Chapter 228: Confrontation and Cunning

Standing under the spotlight, Murphy followed the photographer's instructions, changing poses continuously. His tailored suit highlighted his chiseled, rock-like contours. The top two buttons of his shirt undone added a touch of nonchalance and freedom to his strong demeanor. His barely-there smile and bright, deep eyes exuded an unusually captivating charm.

After completing the standing shots, the photographer from "Vanity Fair" had Murphy sit in an executive chair to continue capturing his seated poses.

Grace and Bill Rossis observed from a corner of the studio.

"With his looks," Grace shook her head as she watched Murphy under the magnesium lights, "it's such a waste he isn't a star."

"It would be a waste for him to be just a star," Bill Rossis disagreed. "He has the potential to become a top director. Why settle for being a mere celebrity?"

Grace acknowledged Bill Rossis's point, "To rely on talent instead of just good looks..."

Bill Rossis nodded and changed the subject, "How did your talk go with Gal Gadot yesterday?"

"That Israeli girl is only eighteen, but she's smart and mature," Grace replied.

CAA took care of all potential troubles for its important clients, and Grace had specifically taken time to talk with Gal Gadot. "She's Miss Universe Israel, trained in handling the media. From what I understand, she comes from a very affluent family in Israel, is quite independent, and it was Murphy who pursued her, not the other way around. She's not the kind looking to take advantage."

Both she and Bill Rossis knew that Hollywood was never short of women with such intentions, who often caused tremendous pain to men and could even ruin some forever.

They had witnessed Murphy's relationship with Carey Mulligan. While his talent, intellect, and will were exceptional, his emotional intelligence was not commendable, which was their greatest concern.

To avoid impacting him, they had shielded him from all news about Carey Mulligan for the past six months.

"That's good," Bill Rossis said, relieved, then asked, "Anything else?"

Grace pondered for a moment, "The only troubling thing is that Gal's family is in Israel. When I spoke with her, she inadvertently mentioned wanting to return there for university after the Miss Universe competition."

"She can study in the U.S., too. Los Angeles has many renowned universities," Bill Rossis wasn't too worried, advising, "Discuss this with Murphy. If he can persuade her, it shouldn't be a problem."

Murphy's future was tightly linked with his, and Bill Rossis didn't want to see any unfavorable factors hindering his progress.

The photo shoot didn't last long. As a director and not an actor overly concerned about his on-screen appearance, Murphy stepped out of the spotlight area, where a makeup artist immediately came to wipe his sweat. Bill Rossis approached as well.

After the makeup artist left, Bill Rossis accompanied Murphy out of the studio towards the interview room prepared by "Vanity Fair."

"Although I've communicated with 'Vanity Fair's editorial team," Bill Rossis said as they walked, "they're likely not going to stick to the preset questions, so be cautious. Grace and I will be outside the interview room. If you face difficult questions, take a break, and we'll help you handle it."

Murphy nodded slightly, "Don't worry, I know what to do."

Bill Rossis was not overly concerned about this interview. With Murphy's capabilities, he should handle the "Vanity Fair" journalists without much trouble.

Entering the interview room alone, Murphy was greeted by a professionally dressed woman, "Hello, Murphy, good to see you again."

Murphy lightly shook her hand, "Hello, Jane."

His interviewer was Jennifer Mona, previously introduced by Carla Fess.

This was not a place for small talk. They sat across from each other, separated by a small glass table, preparing to begin their respective tasks.

Besides the usual pen and notebook, Jennifer Mona also brought out a recording pen, gesturing towards Murphy, "Is this okay?"

This was agreed upon beforehand. Murphy made a welcoming gesture, "Go ahead."

Jennifer Mona pressed the recording button, and the formal interview began.

She pushed her wavy hair back and started, "Congratulations, Murphy. Last weekend you achieved your first box office number one in Hollywood."

"Thank you," Murphy smiled.

