating as when he first arrived in this world, it still affected his thinking and normal work life.

After resting for two days and feeling his body and energy restored, Murphy didn't rush to start post-production. Instead, he contacted Bill Rosiss, and after several discussions, they prepared to sign a formal management contract.

Having a professional agent from CAA had far more benefits than drawbacks, especially for someone like him who had no credentials and nothing to lose. Unlike the cross-management of celebrity actors or successful directors, CAA wouldn't invest many resources in a new director like Murphy. As long as he signed with CAA, Bill Rosiss would become his exclusive agent.

The signing process was simple. After reaching an agreement, Murphy brought his lawyer, Robert, to Century City, where the CAA office was located. Bill Rosiss and a CAA business lawyer were already waiting in a small meeting room.

CAA signs some new talents every year, and while some of them eventually succeed, they are largely ignored before that. Murphy was no exception, and this signing was more of a formality.

"Welcome to CAA."

After signing the contract, Bill Rosiss shook Murphy's hand solemnly, "Here, your future is limitless."

This was just a formality. The contract CAA signed with him was similar to an internship contract, a very basic management contract. This type of contract allowed CAA to easily abandon the signee if they saw no value in them.

In return, the contract's restrictions on the signee were not particularly strict, and the breach of contract fee was not high if either party wanted to end the cooperation.

This type of contract was only used for new talents like Murphy. As soon as they gained fame, CAA would immediately offer a new contract.

Compared to these formalities, Murphy was more focused on practical matters. After the lawyers left, he said directly, "Bill, I need a post-production studio with complete equipment, and the rent should be relatively cheap."

"No problem," Bill Rosiss didn't hesitate, "I'll get back to you with good news."

Originally, Murphy wanted to rent the post-production studio from Channel 6, but after contacting Cara Fies, he abandoned this idea. The post-production studio at Channel 6 could only be rented by time slots, which didn't meet his needs.

Los Angeles, the center of the world's film industry, made it easy to rent a post-production studio. However, after the initial preparation and shooting, and after settling the crew's salaries, Murphy's $300,000 budget was down to less than $50,000. He still needed to pay for the editor's salary and music copyright fees, so the rent he could afford was limited.

Finding a well-equipped studio with cheap rent... that was a challenge.

Before Murphy left, Bill Rosiss took out his phone and made several calls, showcasing his professional entertainment agent's capabilities and network. He put down his phone and said with a smile, "I can find a suitable post-production studio for you within five days."

"OK!" Murphy wasn't stupid; he could see that Bill Rosiss was showing his strength. "I'll wait for your good news."

He stood up to leave, but Bill Rosiss said, "Wait."

Murphy looked at him and asked, "Is there something else?"

"How long will it take to complete your film?" Bill Rosiss continued without waiting for an answer, "If you can finish all the production by New Year's, I can help you get a chance to participate in the Sundance Film Festival."

Hearing this, Murphy immediately became interested. The Sundance Film Festival was a paradise for independent films. Although the entry threshold was low, there were still certain requirements to enter the official screening program.

According to his understanding, to participate in the Sundance Film Festival, one needed to apply in advance. After the application was approved, the organizing committee would send an invitation letter. Only those who received the invitation could participate.

Of course, if it was an excellent film or filmmaker, the Sundance Film Festival organizers would send an invitation directly.

Murphy didn't think he had reached that level.

"I'll do my best," he said before leaving.

Just like shooting, he was also a novice in post-production, and who knew what challenges he would face.

Leaving the meeting room, Murphy turned into the elevator. After a while, the elevator came down. Thinking about some post-production issues, he entered the elevator without looking up.

As soon as he entered the elevator, Murphy felt something was wrong. He sensed something tall on his left, almost completely blocking his view. He quickly turned his head and saw a black man standing there, about 6'6" tall, who also turned to look at him.

"It's you!" The black man's tone was quite unfriendly.

"Hello..." Murphy greeted calmly, "Long time no see, Mr. Bryant."

The person on his left was none other than the Lakers star, Kobe Bryant.

Kobe Bryant didn't expect to run into this shameless guy when he came to CAA for business. His fists clenched instinctively.

Murphy tensed up, ready for a fight.

But Kobe Bryant was more rational than he expected. He coldly snorted twice but didn't make a move.

Top-tier stars indeed weren't brutes. Murphy looked up at his stern face, and Kobe Bryant was staring down at him.

The elevator door opened with a ding, and Murphy stepped out before Kobe Bryant, as it was probably during working hours, and the elevator lobby on the first floor was empty.

Kobe Bryant also stepped out of the elevator, and Murphy turned around, extending his hand, "Let's formally meet, Mr. Bryant. I'm Murphy Stanton, a film director."

"What?" Kobe Bryant had no intention of shaking his hand and instead looked surprised, "Aren't you a paparazzo?"

Murphy shrugged, "I'm a director, and we're with the same agency."

Without waiting for Kobe Bryant's reaction, Murphy took out a business card and placed it in his large hand, "If you're interested in acting, you can call me."

After saying that, Murphy nodded at him and turned to leave the elevator lobby.

Kobe Bryant was a bit stunned, looking at Murphy's back and then at the business card in his hand. This was definitely the most shameless and thick-skinned person he had ever met.

He casually threw the business card into the trash can and left.

In less than five days, Bill Rosiss had secured the post-production studio for Murphy. Murphy personally went to check it out. The studio was located in Burbank and belonged to a small production company under Disney. It was fully equipped, and he paid $30,000 for a two-month lease.

This price was not expensive, and Bill Rosiss played a significant role in the negotiation.

After signing the formal lease contract, Murphy, Griffith, and Paul Wilson, who was willing to be an assistant, brought a large amount of film and moved into the studio.