Chapter 76

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"Bill," Murphy looked at Bill Rossy, "are you talking about a package service?"

CAA's one-stop package service was well-known in Hollywood, but when would they ever consider a small project like his?

"No, it's a personal service I'm offering you," Bill Rossy shook his head. How could such a small project catch the company's attention? "You focus on the film, and I'll handle the tasks like finding suitable crew members. I can find the right people for you from within CAA, it won't be difficult."

If the film's budget wasn't so low and Murphy Stanton wasn't so unknown, he would have applied for the company's one-stop package service long ago. Why wait until now?

Murphy Stanton, this super potential client, was still just a potential client for now.

According to relevant laws and industry regulations, agents cannot directly participate in film production, but they can certainly help find suitable personnel. Murphy thought for a few seconds and nodded in agreement.

"I can entrust these tasks to you," he said straightforwardly, "but I can't give you another five percent commission."

"No problem," Bill Rossy wasn't a short-sighted person; he was looking at a longer future, "we can discuss this later."

CAA claims to have a flat management structure, where all agents have equal status, but this is never truly realized. Everyone wants to be among the upper echelons in the building.

Moreover, every CAA agent has the heart of Michael Ovitz.

"Oh, and one more thing," Murphy remembered something, "I need four main actors. I've already talked to Carrie about the female role, and I have a rough idea for another male actor. Can you help me find two more Caucasian actors?"

Bill Rossy nodded, "Don't worry, I'll get back to you as soon as possible."

Murphy and Bill Rossy chatted until evening, discussing many work-related matters.

It must be said that having an agent makes many things much easier; otherwise, there would be no point in the existence of entertainment agencies.

His project was too small for CAA to care about, so Bill Rossy could only offer a personal package service. But what if CAA provided a one-stop package service?

Leaving the building, Murphy couldn't help but think about these issues.

To be honest, he wasn't at all opposed to CAA's package policy. In fact, this kind of package service was beneficial for directors like him who didn't have a fixed team. Otherwise, it wouldn't have been accepted by Hollywood producers and other agencies.

At the very least, it could significantly reduce his workload, allowing him to focus all his energy on the film itself.

The policy initiated by Michael Ovitz is the foundation of CAA's strength and can reduce many troubles for client companies.

For example, in the past, when a TV station wanted to produce a program, they had to find a host, actors, producers, scriptwriters, and so on, dealing with a large number of different agents.

When Ovitz himself couldn't find stars, he came up with the idea of using projects to attract stars: preparing scriptwriters, producers, and directors, and planning an attractive project to lure stars to join.

This way, the agency could assemble all the artists needed for the program, making it easier for TV stations and changing the agency's passive pursuit of stars into an active project creation.

This service was naturally extended to the production of films and TV series.

When other agencies were still simply chasing stars, Michael Ovitz had already recruited top talents for every position in TV programs and films under CAA, providing one-stop package services to Hollywood companies.

In today's Hollywood, this kind of package service is quite prevalent, at least it meets the needs of many film companies, directors, and producers.

In Murphy's understanding, this model suits the current development of Hollywood. The only thing he found annoying was that CAA's one-stop package service required an additional commission, usually ten percent, not just from box office earnings but also from the film's merchandise.

Although he currently didn't even qualify for CAA's service, he couldn't help but feel a bit pained when he thought about it from another perspective.

As the sky grew dark, Murphy left Century City and drove into Beverly Hills, directly entering Rodeo Drive, the most bustling commercial street in Beverly Hills. After circling around, he finally found a parking spot, parked his car, and walked a hundred meters to a bar.

Looking up at the bar's sign, he confirmed he was in the right place. Murphy paid the entrance fee, pushed the door open, and entered the bar. Immediately, a wave of pop metal music hit his ears.

Perhaps because it was still early, there weren't many people in the bar, but the lighting was dim, and Murphy couldn't find his target immediately.

"Sir," a waiter saw Murphy looking around, seemingly searching for someone, and quickly approached, "Can I help you with anything?"

"Ah, yes," Murphy stopped and said, "I have an appointment with Mr. James Franco here..."

Just as he said this, a hand reached out from behind and lightly patted Murphy's shoulder. He turned to see James Franco, with his natural curls, standing behind him.

"Over here," James Franco gestured for him to follow.

"Thanks," Murphy politely said to the waiter, then followed James Franco. The two of them crossed the dance floor on the first floor, went up a wooden staircase to the second floor, and sat at a table that overlooked the first floor.

"You're such an idiot!" James Franco handed Murphy a can of black beer, "Didn't you think to come up to the second floor?"

Murphy opened the can, took a sip, and shrugged, "I was about to come up."

They clinked their cans together, and James Franco tilted his head back, drinking half the can. He nodded at Murphy with his chin, "What do you want?"

"I'm preparing a new project," Murphy put down his beer can, "and there's a role that would be perfect for you."

James Franco shook his head without hesitation, "No way, that kind of $300,000 small production is enough for me."

"This time it's definitely not a $300,000 small production," Murphy said confidently, "my budget has increased several times over."

"Your film only made a million," James Franco said with disdain, revealing the truth, "I don't believe you have more money to invest than that."

Murphy touched his nose awkwardly, picked up his beer can, and raised it to James Franco. They both drank almost to the bottom in one go.

"I consider you a friend," Murphy started talking again, "so I thought of you first."

"Friend?" James Franco tapped his chest, "You think of me as a friend when you're in trouble, but would you still think of me when you're not in trouble?"

Murphy took another can of beer, opened it, and handed it to James Franco, "Jim, am I that kind of person?"