Chapter 189: Extraordinary Creativity

"Among all your works, 'Sin City' has the most unique style because its visual style is bold and differs significantly from its peers. From the first time I saw it, I was captivated by the stories. I love all these interconnected stories, the love stories unfolding around the dark city, and I think the city itself has become a character!"

Murphy's words resonated with Frank Miller, but they didn't sway him.

His idea was simple; there was no need to hand over his work. He had always maintained this idea, always rejecting Hollywood's adaptations of his comic works, believing adaptations would ruin the comics' style.

Better not to adapt at all.

Murphy wasn't in a hurry. Everything done previously was laying the groundwork, leaving a good personal impression on Frank Miller. He knew how to persuade Frank Miller; he needed to show him the overall concept.

"Frank, I hope you can spare five minutes," Murphy earnestly said, "to watch a short film I made, a film shot in the style of 'Sin City' comics!"

After a moment of silence, Frank Miller nodded lightly. It was just a few minutes.

Murphy signaled to Paul Wilson, who immediately walked over with the briefcase.

Taking the laptop from the briefcase, Murphy turned it on and placed it in front of Frank Miller, not caring that it was a party venue, and directly played the short film stored on the desktop.

Frank Miller, originally leaning back in his chair, immediately sat up straight as the first frame of the video appeared, his eyes glued to the laptop screen.

In the black and white tones, a splash of brilliant red emerged...

This was virtually a recreation of a scene from 'Sin City' comics!

On the rooftop, the assassin and the woman in a red dress kissed under a light drizzle, seemingly bringing a bit of warmth and romance to this chaotic world.

However, the sudden intrusion of black and white pure color frames turned this precious moment into a tragic conspiracy...

Seeing this, Frank Miller's interest was immediately piqued. The short film was very short and ended quickly. He sat up, placed his hand on the laptop's touchpad, and chose to replay it.

This wasn't just a movie; it was a comic!

If 'Sin City' needed a cinematic style, it had to be this style!

Frank Miller stared blankly at the short film. Although he didn't want to admit it, he was captivated!

He slowly lifted his head, his gaze returning to Murphy, unable to believe that the young man could create such a scene!

But seeing the confident and sincere smile on this young man's face, Frank Miller suddenly realized that this director named Murphy Stanton possessed extraordinary creativity, at least for his comics!

Although Frank Miller didn't say anything, Murphy could see his acknowledgment of the short film and immediately said, "In my vision, if 'Sin City' is adapted into a film, there's no need for a scriptwriter. The comics themselves are the script; we just need a bit of editing! I believe 'Sin City,' 'The Big Kill,' and 'That Yellow Bastard,' these three stories, can completely serve as the guiding script for shooting!"

Frank Miller felt tempted, but he still remained silent, looking across the table. Years of persistence wouldn't change easily.

"Frank, I believe if we adapt it, we can't do it without your help!" Murphy didn't stop there, his attitude firm, "You must be involved in the film's shooting and production throughout. Your participation in the film shooting will play a significant role in staying true to the original! I don't want you to be just a comic author or producer but to appear on the set as an associate director, allowing the actors and crew to hear your on-site guidance..."

Hearing this, Frank Miller was convinced of Murphy's sincerity and believed he truly wanted to shoot the film in the style of the comics.

But he still didn't say anything. Although Murphy was a Saturn Award winner for Best Horror Film, he hadn't seen his directed films or knew his background.

Murphy pushed the laptop towards him again, "Frank, we don't have to finalize the collaboration now. I ask you to seriously consider it."

He wanted to say more, but someone approached from a distance and was now close by.

"Oh, isn't this Murphy?"

The approaching person was Martin Miller, whom he had met once before, William Morris's agent. "Ah, and Frank."

He came to the table, surprised to see the laptop, and Frank Miller seemed to know him. He pointed to the chair beside him, "Sit, Martin."

Having said what he needed to, Murphy had no reason to stay any longer. He stood up and said, "Frank, I have something else to discuss with someone. I'll take my leave."

He also nodded to Martin Miller, "Goodbye, Martin."

"Goodbye, Murphy."

