Chapter 26: Non-Mainstream

Professional knowledge once taught Jessica Chastain that the opening and closing scenes should correspond, indicating strong dramatic changes in the film's emotional fluctuations.

For example, many professional actors usually only look at the first 10 pages and the last 10 pages of a script to determine if there are dramatic changes and if it can attract the audience.

If there are no such changes, the script is usually thrown into the trash.

After roughly browsing through it, Jessica Chastain didn't see anything in the script that stood out. Even though she hadn't formally entered the film industry yet, it wasn't hard to deduce from the script's outline that the final product would attract attention through blood, violence, and extremely sensitive themes.

A little girl being murdered by a pedophile, and then another girl avenging her...

This is definitely not the content mainstream films should have.

However, she looked around the studio and then at Murphy across from her, understanding that with the capabilities of such a studio, it was impossible to produce a mainstream film.

The script wasn't great, but its structure was very neat and conformed to Hollywood production standards. Jessica Chastain specifically checked the beginning and the end again. The opening scene involved a girl being brutally murdered, and the ending was her friend similarly brutally killing the murderer, which met the requirement that the opening and closing scenes should correspond.

From this perspective, the script provided by the person opposite her was relatively reliable.

But how likely was it for such a script to succeed? Especially after seeing some bloody scenes, Jessica Chastain couldn't help but shake her head.

Sensitive themes, extreme content, and presumably not a high budget...

As these thoughts flashed through her mind, Jessica Chastain naturally concluded it was a black B-movie project with a very low chance of success.

Suddenly, Jessica Chastain once again felt she might have made a wrong choice.

Especially when she looked up and saw Murphy, who was obviously younger than her and not very convincing.

For a moment, she really wanted to give up, but thinking about the $300 weekly salary and the opportunity to gain firsthand experience in film production, she abandoned that thought.

"This is likely to be a failed project…"

From the neat but unimpressive script, the simple studio, and the unreliable boss, Jessica Chastain drew her own conclusion, "This studio might soon go out of business, but it's also a rare experience to witness a film project and a studio fail, accumulating some experience to avoid failure."

She didn't think highly of this project at all.

Without showing any emotion, Jessica Chastain put the script aside, picked up the contact list and the phone on the desk, and began contacting one unlucky applicant after another.

Completely undisturbed by the phone conversation opposite her, Murphy was fully focused on drawing storyboard sketches. This work had just begun, and he was drawing the opening scene of the script.

In the absence of sufficient funds, combined with a relatively simple script and cast, as well as a somewhat weak plot, some special means were necessary to make the final product attractive.

Especially for the opening scene, the opening is very important as it sets the tone, mood, and style of the film, introduces the main characters, and presents their backstories to the audience.

But the most important thing is to "bind" the audience to their seats and make them feel "this is a good movie!"

Murphy admitted that the theme and content of the film were somewhat dark, but with only a $300,000 budget, this was the simplest and most effective way for a low-budget film to succeed.

With his current ability, he couldn't make "Saw" with $300,000, let alone a highbrow art film.

He was just a novice, and a relatively simple film was the best choice.

Busy until about eleven o'clock, Murphy put down his pen. Opposite him, Jessica Chastain also closed the file in front of her and said, "I contacted everyone on the list. Six people are interested in the positions."

She glanced at her notes, "Among them, there are two lighting technicians, one set designer, two makeup artists, and one props master."

Murphy nodded, propped up his arms, and gently rubbed his temples. His head was faintly aching again, an old problem from more than a year ago, which could also be said to be a sequela of that special experience.

"Did you schedule the interviews?" he asked.

"Yes." Jessica Chastain pushed a schedule to Murphy, "Starting at 1:30 PM."

As a student who had just graduated not long ago, her mind was relatively simple. She specifically reminded, "Two of them are interns who haven't graduated yet."

"I got it." Murphy picked up the schedule, stood up, and said, "That's it for the morning, Jessica. Go have lunch."

Just as Jessica Chastain sighed with relief, Murphy added, "After lunch, go to USC School of Cinematic Arts and California Institute of the Arts and post all the posters."

Gathering her things, Jessica Chastain walked out, turning her head with an involuntary frown, obviously having some objections to this kind of work.

Some things, Murphy could see, but didn't say much about. It was normal to encounter any difficulties at the start-up stage.

After a simple lunch and a short nap back at the house, Murphy arrived at the Milton Cafe in Old Chinatown before 1:30. He waited at the usual spot and soon met the first interviewee.

"My name is Paul Wilson."

This was a somewhat shy young man, sitting across from Murphy with a slightly bashful smile, "I want to apply for the position of set designer."

Murphy briefly looked through the resume Paul Wilson handed over and asked, "You haven't graduated yet?"

"No." Paul Wilson shook his head at first, then quickly added, "But I have experience in this field. I participated in the shooting of two experimental films at the academy as a set designer and also worked as a lighting technician. I think I'm very suitable for this industry and want to achieve something in film."

After speaking, he hurriedly took a videotape out of his backpack and placed it on the coffee table, "This is the video of the experimental films."

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

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

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

Murphy stared at him and said, "Stanton Studio is a very professional film production company, offering highly promising job opportunities for its employees."

Such empty talk had little persuasive power.

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

Due to its subject matter, this documentary had gained some recognition in the Los Angeles area. Seeing the young man opposite nod, Murphy revealed a confident smile, "This documentary was jointly produced by Stanton Studio and Fox Los Angeles Channel 6. If you look closely, you can see this, and I…"

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

As for the fact that Stanton Studio and he were just listed in name, Murphy wouldn't tell anyone.

Given his current relationship with the actual person in charge of the documentary, Kara Faith, the TV station wouldn't disclose this.

Paul Wilson's eyes lit up.

"You lack work experience."

This statement dimmed Paul Wilson's eyes again. Murphy fully controlled the situation, "But I appreciate ambitious young people, and Stanton Studio is willing to provide them with opportunities to get in touch with and truly enter the film industry."

Murphy spread his hands deliberately and said, "Although it's not a formal position, the chance to truly participate in film production is rare in Hollywood. Stanton Studio is making real movies, not commercials!"

Paul Wilson nodded involuntarily.

"Mr. Wilson…" Murphy deliberately pointed to his resume, "I see a lot of special qualities in you. I think you're talented but currently lack experience. If you're willing, I can reserve an intern position for you in the upcoming film project and newly formed crew. You can interact with professionals who have made movies, helping you mature quickly."

Although it was an unpaid position, being able to participate in a real film production was already a rare opportunity for an intern. Paul Wilson nodded repeatedly without much consideration, "I'm willing, I'm willing to do this job!"

Having settled this intern, Murphy arranged for the formal internship contract to be signed later and saw Paul Wilson off with his gaze.

He liked such free employees the most.

Although the other party lacked experience, there wouldn't be much issue with doing some chores.

In the following time, Murphy met five other interviewees. However, he only secured another intern using a similar approach and didn't finalize candidates for the formal positions. He needed to see more interviewees.

It was easy to imagine that those who came to interview for such an unknown project and company often had inadequate qualifications. For instance, the makeup artists, lighting technicians, and props masters with some relevant experience hadn't worked independently.

Of course, Murphy also knew that given the salary he could offer, he couldn't hire outstanding personnel.

Any endeavor is very difficult at the start-up stage, requiring all available resources. Murphy was no exception. In the evening, he went to Channel 6 to meet Kara Faith, who had just finished work, to see a props master she recommended.