Chapter 49 - Fists, Plasma and Women

  The drama filmed here is actually not very difficult, neither need to dig deep, nor the pursuit of connotation, not to mention the actors big spike acting, the most important thing is to show violence, blood and cruelty ...

  Even so, Murphy shooting up is not relaxed, not only in the morning to change the four angles of shooting, after lunch is shooting close to the afternoon, in the black and white film only one disk left, he gave the actors a long break, and so the rest after the end of the shooting.

  He didn't take a break himself, sitting in the car and watching the shot over and over again to find out if there was anything he could do to improve it.

  This opening scene, which only lasted a few minutes, was something Murphy paid immense attention to.

  For any movie, the opening shot was like the key that opened the door to the world of light and shadow, leading the audience on a movie journey.

  It can be said that whether a movie can catch the audience's eyeballs in a moment, and the audience to produce a good chemical reaction, the opening shot plays an important role, so for the director and production staff, the opening shot is bound to be well thought out, sometimes it can be the beginning of the whole story of the movie, and sometimes it can be the end of the whole story of the movie, the beginning of the turn, the darkness of the flowers.

  Murphy planned the opening of the movie is very simple, come up to the point of the theme, to explain the true side of Jeff, the hero, which is indeed very cruel, but can make people unconsciously associate with such a person will continue to commit crimes? What would happen to him?

  Whether he continues to abuse other girls or someone seeks revenge on him, it's a great gimmick that will draw an audience to watch.

  "Combine that with the end of the script."

  Bill Rossis and the agent called Mike were still standing by the bushes in the morning, the former talking to the latter, "He's using the typical first and last opening shot technique."

  "The simplest and crudest opening shot technique."

  After an afternoon of field observation, Mike was clearly much more serious than he had been in the morning, "Yet it's also the way new directors have the lowest chance of missing."

  He looked at Murphy in the distance, "A very smart one, with a very clear understanding of himself."

  In Bill Rossis' eyes, such a camera technique was also more likely to be successful in the use of new directors, and there were countless classic first and last echo movies in movie history.

  Mike suddenly turned his head and asked, "You're interested in him?"

  Bill Rossis didn't deny it and said directly, "With our position in the company, it's impossible to get quality client resources, an actor of the caliber of Julian Fellowes is already our limit, if we want to climb up the ladder, we can only think of a way to do it in terms of cultivating newcomers."

  "You think he can?" Mike asked curiously.

  "Who can guarantee that kind of thing." Bill Rosyth shook his head, "I just think he has some potential."

  Mike understood what he meant, newcomers like this, they agents of average status would sign a few every year, if these people could make a name for themselves, they would naturally rise as diggers, and if they couldn't, they basically had nothing to lose.

  "And he's a director." Bill Rossis made a point of emphasizing.

  Successful directors look so much bleaker than the star actors in front of the curtain, but in reality it's the opposite.

  Following the director is a universal value in the movie world, and throughout more than a hundred years of movie history, the true leading riders of movies have all been directors, and without great directors such as James Cameron, Steven Spielberg, and George Lucas, there would be no world cinema today, which has gone into a golden age.

  "It's true that the director is the dominant job title in the entire movie industry," reminded Mike as a friend, "but every year millions of movie professionals dream of becoming directors, how many of them succeed?"

  "Everything is a risk." Bill Rossis just smiled, "I think he has potential, and that's enough."

  How could he not know that the road to directing was difficult? Even Ann Lee, who is a big hit nowadays, had been a home cook for six years before that; even Quentin Tastino was a nameless video store boy before that.

  Shooting resumes there, and Bill Rossis and Mike continue to chat in whispers.

  "I've been on this set for a long time," Bill Rossis said with his arms folded across his chest, looking over at the set, "One, helping Julian take care of Carey, and two, watching this Murphy Stanton."

  Mike frowned slightly, "Does he really have the potential to warrant such attention?"

  "While the paths towards directing vary," Bill Rossis clearly hit on the idea, "there are always some universal truths hidden in there."

  "The most important point, of course, is to prove yourself by your strengths and accomplishments." He smiled at Mac, "That can't be said now, and it's not our turn to be directors who have proved themselves."

  "What about the rest?" Mike clearly came to be interested.

  "Stress tolerance! Directing is a high-risk, high-pressure job, and the hard work and high pressure of making the movie itself is enough to drive the average person crazy."

  Speaking of this, Bill Rossis brought a trace of admiration in his gaze towards Murphy, "I've investigated, he has suffered very many blows, and also spent a year inside the prison, yet he didn't fall flat on his face, instead he did even better after he got out of the prison, and even dared to invest the entire fortune that he had gathered with great difficulty into this movie."

  Mike was a little unimpressed, "That's nuts, right?"

  Bill Rossis, however, retorted, "Aren't all those successful directors crazy?"

  He continued, "A director has to be able to direct performances, Carey Mulligan is my contracted actor, and she's improved tremendously in the meantime, most directly due to Murphy Stanton."

  These words were spoken both to Mike, and Bill Rossis was convincing himself that he couldn't pass up such a promising individual, "And most importantly the ability to drive a script. Akira Kurosawa has pointed out many times that to be a great director you must first be a competent screenwriter, and the script for this project comes from the man himself."

  "Of course, I'm not saying how brilliant this script is; Fruit of the Loom is neatly passable at best."

  Mike had read the script, Bill Rossis still analyzed, "The script is not outstanding, but it is full of factors to attract the audience, today's small-budget movies, if they want to attract the audience, it is only on top of the fists, plasma, and women, all of these are reflected in Fruit Hard Candy more than enough."

  Going over the script in his head, Mike realized that this was indeed the case, the script started with a violent crime, in the middle there were large scale underage girls punishing the murderer, interspersed with sensitive lolita plots ...

  He couldn't help but look over to Murphy's side of the table, also coming around to the guy, the script really wasn't outstanding, and there wasn't much creativity to speak of, yet it was full of gags to draw the audience in