Hollywood Road

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After recruiting suitable financial personnel, the new project of Stanton Studio was formally established. Unlike other crews, most of the behind-the-scenes jobs of this project are still vacant.

There are only a few positions that have been confirmed so far, director and producer Murphy, assistant director Paul Wilson, assistant director Seth Rogen, makeup artist Jack Watson, prop artist Baker Kleibert, editor Jody Griffith, operator, Rosa Rodriguez, telephone operator  …

A few actors have also been tentatively identified, Seth Rogen who passed the audition, James Franco who ended the negotiation, Carey Mulligan who was temporarily restrained by the school, and Paul Wilson and Rosa Rodriguez.

In addition to these people, Murphy and Bill Rosses also met with many CAA contracted personnel. Of course, they are all people who have as little qualifications and fame as him, but it is indeed what Bill Rosses said. , Those who can be signed by CAA must have guaranteed basic abilities.

Since Murphy is listed as a super potential customer, Bill Rossis introduced some very reliable people.

"Murphy, this is Philip Raschel..."

In a reception room of CAA, Bill Rossis introduced a middle-aged white man in his thirties to forties to Murphy. I worked as a second cameraman on the set of the season."

Turning his head, he introduced another mixed-race woman in her thirties, "This is Helena Espora. She has been the art director for three episodes of "The End of the World" and her ability is as good as her appearance. .”

Then, he introduced the remaining person to Murphy, "This is David Robbie, from Australia, who just worked as the lighting engineer for "Wolves Club" last year."

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

"Hello, nice to meet you……"

Murphy shook hands with these people one by one, and greeted them, and the two parties sat on the sofa by the window under Bill Rosses' gesture.

"Director Stanton..." The director of photography Philip Lascher spoke first, "Bill has introduced your project to us, and we have also seen your "Hard Candy". I want to ask, your new film Which type would it be?"

In many cases, not only the director chooses the photographer, but the photographer also chooses the project that suits him. If the style of a film is seriously inconsistent with his own shooting style, it will not help the career much, and may even have a negative impact.

"Plasma horror movie." Murphy knew the meaning of the other party's question, and said directly, "The black-style cut movie type."

As soon as the latter sentence was said, Philip Lascher, Helena Espora and David Robbie nodded at the same time. This is exactly the style they are good at.

Not only have they seen "Hard Candy", but Murphy has also seen their works before coming here, and he has already talked to Bill Rossis about the style of the new project, and he has found someone who is suitable for this style.

Whether it is "Buffy the Vampire Slayer", or "The Last Days" and "Wolves Club", they all have a typical noir style.

If these three people enter the crew, there is no need for fundamental changes in concept, as long as relatively simple adjustments and adaptations are enough.

From this aspect, it can also be seen that Murphy's experience in filming for the first time was seriously lacking. For the "Hard Candy" project, he didn't think so much at all. Except for Jack Watson, the talents he recruited were terrible.

Having said that, with Murphy's conditions at the time, he couldn't ask for more.

This is only the first meeting between the two parties. Murphy talked with the three of them for a while, especially in terms of film style and concept, and exchanged a lot of views.

To be precise, there are similarities in ideas and differences between them, which are normal.

It is impossible to formally finalize the cooperation at the first meeting. After all, this is a film production, not a child's play house. Murphy has to think about it comprehensively, and the three people may not join his crew. Look at the salary offered by Stanton Studio.

None of these three people are like the three people with corresponding occupations in "Hard Candy", they are more than themselves, Philip Lascher has a camera assistant, Helena Espora works with two set designers, only lighting Teacher David Robbie is a loner.

According to the rules of Hollywood, hiring them means hiring their team. In addition to their personal salaries, the crew has to bear the team's expenses.

Murphy has no objection to these. The scenes, actors, and sets involved in the new project are several times that of "Hard Candy". It cannot be completed as easily as the previous one, and a complete crew is required.

Moreover, Murphy has other considerations. As a director with lofty goals, he also needs to consider forming his own relatively fixed team.

Working together is the best way to see the ability, and it is also the best way to cultivate a tacit understanding of cooperation.

Every behind-the-scenes occupation of the crew is very important. If there is a problem at one point, it may cause the entire project to be shut down. After removing these key types of work, Murphy then met with seven or eight people in other positions recommended by Bill Rossis. People come from CAA with many potential signings. As I said before, they may not have fame and qualifications, but they can be selected by CAA, and their ability is always guaranteed.

It took a whole week for Murphy to finalize each position of the crew one by one. Unlike the cheap manpower recruited last time, relatively excellent ability also means relatively high salary, and the expensive salary expenditure also allowed Murphy to continue to work hard A budget-conscious stingy look.

Not to mention other things, the expenses for photography, props, lighting and art direction alone are quite large.

The importance of cinematography to a film is undeniable, and salaries in this department are generally higher, in most cases more than other behind-the-scenes positions.

Phil Lascher and his team make $5,500 a week; art director Helena Espora makes $4,000 a week; 5,000 US dollars, just for this department, the crew will pay nearly 20,000 US dollars per week.

If a new project takes more than half a year or even a year to prepare and shoot like a mainstream Hollywood film, the staff remuneration alone will crush Murphy's budget and make him bankrupt.

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

According to his plan, if everything goes well, the film will take no more than two months from preparation to shooting.

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