Chapter 26: Non-mainstream

Jessica Chastain's professional training told her that the opening and ending of a script should resonate, with one plus one minus, indicating strong dramatic changes in the emotional fluctuations of the film.

For example, many professional actors typically only read the first 10 pages and the last 10 pages of a script to determine if there are significant changes and if it can attract the audience.

If there are no such changes, the script usually ends up in the trash.

After a quick scan, Jessica Chastain didn't see anything particularly impressive in the script. Even though she hadn't officially entered the film industry yet, it was easy to infer from the script's direction that the future film would likely revolve around gruesome, violent, and highly sensitive themes to attract attention.

A young girl being brutally murdered by a pedophile, followed by another girl seeking revenge...

This was definitely not the content expected of mainstream films.

However, as she looked at the studio and then at Murphy across from her, Jessica Chastain realized that with the capabilities of this studio, it was unlikely to produce mainstream films.

While the script wasn't outstanding, its structure was very neat and aligned with Hollywood's production model. Jessica Chastain deliberately reviewed the opening and ending again. The opening scene depicted the brutal murder of a girl, while the ending showed her friend similarly killing the murderer. It could be said to meet the requirement of the opening and ending scenes needing to resonate.

From this perspective, what Murphy presented was a relatively reliable script.

But what were the chances of success for such a script? Especially after seeing some of the bloody scenes, Jessica Chastain couldn't help but shake her head.

Sensitive subject matter, large-scale production, and likely low investment...

These thoughts flashed through her mind, leading Jessica Chastain to conclude that this was probably a black B-grade film project, and one with a very low chance of success at that.

Suddenly, Jessica Chastain once again had the thought that she might have made a wrong choice.

Especially when she looked at Murphy across from her, who was obviously younger than herself and lacked any convincing power.

For a moment, she really wanted to give up, but the thought of the $300 weekly salary and the opportunity to be involved in film production on-site made her dismiss the idea.

"This project is very likely to fail..."

From the neat but unremarkable script, the shabby studio, and the unreliable boss, Jessica Chastain drew her own conclusion, "This studio is probably going to go under soon, but it's also a rare experience. Witnessing the failure of a film project and a film studio firsthand can also accumulate some experience to avoid failure."

She didn't have much faith in this project at all.

Jessica Chastain calmly set the script aside, took the contact sheet and the phone on the desk, and began contacting one unfortunate applicant after another.

Unperturbed by the sound of Jessica Chastain making calls opposite him, Murphy was fully focused on sketching storyboard frames. This work had just begun, and the frames he was drawing were for the opening scene of the script.

With limited funds, a relatively simple script and cast, and a somewhat weak storyline, to make the final film appealing, they would need to employ some special techniques.

Especially for the opening scene of the film, which played a significant role in setting the tone, mood, style, introducing main characters, and presenting the backstories of the main characters to the audience.

But most importantly, it needed to "hook" the audience and make them think, "This is a good movie!"

Murphy admitted that the film's theme and scale were somewhat large and leaned towards darkness, but with only $300,000 investment, this was the simplest and most effective way for a low-budget film to succeed.

With his current capabilities, $300,000 couldn't produce another "Saw", let alone a high-brow art film.

He was just a novice after all, and relatively simple films were the preferred choice.

Busy until around eleven o'clock, Murphy put down his pen and looked at Jessica Chastain, who had also closed the files in front of her. "I've contacted all the people on the list. Six of them are interested in the positions we're hiring for."

She glanced down at her notes, "Two of them are lighting technicians, one is a set designer, two are makeup artists, and one is a props master."

Murphy nodded, propping his elbow on the table and gently rubbing his temples. He had been suffering from headaches for over a year now, a remnant of this peculiar experience.

"Did you schedule interview times?" he asked.

"Yes," Jessica Chastain pushed a schedule towards Murphy, "starting from one-thirty in the afternoon."

As a recent graduate, her thoughts were relatively straightforward. She added, "Two of the six are interns who haven't graduated yet."

"I see," Murphy picked up the schedule, standing up and saying, "Let's call it a morning here, Jessica. You go have lunch."

