Chapter 56

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As cherry blossoms danced in the wind, Misaki opened the old diary and read the words of promise written there.

It can be said that this scene complements the opening torture sequence, also raising questions: Will the new girl be killed or escape, or something else?

Questions are what keep the audience engaged.

After a busy half day, both Murphy and Griffith felt tired. Paul Wilson timely prepared coffee, and the group temporarily left the workroom, sitting around a small table near the door.

This is in the suburbs of Burbank, with the studio built on a two-story building. Stepping out is a small terrace, from which one can see a green landscape, allowing eyes that have been staring at screens for a long time to relax.

Even Murphy had to admit, the agent from CAA was truly outstanding.

Although they were resting, the conversation never strayed from work, especially for Murphy, who was aware of his own shortcomings and constantly sought advice from Griffith.

"Jody, how do you maintain sensitivity to editing?"

After drinking half a cup of coffee, Murphy asked seriously, "I've always been puzzled about how an excellent editor maintains their state and controls the rhythm of editing."

"Everyone has different methods," Griffith thought for a moment, seeing Murphy's determined expression, and slowly said, "I can only share my personal experience, which may not be suitable for you."

Murphy nodded vigorously.

"Keep watching movies. I try to find time to watch a movie every day, including some very popular TV series or documentaries. Sometimes I also try to shoot and produce things. Of course, these may not be the right methods, but I find some freshness in them."

Although he was not even a second-rate editor in the industry, Griffith had years of experience, which was what Murphy lacked the most. "There's another benefit to this: films are ultimately for the audience, so you need to understand their habits."

Hearing this, Murphy seemed to be deep in thought.

Griffith continued, "Also, watch how people in the industry work, both in North America and Europe. Keep an open mind. I also go back to watch old films; I think balance is important. You need to maintain a passion for film, to feel the characters. Some films may not rely heavily on editing; they might use invisible editing, but the editor needs to pay attention to the characters' performances."

He picked up his cup and finished the remaining coffee. Paul Wilson quickly refilled it for him. Like Murphy, the intern was also listening intently to Griffith's professional experience.

"Another thing is to observe life. When you're on the subway or on the street, pay attention to how people at nearby tables talk. These details are very important," Griffith held the coffee cup, feeling its warmth, and added, "Films can't be separated from these things. Don't think this is just the director's or writer's job; editors are also very important. For example, in the scene you shot, Haley says the girl can't drink a drink given by another man. The next edit should show her pouring the drink herself. These are common sense, and you only remember them if you feel they are relevant to you..."

The sound of high heels came from the stairs, interrupting Griffith's words. Recognizing the familiar rhythm, Murphy turned to look. A tall, blonde woman had already come down the stairs. She wore a wide-brimmed sunglasses and a beige sun hat, her face hidden under the long brim to avoid the scorching sun of the season.

Her fitted business suit and sky-high heels made it clear to Murphy who had arrived.

"Aren't you working?" Cara Fice walked onto the terrace and greeted them, "Hi, Jody. Hi, Murphy."

"How do you have time to come?"

Since returning to Los Angeles, they had talked on the phone and planned to meet for dinner, but Cara Fice had been too busy after her promotion, so the plan was canceled. Murphy looked at her curiously but continued to introduce her to Paul Wilson and the others.

"It's about time," Jody Griffith glanced at his watch, "Let's go inside."

He led the way off the terrace and into the studio, with Paul Wilson and the others following.

"Until when are you working?" Cara Fice asked.

"We finish at six," Murphy checked the time, took a new cup, and poured her a cup of coffee, "If you're not in a hurry, you can enjoy the coffee, and we can have dinner together after work."

Cara Fice lifted the coffee cup to her nose and waved Murphy off, "You go ahead and work, I'll wait for you."

At six o'clock, Murphy announced the end of the first day's work. He met up with Cara Fice, who was waiting outside, and they went to a nearby Italian restaurant for dinner.

Sitting by the window in the restaurant, Cara Fice asked, seemingly teasing but actually concerned, "Is the funding chain about to break?"

Swallowing the spaghetti in his mouth, Murphy shrugged, "Unfortunately, I've disappointed you. Three hundred thousand dollars is enough to last until post-production is complete."

Cara Fice looked up, surprised, "How did you manage that?"

"Plan well," Murphy said without thinking, "Strictly follow the plan. Every step in the work process should fit like screws on an assembly line."

"Assembly line?" Cara Fice raised an eyebrow, "I didn't expect you to grasp the essence of Hollywood so quickly."

"Huh?" Murphy didn't understand, "What essence?"

"Hollywood has destroyed the art of cinema," Cara Fice's words were not without merit, "Initially, cinema was an art form, and the public viewed filmmakers with the same reverence as they did Picasso or Chopin. Then the industrial revolution came, and everything that could be commodified was commodified. The Mona Lisas of the world were mass-produced, framed, and sold for profit by businessmen."

"So, cinema became a business, just like an assembly line," Murphy continued, "There are professionals who conduct market research to see what kind of movies the audience will pay for. There are dedicated departments for writing scripts, or they are outsourced. The production team, lighting, and set design each have their roles. Salespeople beg and plead for distribution. Actors have to work hard, with only two or three big names in a production, and the rest get meals and a hundred dollars a day, take it or leave it."

He adopted a strange tone, "What, you want lines? No problem, come to my room tonight and we'll discuss it..."

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