Chapter 313: The Standard of a Good Man

As the representative of the American Friendly Insurance Company on the set, Kevin Preiss's primary job was to ensure that the filming proceeded according to schedule. However, this first day of shooting with Murphy had stretched from morning to afternoon and was now set to be redone, significantly exceeding the planned schedule.

The crew was preparing for the reshoot when Kevin discreetly approached Murphy.

With his experience, Kevin was certainly no newcomer, and no insurance company would use such a position for training rookies. Thus, he approached the matter with tact.

Taking advantage of a moment when Murphy was sipping his coffee, Kevin leaned in and asked, "Director, how much longer will this take to shoot?"

"It depends," Murphy glanced at him, "This shot is crucial."

"I understand," Kevin still reminded him softly, "but we've already exceeded the scheduled time."

"Don't worry," Murphy put down his coffee cup, "We have a hundred days of shooting time, which is plenty."

Unlike the quick-paced shooting style of "Deadpool," Murphy had allotted a hundred days for the shooting of "Gone Girl."

After two more takes, Murphy finally approved the shot. Once the tone was set and both James Franco and Charlize Theron gradually found their groove, the remaining shoots for the day progressed smoothly. By evening, all the day's planned footage was completed.

As Murphy aged and accumulated more experience, he became increasingly adept at designing shots and directing films.

Although it was not a weekend, and his daughter Gal Gadot was at school, Murphy chose to stay late at work rather than return to an empty home.

With a meticulous plan already in place for "Gone Girl," Murphy could afford to divert some attention to review the script outline for "Game of Thrones" submitted by George Martin.

A TV series could not follow the book verbatim unless the production team was grossly incompetent—a sentiment shared by both Murphy and the experienced Hollywood screenwriter George Martin.

The screenplay had been adapted to be tighter and more suitable for filming, though it still revolved around the same key families.

The door to the office opened and Kara Faith walked in, "Why haven't you left yet?"

Murphy shrugged, "There's nothing to go back to."

Kara pulled up a chair across his desk, "The head of the PR department just called me. They think the film's anti-family and anti-marriage themes are too pronounced, which could pose challenges during the awards season."

"No worries," Murphy closed the script outline, dismissive, "We're not a mainstream commercial film, so the negative impact will be less significant."

If he were shooting a blockbuster, Murphy remarked, he would not choose such a theme. Instead, he'd opt for themes more aligned with traditional Hollywood values.

Kara, puzzled, took the coffee Murphy offered and asked, "Like what?"

"The typical scenario involves a divorced couple where the child lives with the mother, who remarries. The film starts with the step-parent dying—even if he saved the family multiple times—and the couple getting back together."

"If the father remarries, the mother's new partner doesn't die but exits disgracefully," Murphy explained as he paced, sipping his coffee.

"America may seem diverse, but mainstream values are very conservative," he continued. "The status of family is exceedingly high; a good man is expected to protect his home and country, love his family, people, and nation, and be loyal, hardworking, optimistic, and have strong faith."

Kara almost spat out her coffee laughing, "Why don't I see any of that in you?"

She sighed, "No matter how avant-garde a film is, no matter how well it does at Cannes, Berlin, or Venice, at the Oscars, any 'negative energy' often fails to resonate."

"Exactly," Murphy snapped his fingers. "That's why the Oscars, especially in recent years, always choose what's correct, not necessarily what's best."

"Our film isn't 'correct'," Kara noted.

"But we're not aiming for the Oscars!" Murphy seemed unconcerned. "This film won't win an Oscar; I just want to show those old guys during the award season that I'm not just a commercial director but a stylized one. It's about setting up for the future without letting them harbor too many prejudices against me."

Their film's theme might not be Oscar-friendly, but it wasn't that severe—it mainly depicted mutual manipulation rather than outright family destruction.

In Hollywood films, destroying families is indeed detested, although the real-life Hollywood has seen its fair share of such scandals. Promoting such themes could easily lead to both critical and box office failures, even if the actor is as charismatic as Leonardo DiCaprio, whose character Jack Dawson famously meets a grim fate.

Murphy also knew from sources at CAA that Warner Bros. was making "Superman Returns," directed by Bryan Singer, who wouldn't dare breach these norms in a blockbuster.

In the DC universe, the famously ambiguous Lois Lane had an affair with both Superman's alter ego and his superhero persona, leading to a child who, because of mixed heritage, had to take numerous medications. The husband, soon aware of the truth, chose to silently play the role of the father to protect the child's fragile psyche and maintain family unity.

With his coffee cup set aside, Murphy continued this mundane discussion both as a way to relax after work and to remind Kara of the pitfalls in filmmaking.

"This subtly influences many aspects of mainstream commercial films," he added. "For example, in teen horror films, the first to die is always the girl who's promiscuous, while the last to survive is the virtuous, kind-hearted girl."

"That seems about right," Kara mused, nodding slightly after a pause.

She was quick-witted, linking the discussion from films to societal realities, "Family and marriage are valued in society. Before marriage, one can be libertine, but once married, responsibility is expected. Infidelity is frowned upon in real life too. Presidential candidates must display perfect family values—loving mother and dutiful children—to win voters' favor."

Murphy laughed, "That's why Hillary never divorced Bill."

After a brief laugh about the private joke that wouldn't risk public backlash, they returned to discussing cinema.

"Actually, I've been somewhat worried about this film," Kara suddenly admitted.

"Because of what we just discussed?" Murphy was puzzled.

"That's part of it," Kara didn't hide her concern. "Blockbusters always have a progressive, striving male lead, yet our male lead is a deadbeat."

"So that's your worry," Murphy joked, "Though I'm poor, rough, and unambitious, I know I'm a good man. The real trash are those with good jobs, who are considerate, handsome, and dress well. My girl was just blinded temporarily by a hypocrite; only I know who the real loser is..."

"You..." Kara pointed at him, laughing.

Murphy spread his hands, "Of course, using such a character as the protagonist won't succeed, but Nick Dunne is not like that. After Amy leaves, he evolves from being clueless to self-rescuing, and finally to the man seen in the TV interviews—the Nick Dunne Amy wanted to see. He's really trying."

Kara rolled her eyes, "Stop joking, I'm serious."

Although she had been fully supportive since knowing about Murphy's script, her concerns had always lingered

.

Award seasons aside, because so many factors influence awards, could such a counter-mainstream film really succeed at the box office?

"This film isn't lacking in entertainment elements, it includes many segments audiences enjoy," Murphy assured her.

Seeing Kara nod, he continued earnestly, "Don't forget our special promotional plan. Even excluding these, there are still many favorable factors."

"Mainstream Hollywood values are indeed embraced by a vast majority of the audience, but are they really untouchable?"

Without waiting for Kara's response, Murphy answered, "After years of Hollywood's formulaic films, this old plot and cliché at most reach the basic standard of Hollywood's production line. This kind of mainstream narrative, overly familiar, tends to bore people—it's a negative, a sign of lazy screenwriting aimed to please without any fresh ideas. If a film lacks other redeeming qualities, it's destined to be no more than mediocre."

Murphy confidently stated, "Our film, however, will offer a fresh, entirely different kind of thrill to an audience numbed by this pattern!"

"You're overlooking another aspect!" Murphy raised a finger, "Our film has a natural audience base that will resonate with them!"

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