Chapter 148: Hot Property

In the airport café, the waiter brought over two cups of coffee and a glass of juice. Murphy paid the tip but didn't touch the coffee, instead looking at the agent across from him who claimed to be from William Morris.

Martin-Miller was also sizing up Murphy, surprised by his youth. Although he had young prodigies among his clients, they were actors, a completely different concept from directors. How many years had it been since Hollywood had seen such a young director achieve such terrifying box office success?

If it weren't for his extraordinary return on investment and the fact that he was under a contract akin to that of an intern, William Morris wouldn't have sent him to poach from CAA.

"Director Stanton," Martin-Miller, too, ignored his coffee, "William Morris is very sincere in inviting you to join us."

There was no need for subtlety or beating around the bush; he was here to wield the hoe.

Carey Mulligan turned to look at Murphy, recalling the call from James Franco's agent in Australia, and realized that her boyfriend had somehow become hot property?

The agent from William Morris had even checked the flight schedule and came to the airport, as if fearing Murphy would be snatched away by someone else.

Murphy smiled calmly, "Thank you for the kindness of you and William Morris. I'm currently very happy working with CAA and have no plans to switch agencies."

"I understand you're currently under an intern contract with CAA?" Martin-Miller wouldn't give up easily, continuing, "CAA doesn't value you enough, and aside from your agent Bill Rossis, they've invested virtually nothing in you."

Hearing this, Murphy didn't respond. He was quite satisfied with Bill Rossis, but he had no special feelings towards CAA, UTA, or William Morris, and saw no harm in hearing their offers.

Empty promises couldn't sway someone, and Martin-Miller, not being foolish, knew Murphy was interested in the terms being offered.

"William Morris is very sincere," he earnestly said. "An 8% commission rate, and we'll build a mature film team around you!"

This was treatment usually reserved for established directors.

Martin-Miller continued, "For your future projects, William Morris will operate at full capacity, and as long as you need, the company will do its best to persuade our top stars to collaborate with you."

There was an unspoken condition Murphy added in his mind: that his projects must attract those top stars.

"I can assure you," Martin-Miller hadn't finished, "that at least one of my star clients will participate in one of your projects."

He wasn't an obscure agent like Bill Rossis; being Jewish and with years of experience, he was close to being a top entertainment agent.

"Oh?" Murphy seemed interested, "Including your actor clients?"

Seeing Martin-Miller nod, he playfully asked, "Padmé Amidala?"

Without hesitation, Martin-Miller affirmed, "Of course!"

Regardless, this showed sincerity. A single "Saw" seemed to have completely changed the situation Murphy faced.

Perhaps this was Hollywood, where there was a world of difference between the successful and newcomers, even if the newcomer was a genius.

Murphy wouldn't immediately give an answer. After thinking for half a minute, he said, "I need some time to consider. Mr. Miller, I will give you a definite answer next week."

Martin-Miller, facing a successful director with two films under his belt, hadn't expected to sway Murphy immediately. His appearance at the airport was more about establishing the impression that William Morris valued him, also showing a certain sincerity.

"That's fine." Martin-Miller stood up and extended his hand, "I await your call, hoping for good news."

Murphy shook his hand, "I hope so too."

Martin-Miller left the café first. After Carey Mulligan finished her juice, Murphy left with her to collect their luggage and hailed a taxi from Los Angeles International Airport directly to Stanton Studio in Santa Monica.

In the taxi, Carey Mulligan kept looking at Murphy, "So, you've become this sought after. Bill should be worried."

Murphy just shook his head and smiled. If the conditions were similar, his first choice would definitely be Bill Rossis and CAA.

Returning to Stanton Studio, Murphy, carrying the luggage, hadn't yet entered the house when he saw Paul Wilson and Bill Rossis coming out, with the former quickly taking the suitcase from Murphy.

Paul Wilson, having completed his graduation formalities, not only officially joined Stanton Studio but also signed an agent contract with Bill Rossis.

"Something up?" Murphy asked Rossis.

Apparently hearing the commotion outside, the large-framed Rosa Rodriguez and the financier also came out.

Carey Mulligan could tell Rossis and Murphy had something to discuss, loudly calling to the others, "I brought gifts for everyone, one for each. Paul, push the suitcase inside."

The others followed Carey Mulligan into the house.

Murphy walked towards the iron gate, with Rossis following.

Under a giant palm tree, Rossis said, "I heard Jim's agent called you?"

"Right," Murphy nodded, "A few days ago. I just met Martin-Miller from William Morris at the international airport."

Without saying everything, Rossis understood, "They've all extended invitations to you?"

Murphy spread his hands, "I didn't expect to be this popular."

Rossis looked up at the palm tree, exceptionally tall, "Agencies definitely want the best."

He looked back at Murphy, "The management has talked to me, ready to sign a new agent contract with you."

"The commission?" Murphy asked directly.

"Ten percent, the industry average," Rossis answered.

The condition wasn't great but not bad either.

Murphy thought for a moment, then asked, "What else?"

Rossis smiled, "We're old friends. You set the conditions, and I can give you an answer now if I can; if not, I can relay it to the higher-ups."

"I need a team," Murphy said without hesitation, "A strong, competitive production team centered around me."

A mature team was too important for a director.

"Phil, Paul, Helena, David, Jack…" Rossis listed a series of names, "These are the people you liked during the last shoot, now all CAA clients, with you as their priority collaboration."

"If I need," Murphy added, "CAA should operate my projects."

Rossis nodded, "That's what the company thinks too."

Murphy waved his hand, "Discuss the specific terms with Robert. I'll communicate with him over the phone."

This was somewhat unexpected for Rossis, "That's it?"

"For now, yes."

Murphy had other ideas, but if they didn't match his current status, it would only serve as fodder for ridicule.

Preparing to leave, Rossis called out, "Wait, Murphy."

"Something else?" Murphy stopped.

Rossis exhaled, "In the future, your agent won't be just me."

Murphy understood, familiar with some of CAA's operational strategies, "You're going for cross-management?"

"Not management." CAA was careful with its wording, Rossis quickly corrected, "Joint service for you."

"Is that necessary?" Murphy frowned.

This strategy seemed to guard against agents taking their clients to other agencies.

"It's actually beneficial for you," Rossis reluctantly admitted, as Murphy's future brightened, so might his own prospects, "This cross-service eliminates your worries. Each agent has their specialty and will be responsible for a segment of the business."

Pointing to himself, "For example, me, I'll handle your film business. But beyond the core film business, you'll have other concerns, and other agents will handle them…"

After a brief explanation from Rossis, Murphy understood.

CAA's ability to attract so many stars and directors wasn't just due to its business capabilities but also the provision of services beyond the core business that competitors didn't offer—supporting clients' lives beyond work.

For instance, they cared about their important clients' interests after hours, assisting with home, medical, and children's schooling issues, making CAA's management assign special tasks to some agents.

Thus, each key client had four to six agents, not just increasing the cost of "betrayal" but also improving client service.

CAA planned for Murphy to have agents for media communication, daily life, literary writing, and special opportunities, in addition to Rossis handling the core film business.

Changing agents was common for actors and directors, but this all-around service made it hard to feel resentful, instead giving the impression that the agency was personable and comfortable.

Murphy found it acceptable, "I have no objections, but I reserve the right to change any agent if they're not suitable."

Rossis soon left Stanton Studio, and Murphy returned to his work, preparing for his new project.

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