Chapter 193: Familiar Names

"Harvey, you want to recommend Bruce Willis to play Hartigan?"

In a reception room at Miramax's Burbank office, Murphy frowned deeply at Harvey Weinstein, unhesitatingly objecting, "I think that's highly unsuitable!"

"Because he's not a CAA client?" Harvey Weinstein inquired.

He owed Bruce Willis's agent a favor, and upon hearing about this project, especially since Bruce Willis learned it was based on a Frank Miller comic, both showed keen interest.

"He's not a CAA client?" Murphy was completely unaware of this detail. Honestly, whether the actors came from CAA wasn't his concern. He let Bill Roscis and CAA package his project simply because it made things easier for him as a director. He continued, "Harvey, this has nothing to do with whether Bruce Willis is a CAA client or not."

"Oh," Harvey Weinstein seemed somewhat skeptical, "Is that so?"

Murphy couldn't just object without reason. In a few minutes, he had thought of one.

"I don't think Bruce Willis is more suited for the role of Hartigan than Robert Downey Jr.," although Downey was the last addition, Murphy had talked about mutual support. As the leader of this small group, it was natural for Murphy to protect his own. "Downey's reputation hasn't been great these past few years, but he regained a lot of popularity after 'Planet Terror.' Bruce Willis might have a bigger name than Downey, but Harvey, have you considered that he's also past his prime!"

These reasons alone wouldn't convince Harvey Weinstein. Murphy added, "How much would Bruce Willis's salary demand be? Would he do it as a favor?"

This wasn't an award-winning film, unless Bruce Willis and his agent were out of their minds.

Harvey Weinstein didn't respond, so Murphy continued, "Five million dollars or eight million dollars? Robert Downey Jr.'s salary is only a quarter of that, or even less!"

Controlling investments was something Miramax and Harvey Weinstein always focused on.

"If Bruce Willis could bring an extraordinary performance, we could consider him!" Murphy didn't stop there. "But Bruce Willis has never been known for his acting skills. I believe his acting is not even on par with Robert Downey Jr.'s!"

After speaking, Murphy took a large sip of the now-cold coffee on the coffee table, just about to add more when Harvey Weinstein suddenly changed his mind.

"You make a good point," he seemed to really take Murphy's words to heart, "I've always supported you. Since you're opposed, I'll just refuse Bruce Willis's agent."

Harvey Weinstein was persuaded by his own arguments? Murphy was surprised; he had been prepared to continue finding reasons and excuses...

Leaving the reception room, Murphy was still puzzled, not understanding until he had left the building and got into his car.

Harvey Weinstein was simply a cunning old fox.

He had called Murphy over specifically to have him oppose Bruce Willis playing Hartigan.

Hollywood is a place where news travels fast, and some matters are easily leaked. Harvey Weinstein rejecting Bruce Willis could easily be blamed on Murphy, showing Bruce Willis and his agency, "It's not that I don't want to use you, but my director strongly opposes. I have to respect the director's opinion, right?"

This way, Weinstein could easily cast the role of the villain to Murphy while hardly damaging his own network of relationships.

Even, Murphy would owe Harvey Weinstein a favor since he ultimately listened to him and chose Robert Downey Jr.

Such a cunning plan was not ordinary!

Driving his black Cadillac towards the Disney studio, Murphy couldn't help but sigh. None of the big shots in Hollywood were simple characters.

This belated realization also served as a reminder to him not to let down his guard just because they were collaborating. Otherwise, he might end up counting money for someone else after being sold out.

Arriving at the Disney lot, Murphy switched to an electric cart and headed to the rented Stage 2 and Stage 3 for the "Sin City" crew.

In recent years, Hollywood crews have increasingly moved away from Los Angeles for filming, especially mainstream commercial productions, leaving many of Hollywood's major studios, apart from a few operational stages, largely as tourist attractions. The Disney studio was no exception, with only Stage 2 and Stage 3 still bustling with activity.

Had Miramax not been unable to secure tax incentives from other states or popular overseas filming locations, "Sin City" would not have stayed in the Los Angeles area for shooting.

