Chapter 49: Fists, Blood, and Women

The scenes filmed here were not particularly difficult; they didn't require deep exploration or profound meaning, nor did they demand actors to showcase exceptional acting skills. The most important thing was to depict violence, gore, and cruelty...

Nevertheless, Murphy didn't slack off during filming. He not only changed angles four times in the morning but also filmed for nearly the entire afternoon after lunch. When there was only one reel of black-and-white film left, he gave the actors a long break, resuming filming once their break was over.

However, Murphy himself didn't take a break. He sat in the car, repeatedly reviewing the footage already shot, trying to identify any areas that could be improved.

This opening scene, which lasted only a few minutes, was of utmost importance to Murphy.

For any movie, the opening shot is like the key that unlocks the world of light and shadow, leading the audience into the journey of the film.

It can be said that whether a film can capture the audience's attention in an instant and create a good chemistry with them, the opening shot plays a crucial role. Therefore, for directors and producers, the opening shot must be carefully considered. Sometimes it can be the beginning of the entire film's story, and sometimes it can be the end, marking the culmination or resolution of the story.

Murphy's planned opening for the film was straightforward, immediately addressing the theme and revealing the true nature of the protagonist Jeff. It was indeed brutal, but it made people inevitably wonder: Would someone like him continue to commit crimes? What would be his fate?

Whether he continued to prey on other girls or someone sought revenge against him, both were excellent hooks that could attract audiences to keep watching.

"In conjunction with the script's ending," Bill Ross, still standing by the bushes with the agent named Mike, said to him, "he's using a typical opening and closing shot technique."

"The simplest and most direct method for an opening shot."

After a whole afternoon of on-site observation, Mike seemed much more serious than in the morning. "But it's also the method with the lowest probability of failure for a novice director."

He looked at Murphy in the distance. "He's a very smart person, very aware of his own capabilities."

In Bill's eyes, this kind of shot was also easier to succeed with for novice directors. There were countless classic films in the history of cinema that employed the technique of opening and closing shots.

Suddenly, Mike asked, "Are you very interested in him?"

Bill Ross didn't deny it and said directly, "Given our position in the company, it's impossible for us to access high-quality client resources. Actors like Julian are already our limit. If we want to climb higher, we can only find ways to cultivate new talent."

"Do you think he can do it?" Mike was curious.

"Who can guarantee such things?" Bill shook his head. "I just think he has some potential."

Mike understood what he meant. They, as agents with ordinary status, would sign several newcomers like Murphy every year. If these people succeeded, they would naturally rise with them, and if not, they would hardly suffer any losses.

"And he's a director," Bill Ross emphasized.

Successful directors seem much less glamorous than movie stars, but the reality is quite the opposite.

Following a director is a universal value in the film industry. Throughout more than a hundred years of film history, the true leaders of the film industry have always been directors. Without great directors like James Cameron, Steven Spielberg, and George Lucas, there would be no world cinema in its current golden age.

"Indeed, directors are the masters of the entire film industry," Mike reminded him as a friend. "But how many of the thousands of film practitioners dream of becoming directors each year? How many succeed?"

"Everything involves risks," Bill just smiled. "I think he has potential, and that's enough for me."

Where did he not understand the difficulty of the director's path? Even someone as successful as Ang Lee had spent six years as a househusband before his breakthrough, and Quentin Tarantino had been an unknown video store clerk before that.

As filming resumed over there, Bill and Mike continued their conversation in low voices.

"I've been on this set for a long time," Bill said, crossing his arms and looking at the shooting location, "one, to take care of Kerry for Julian, and two, to observe this Murphy Stanton."

Mike frowned slightly. "Is he really worth your attention?"

"Although the paths to becoming a director vary," Bill seemed determined, "there are some universal truths hidden within."

"The most important point is, of course, proving oneself with talent and achievements." He smiled at Mike. "This is something we can't say for now, and even proven directors don't fall into our hands."

"What else?" Mike seemed interested.

"Resilience! Directing is a high-risk, high-pressure profession. The hardships and pressures of shooting a film alone are enough to drive ordinary people crazy."

Speaking of this, Bill looked at Murphy with a hint of admiration in his eyes. "I've investigated. He's faced many setbacks and even spent a year in prison, but he didn't falter. Instead, he did even better after his release, daring to invest his entire savings into this film project."

Mike was somewhat skeptical. "Isn't that madness?"

But Bill Ross countered, "Aren't all successful directors a bit mad?"

He continued, "A director must have the ability to guide performances. Kerry Mulligan is my signed actress, and her tremendous improvement recently is mainly thanks to Murphy Stanton."

These words were not only for Mike's ears; Bill Rossis was also convincing himself. They couldn't afford to miss out on someone with such potential. "And most importantly, the ability to handle the script. Akira Kurosawa has repeatedly emphasized that to be an excellent director, one must first be a competent screenwriter. This project's script is written by him."

"Of course, I'm not saying this script is outstanding. 'Hard Candy' is at best a decently crafted script."

Mike had read the script, and Bill Rossis analyzed, "The script may not be outstanding, nor does it have much creativity, but it's full of elements that attract audiences. Nowadays, in low-budget films, attracting audiences is all about punches, blood, and women, and 'Hard Candy' has plenty of that."

As he went over the script in his mind, Mike realized that it was indeed the case. The beginning of the script was about violent crime, with

explicit scenes of underage girls punishing criminals, interspersed with sensitive Lolita plotlines...

He couldn't help but look towards Murphy. He was also interested in this guy. The script might not be outstanding, nor did it have any innovative ideas, but it was full of hooks to attract audiences.