Watching Murphy and Paul Wilson leave, Martin Miller tilted his head and looked at the laptop left behind, curiously asking, "Do you know him?"

"Just met." Frank Miller closed the laptop.

He picked up the laptop and stood up, "I have something to do, need to leave early. Let's talk another day, Martin."

"Sure," Martin Miller politely replied, "I'll wait for your call."

Frank Miller left, and Martin Miller sat there, pondering what Murphy Stanton wanted with Frank Miller.

It wasn't hard to guess; one was a rising director gaining fame in the industry, and the other was a renowned comic master in the United States...

It seemed Murphy Stanton was interested in Frank Miller's comic works.

Martin Miller quickly made his judgment, then looked around. Murphy Stanton hadn't left yet, sitting at a nearby table, chatting with a sweet-looking Latin woman.

Thinking of his own agency's lack of a heavyweight director client, Martin Miller's thoughts became active again. After waiting a while and seeing the Latin woman leave, he stood up and walked over.

"Hi, Murphy." Approaching the table at the edge of the lawn, Martin Miller pulled out a chair for himself, glanced at the direction the Latin woman left, and joked, "Having a good night?"

Murphy smiled, "Just a casual chat."

"A youth idol whose career is narrowing." Martin Miller mentioned casually, "But I heard she's quite close to James Cameron."

"Is that so?" Murphy responded casually.

He wasn't interested in pursuing Jessica Alba, so it didn't matter to him.

Martin Miller looked at Paul Wilson, then said to Murphy, "Can we talk alone?"

"Something on your mind?"

Although Murphy asked, he nodded to Paul Wilson, who then left. Directly addressing Martin Miller, "Martin, you're not thinking of pulling me to William Morris again, are you?"

Martin Miller didn't pick up on his words but instead said, "I just think it's a waste for you to continue in the independent film circle."

Murphy laughed.

"I've seen your three works," Martin Miller continued, "Murphy, you should move to the mainstream film circle, direct blockbuster films with hundreds of millions in investment! You have the talent and ability!"

Few directors are willing to stay in the independent film circle. These words were indeed attractive.

Martin Miller knew young directors often have great ambitions, "Only by moving to the mainstream film circle can you become a top director! And possibly..."

He emphasized, "Compete for the Oscars!"

"Indeed." Murphy seemed to yearn for it, "I too wish to hold the Best Director Oscar."

"But what about CAA?" Martin Miller changed the topic, "Has CAA made such plans for you? As far as I know, no!"

The agent of William Morris finally got to the point, "I can make such long-term plans for you! A very long-term plan!"

Murphy shook his head, "If I want to win awards, I think CAA is better."

"Indeed, in recent years, CAA's actors and directors have a higher chance of winning awards than William Morris." Martin Miller lowered his voice, reminding, "But have you noticed, the winners are either Jewish themselves or their agents are Jewish!"

He pointed to himself, "I am Jewish! And your agent is not! Also, I have good relationships with many influential Jews in the industry. As long as your ability and works don't have major issues, when the time comes, some things will naturally become yours!"

Hearing this, Murphy immediately thought of the Jewish actress under Martin Miller's management, the first post-80s Oscar-winning actress. She had followed this path.

He could tell Martin Miller wasn't just talking. Indeed, he had a wide network in Hollywood's Jewish circles.

It was impossible not to be moved, but after thinking for a while, Murphy firmly shook his head. For him, who was in the rising phase of his career, a stable foundation was more important than these.

"Sorry, Martin." Murphy declined again, "I'm currently very happy cooperating with CAA."

He checked his watch, "It's getting late. I should head home. Let's have coffee sometime."

Martin Miller nodded, but the smile on his face disappeared, his expression turning somber. Being repeatedly rejected wasn't pleasant.

Especially by someone who had just made a name for themselves.

He watched Murphy and Paul Wilson leave, shaking his head. This industry isn't just about talent and ability for success.

Murphy left the private club, first drove Paul Wilson back to downtown Los Angeles, then called Bill Roscis, and finally returned to his home in Santa Monica.

He didn't take Martin Miller's invitation to heart. Now, the most important thing was securing the film adaptation rights for "Sin City."

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