Chapter 80 of 100

Chapter 80

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After hiring suitable financial personnel, the new project of Stanton Studios was officially established. Unlike other production teams, most of the behind-the-scenes positions for this project were still vacant. ←

Currently, only a few positions have been confirmed: Murphy, the director and producer; Paul Wilson, the assistant director; Seth Rogen, the assistant director; Jack Watson, the makeup artist; Beck Klebert, the prop master; Jody Griffith, the editor; and Rosa Rodriguez, the telephone operator...

A few actors have also been temporarily confirmed: Seth Rogen, who passed the audition; James Franco, whose negotiations have concluded; Carey Mulligan, who is currently under school supervision; and Paul Wilson and Rosa Rodriguez, who can serve as background actors.

In addition to these people, Murphy met with several CAA-signed personnel with Bill Rosi, of course, all of whom were as inexperienced and unknown as he was. However, as Bill Rosi said, those signed by CAA generally have guaranteed abilities.

Since Murphy was listed as a super potential client, Bill Rosi introduced him to some very reliable people.

"Murphy, this is Phil Lasher..."

In a CAA meeting room, Bill Rosi introduced a middle-aged white man, probably between thirty and forty years old, to Murphy, "He has participated in the shooting of two TV series and worked as a second camera operator on the set of 'Buffy the Vampire Slayer' Season 4."

Turning around, he introduced a mixed-race woman in her thirties, "This is Helena Espora. She worked as an art director for three episodes of 'The Last ***' and her abilities are as outstanding as her appearance."

Then, he introduced the last person to Murphy, "This is David Robi, from Australia. He recently served as the gaffer for 'The Wolf Club' last year."

Finally, he looked at Murphy and said, "Phil, Helena, David, this is Murphy Stanton, an excellent director."

"Hello, nice to meet you..."

Murphy shook hands with each of them and greeted them. At Bill Rosi's gesture, they all sat down on the sofa by the window.

"Director Stanton..." Phil Lasher, the cinematographer, spoke first, "Bill has introduced your project to us, and we have seen your 'Hard Candy.' I would like to ask, what type of film will your new project be?"

Often, not only do directors choose cinematographers, but cinematographers also choose projects that suit them. If a film's style is severely mismatched with their own, it won't help their career and might even have a negative impact.

"Slasher horror film," Murphy knew what the other party meant and said directly, "A cut-throat style."

After he said this, Phil Lasher, Helena Espora, and David Robi all nodded simultaneously. This was precisely the style they excelled in.

Not only had they seen 'Hard Candy,' but Murphy had also seen their works before coming. He had already discussed the style of the new project with Bill Rosi and had found people suitable for this style.

Whether it was 'Buffy the Vampire Slayer,' 'The Last ***,' or 'The Wolf Club,' they all had typical cut-throat styles.

If these three people joined the production team, they wouldn't need to make fundamental changes in their approach; just some relatively simple adjustments and adaptations would suffice.

From this, it was also evident that Murphy's experience in his first film was severely lacking. In the 'Hard Candy' project, he hadn't considered these aspects at all. Apart from Jack Watson, the abilities of the people he hired were abysmal.

To be fair, given Murphy's conditions at the time, he couldn't have asked for more.

This was just their first meeting. Murphy talked with the three of them for a while, especially about the film's style and concepts. They exchanged many views. There were similarities and differences in their ideas, which was quite normal.

It was impossible to finalize the collaboration on the first meeting. This was about making a film, not playing house. Murphy still needed to consider everything comprehensively, and the three of them might not join his production team, depending on the salary offered by Stanton Studios.

These three people were different from the corresponding professionals in 'Hard Candy.' Phil Lasher had a camera assistant, Helena Espora worked with two set designers, and only gaffer David Robi was alone.

According to Hollywood rules, hiring them meant hiring their teams. In addition to their individual salaries, the production team would also have to cover the expenses of their teams.

Murphy had no objections to this. The new project involved scenes, actors, and set designs that were several times more complex than 'Hard Candy.' It was impossible to complete it as simply as before. A complete production team was necessary.

Moreover, Murphy had other considerations. As a director with lofty goals, he also needed to consider building a relatively fixed team of his own.

Working together was the best way to see people's abilities and build cooperation and默契 (rapport).

Every behind-the-scenes role in the production team was crucial. A problem in one area could lead to the entire project grinding to a halt. After these key positions, Murphy met with seven or eight other people recommended by Bill Rosi for other roles. These people were all from CAA's many potential signees. As mentioned earlier, they might lack fame and experience, but those chosen by CAA generally had guaranteed abilities.

It took Murphy a whole week to finalize the positions for the production team. Unlike the cheap labor he hired last time, relatively outstanding abilities also meant relatively higher salaries. The substantial salary expenses made Murphy continue to be frugal.

Without mentioning other aspects, just the expenses for cinematography, props, lighting, and art direction were considerable.

The importance of cinematography in a film is undeniable, and the salaries in this department are generally high, often exceeding those of other behind-the-scenes positions.

Phil Lasher and his team's weekly salary was $5,500; Helena Espora's art direction team's weekly salary was $4,000; the lighting department was slightly less, at $3,000 per week; and the props team's weekly salary was $5,000. Just for these departments, the production team had to pay nearly $20,000 per week.

If the new project, like mainstream Hollywood films, took more than half a year or even a year for preparation and shooting, the personnel salaries alone could bankrupt Murphy's budget.

Murphy estimated the production cost at $800,000, so the shooting time must not be too long.

According to his plan, if everything went smoothly, the film's preparation and shooting would not exceed two months.

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