The interviewer started with his most recent proud accomplishment, as expected. It's a common tactic among journalists to establish a positive rapport and a smooth communication bridge with the interviewee before probing for secrets or inciting emotional responses to serve their purpose.

Although Murphy hadn't received professional training in this area, having been a freelance journalist and coming from an era with exceptional information flow, he was somewhat familiar with these techniques.

Jennifer Mona's smile grew warmer, "What did you feel seeing the $36.8 million opening weekend box office figure?"

"I doubted my eyes at first; I never expected $36.8 million for the opening weekend," Murphy exaggerated, "I was so excited when I got the notification from Miramax that morning, I yelled for a whole minute! Fortunately, my understanding neighbors didn't call the police..."

Laughing, Murphy continued, "This is my first box office number one, and I'll always remember this figure."

"Did many people congratulate you?" Jennifer Mona inquired.

"Many people, everyone in the crew. We congratulated each other," Murphy shrugged, "for accomplishing something remarkable. My agent, my friends..."

Speaking of friends, Jennifer Mona shifted the topic, "You've worked repeatedly with some actors. Are you all very close?"

"Yes!" Murphy nodded earnestly. "I never deny that. Downey, Jim, Seth, and Jonah – we're not just friends with similar interests but brothers who share both glory and adversity. They are all incredibly talented actors. I'm proud to have worked with them continuously."

Murphy seemed genuinely passionate as he spoke.

After a few more questions about his team, feeling the timing was right, Jennifer Mona suddenly asked, "I heard you met Robert Downey Jr. in prison?"

Murphy nodded slightly, "We were once cellmates."

"Someone informed us that you were quite notorious in state prison!" Jennifer Mona glanced at Murphy. "And not in a good way."

So it begins. Murphy, mentally prepared, responded after a brief pause, "I was alone and helpless, both outside and inside the prison. What do you think a prison is? Jane, you don't believe it's heaven, do you?"

Jennifer Mona shook her head, and Murphy continued, half-jokingly, "A place like prison isn't where you win people over with virtue."

"Uh..." Caught off guard by Murphy's response, Jennifer Mona quickly moved to her next question to mask her defeat in this round of verbal sparring, "There are also rumors you were involved with drug dealers in prison, and your initial funding was questionable."

Murphy immediately retorted, "That's a false accusation!"

Jennifer Mona, feeling she had regained some ground, watched him closely, waiting for his explanation.

"The funding for 'Hard Candy' is traceable and legit," Murphy confidently stated, not fearing any investigations. "Before I went to prison, I was a freelance journalist. After getting out, I returned to that profession. My initial funding came from selling news footage. Additionally, I had some luck and once tipped off the LAPD about two burglars, for which I received a reward. All of this can be verified."

Jennifer Mona, a friend of Carla Fess, did not go easy on him.

Once the verbal jousting in an interview started, it wouldn't stop abruptly. Knowing that Murphy had confidently stated this part of his past, Jennifer Mona changed to another sharp question, "It's said you went to prison for injuring a promising British director favored in Hollywood. That director reportedly still has cognitive issues and struggles to think independently. What do you have to say about that?"

"It was an accidental injury, and only superficial!" Murphy deflected the blame to his youth. "I deeply regret it and am very sorry. I've paid the price for it."

"However," he quickly added, "I don't think his current cognitive issues have anything to do with me. I only pushed him, causing a minor facial injury. He left the hospital after just half a day and continued preparing for his film until he started showing cognitive issues ten months later..."

"As far as I know, he fell from a director's chair set up on tracks during preparation," Murphy said innocently. "If you accidentally hurt someone, should all their future problems be attributed to you? That's hardly fair!"

The British director had family. If the incident were truly related to Murphy, would they have let it go? Would they have never troubled him again?

That was clearly improbable!

Murphy's view was that his direct interaction with the director might have triggered a butterfly-effect-like chain of events.

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