Jessica Chastain had just breathed a sigh of relief when Murphy added, "After lunch, hurry to USC School of Cinematic Arts and California Institute of the Arts to post all the posters."

Packing up her things, Jessica Chastain walked out, but as she turned her head, her mouth twisted unnaturally, showing her disapproval of the tasks.

Some things were apparent to Murphy, but he didn't say much. It was normal to face any difficulties at this early stage.

After a simple lunch and a short nap back at the house, Murphy arrived at Milton Café in Old Chinatown before one-thirty, at the same spot as before, and quickly met the first interviewee.

"I'm Paul Wilson."

He was a somewhat shy-looking young man sitting across from Murphy, with a slightly embarrassed smile. "I'd like to apply for the position of set designer at your company."

Murphy briefly glanced at the resume he handed over and asked, "You haven't graduated yet?"

"No," Paul Wilson shook his head, then quickly added, "but I have experience in this field. I've participated in the filming of two experimental films within the college, working as a set designer and also doubling as a lighting technician. I believe I'm very suitable for this industry and I want to make some achievements in the film industry."

After speaking, he hurriedly took out a box of videotapes from his backpack and placed it on the coffee table, "These are recordings of the experimental films."

"Compared to many students I've seen, you do have experience."

Looking at the young man across from him, Murphy said seriously, "But experimental films are different from mainstream films. Why should I hire you?"

Paul Wilson scratched his head, seemingly unsure of what to say.

Murphy stared at him and continued, "Stanton Studios is a very professional film production company, offering very promising opportunities for employees."

Such empty talk naturally lacked persuasiveness.

"Have you seen the recent influential documentary called 'City of Sin'?"

This documentary had gained some notoriety in the Los Angeles area due to its subject matter. Murphy saw Paul Wilson nod and gave a confident smile, "This documentary was produced jointly by Stanton Studios and the local Fox Los Angeles Channel 6. If you pay attention, you can see these connections, and as for me..."

He pointed to himself, "I'm the assistant director of 'City of Sin'."

As

for Stanton Studios and himself being just namesakes, Murphy wouldn't tell anyone about it.

With his current relationship with the actual producer of the documentary, Kara Fais, the TV station wouldn't disclose this information to the public either.

Paul Wilson's eyes lit up.

"You don't have work experience."

This statement dimmed Paul Wilson's gaze once again, and Murphy completely controlled the situation, "But I admire ambitious young people. Stanton Studios is also willing to provide opportunities for these young people to get in touch with and truly enter the film industry."

Murphy deliberately spread his hands and said, "Although it's not a formal position, the opportunity to truly participate in film production, in Hollywood, is very rare. Stanton Studios doesn't shoot commercials; we make real movies!"

Paul Wilson couldn't help but nod.

"Mr. Wilson..." Murphy pointed to his resume, "I can see a lot of your uniqueness from here. I think you're talented. What's lacking now is experience. If you're willing, I can reserve an internship position for you in the upcoming film project and the newly formed crew. You can interact with professionals who have actually made movies and mature as quickly as possible."

Although it was an unpaid position, being able to participate in a real film production was rare for interns. Paul Wilson hardly hesitated and nodded incessantly, "I'm willing, I'm willing to take this job!"

Having secured this intern, Murphy instructed him to come back another day to sign the formal internship contract and sent him off with a look.

Such unpaid workers were his favorite.

The other five interviewees were dealt with in a similar manner, but only one more intern was secured, without confirming the candidates for those formal positions. Murphy needed to see more interviewees.

It's not hard to imagine that those who came to interview for such an unknown project and company were hardly impressive, and those makeup artists, lighting technicians, and props masters with relevant work experience had no independent work experience.

Of course, Murphy also understood that with the salary he could offer, he couldn't hire outstanding talents.

In any endeavor, the initial stages were always very difficult, and all available resources had to be used. Murphy was no exception. In the evening, he hurried to Channel 6 to meet with Kara Fais, who had just finished work, and interviewed a props master she had recommended.