Despite the loud support for independent films across the U.S., tax incentives always prioritize mainstream commercial productions. Regional tax policies aim to stimulate investment and employment, with no regard for pursuing cinematic art. The impact of big-budget commercial movies in this aspect is undoubtedly more pronounced.

Entering Stage 2, Helena was supervising the set team in arranging the green screen. Nearly all shots in the film would be filmed in front of a green screen, with only a few requiring built sets or location shooting, reducing much of the set and production teams' workload in arranging or selecting locations.

The setup was just beginning, and Murphy went over to discuss the storyboards with Helena.

The script was straightforward, but Murphy, using the comic as a blueprint, had created numerous sequential storyboards to guide filming. Storyboards have their advantages, allowing for adherence to the comic's style and clear scene visualization.

The downside is their formulaic nature, lacking creativity and flexibility.

This issue was almost non-existent for "Sin City's" filming; Murphy wanted to recreate the comic.

Of course, he wouldn't hesitate to make necessary changes.

In the production office, Murphy met Phil Rask and Frank Miller.

"Murphy..."

"Director..."

The crew members greeted him, and Murphy nodded to each before joining Phil Rask and Frank Miller's conversation. After they finished, Murphy asked, "Phil, did we get the cameras?"

"I contacted nearly ten equipment rental companies; none have the latest Sony digital cameras," Phil Rask wasn't too worried, "Two companies are already coordinating. By next week at the latest, the cameras will be in place, not affecting our work."

Murphy still urged, "Keep an eye on this."

"Sure," Phil Rask nodded.

"And," Murphy added, "I've already instructed the stunt coordinators. They'll fully cooperate. Once the cameras are in place, start testing the high-speed slow-motion shots immediately!"

Phil Rask was about to agree when Frank Miller, having heard the conversation, interjected, "High-speed slow motion? Murphy, you're planning to shoot action scenes in slow motion? Can that..."

"Frank!" Murphy cut him off before he could finish, "We haven't decided yet. This is just a test shoot. We can discuss whether to use it after seeing the test results, okay?"

"This..." Frank Miller hesitated.

Without seeing the actual effects, he lacked the confidence to object.

Moreover, after spending some time in the crew, he realized that achieving the comic's style required many film techniques he had never heard of.

By now, he had to admit he was an outsider to film production, with his knowledge of filmmaking at least a decade old. Making a film and drawing a comic with cinematic storyboard styles were entirely different things.

Murphy agreed to Frank Miller's involvement in the crew based on thorough research by CAA. Even if Miller wanted to interfere, he wouldn't know where to start, and his understanding of film was far from directing a crew's work.

Even if Miller wanted to direct, how many in the crew would listen to him?

Some things, the gap between making a promise and actual implementation is significant.

Frank Miller ultimately didn't object, deciding to wait for the test shoot results before supporting or opposing.

Murphy then visited Stage 3, where Robert Downey Jr., James Franco, Seth Rogen, and Jonah Hill, already confirmed for the film, were working out, followed by professional training from the stunt coordinators.

They all had action scenes in the film, playing Detective Hartigan, the big man Marv, the killer Kevin, and Dwight, respectively, especially Jonah Hill, who, under Murphy's orders, had to lose weight, at least slim down a bit.

The stunt coordinator, Woodworth, was once an unknown. Inspired by his work on "The Matrix" sequels, he integrated free fighting and other martial arts to create a film action style more suited to Hollywood.

CAA signing him made sense.

Of course, movie-appropriate action routines have nothing to do with real combat. When Woodworth first joined the crew, he had a brief spar with Robert Downey Jr., who had previously fought alongside Murphy and Ross in prison. Woodworth was no match.

No one was surprised, as everyone knows movie fights differ from real combat.

Murphy didn't disturb the four men working out, instead finding Paul Wilson, the casting director, to inquire about the audition sign-ups.

The film had numerous roles, most to be filled through auditions.

"The response is much better than we anticipated, likely due to the comic's popularity. We've had a lot of applicants."

Paul Wilson handed Murphy a registration form, where he saw many familiar names, such as Clive Owen, Sofia Vergara, Jessica Simpson, Jessica Alba...

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