Hollywood Road

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

There are only a few positions that have been identified, director and producer Murphy, associate director Paul Wilson, assistant director Seth Rogen, makeup artist Jack Watson, prop artist Baker Klebert, editor Teacher Jody Griffith, telephone operator Rosa Rodriguez...

The actors have also temporarily identified a few, Seth Logan who passed the audition, James Franco who ended the negotiation, Kerry Mulligan who was temporarily controlled by the school, and Paul Wilson and who could serve as the background board. Rosa Rodriguez.

In addition to these people, Murphy also met with many CAA contractors with Bill Rossis. Of course, they were all people with little qualifications and reputation like him, but it was exactly like Bill Rossis said. , Can be signed by CAA, the basic ability is definitely guaranteed.

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

"Murphy, this is Philip Raschel..."

In a reception room of CAA, Bill Rossis introduced Murphy to a middle-aged white man who was about 30 to 40 years old. "He has participated in the filming of two TV series, and he was still fourth in "Buffy the Vampire Slayer". I worked as a second photographer on the set of this season."

Turning his head, he introduced a mixed-race woman who was about 30 years old, "This is Helena Espola. She has been the art director for three episodes of "Apocalypse", and she is as good as her looks. ."

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

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

"Hello, nice to meet you……"

Murphy shook hands with these people and greeted them one by one, and the two sides sat on the sofa by the window at the signal of Bill Rossis.

"Director Stanton..." It was Philip Raschel, the director of photography, who spoke first, "Bill introduced us to your project, and we have also seen your "Fruit Candies". I want to ask about your new film. Which type will 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 filming style, it will not help the career much and may even have a negative impact.

"Plasma horror film." Murphy knew what the other party meant, and said directly, "Black style CUT film type."

In the latter sentence, Philip Raschel, Helena Espola and David Robbie nodded at the same time. This is the style they are good at.

Not only did they watch "Fruit Candies", Murphy had also seen their work before they came, and they had already talked to Bill Rossis about the style of the new project. He also found someone suitable for this style.

Whether it is "Buffy the Vampire Slayer", "Apocalypse" and "Wolf Club", they all have a typical black style.

If these three people enter the crew, they don't need to make a fundamental change in their concepts, just relatively simple adjustments and adaptations.

From this aspect, it can also be seen that Murphy's first filming experience was seriously inadequate. He did not consider so much on the "Fruit Candies" project. The recruiting staff except Jack Watson had terrible abilities.

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

This is only the first time the two parties have met. Murphy has talked with the three people for a while, especially in terms of film style and philosophy, and exchanged a lot of views. To be precise, there are similar ideas and differences between them. Point, these are all normal.

It’s impossible to formally finalize the cooperation at the first meeting. After all, it’s about shooting and making a movie. It’s not for children to play the house. Murphy has to consider the whole thing, and the three people may not join his crew. Look at the salary offered by Stanton Studio.

These three people are not like the three people of the corresponding professions in "Fruit Candies". They are not only themselves. Philip Raschel has a photography assistant. Helena Espola works with two set designers, only lighting. Teacher David Robbie is lonely.

According to Hollywood rules, hiring them means hiring their team. In addition to their individual salary, the crew also bears the expenses of the team.

None of these Murphy have any opinions. The scenes, actors, and sets involved in the new project are several times those of "Fruit Candies", and it is impossible to complete it as simply as the previous time. A complete crew is required.

And Murphy has other considerations. As a director with ambitious 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 job behind the scenes of the crew is very important. A problem at one point may cause the entire project to shut down. After removing these key jobs, Murphy then met with seven or eight people in other positions recommended by Bill Rossis. People come from CAA with many potential signings. As mentioned before, the reputation and qualifications may not be there, but the ability to be favored by CAA is always guaranteed.

It took a whole week for Murphy to finalize the positions of the crew one by one. Unlike the cheap staff recruited last time, relatively outstanding ability also means relatively high salary. The high salary expenditure also allows Murphy to continue. Careful stingy.

Not to mention the other four aspects of photography, props, lighting, and art direction alone are quite expensive.

There is no doubt about the importance of photography to a film. Salaries in this department are generally higher, and in most cases they exceed other behind-the-scenes positions.

Philip Raschel and his team have a weekly salary of US$5,500; art director Helena Espola’s team has a weekly salary of US$4,000; the lighting engineer is less, only US$3,000 a week; plus the props group’s salary 5000 U.S. dollars, only this department, the crew will pay close to 20,000 U.S. dollars a week in remuneration.

If a new project takes more than half a year or even a year to prepare and shoot like a mainstream Hollywood movie, the compensation alone can crush Murphy's budget and make him go bankrupt.

Murphy himself estimated the production cost of 800,000 US dollars, so the shooting time must not be too long.

According to the plan he made, if everything goes well, the film will not be more than two months from preparation to shooting.