Chapter 56: Hollywood Ruined the Art of Film

According to Murphy's idea, when the chatting content appears on the screen, it should be accompanied by the sound of keyboard typing as off-screen audio. The urgent typing sound can show the impatience of both the male and female protagonists and enhance the sense of urgency. Throughout the chat, the characters never appear, not even their typing hands, which can increase the film's mystery. Combined with the opening scene of the girl's brutal murder, a few simple lines of chat can make the viewers sense the lurking danger.

It can be said that this scene complements the opening murder scene and raises questions: will the new girl be killed, escape, or something else?

Questions like these attract viewers to keep watching.

After working for half a day, both Murphy and Griffiths felt tired. Paul Wilson timely prepared coffee, and the group temporarily left the workspace. Near the door, they sat around a small table.

This place was in the suburbs of Burbank, with the studio built on a two-story building. Stepping outside, there was a small terrace where they could see a patch of green scenery, allowing their eyes to relax from long hours of screen exposure.

Even Murphy had to admire the capability of agents from CAA.

Although they were on a break, their conversation never strayed from work, especially Murphy, who kept asking Griffiths questions, aware of his own limitations.

"Jody, how can one maintain sensitivity to editing?"

After drinking half a cup of coffee, Murphy asked seriously, "I've always wondered how a great editor keeps in shape and controls the editing rhythm."

"Everyone has different methods," Griffiths thought for a moment, seeing Murphy's persistence, then slowly said, "I can only share my personal experience, which may not be suitable for you."

Murphy nodded vigorously.

"Constantly watching movies. I make time to watch a movie every day, including some very popular TV series or documentaries. Sometimes I try to shoot and produce things. These might not be the best methods, but they help find some freshness."

Although not even a second-rate editor in the industry, Griffiths had years of experience that Murphy lacked. "Another benefit is knowing the audience's habits, as films are ultimately for them."

Murphy pondered over these words.

Griffiths continued, "Also, observe how industry professionals do things, both in North America and Europe. Keep your horizons open. But I also revisit old films for balance and to maintain a passion for movies, feeling the characters within. Some films may not emphasize editing; they might use invisible editing. However, editors need to pay attention to character presentation."

He finished his coffee, and Paul Wilson quickly refilled his cup. Like Murphy, the intern was also listening intently to Griffiths' professional insights.

"Additionally, observe life. On the subway or in the street, note how people talk at nearby tables. These details are crucial." Griffiths felt the warmth of the coffee cup and continued, "Films can't ignore these elements. Don't think it's just the director's or writer's job. Editors are also essential. For instance, in the footage you shot, where Haley says the girl shouldn't drink from another man's cup, the next cut should show her pouring the drink herself. These are common-sense details. Only when you relate to them will they be stored in your mind."

The sound of high heels from the stairs interrupted Griffiths. Recognizing the familiar rhythm, Murphy turned to see a tall blonde woman emerging from the stairs. She wore wide-rimmed sunglasses, a beige sunhat, and meticulously applied makeup hidden under the hat's brim to shield from the harsh sun.

In a fitted professional suit and sky-high heels, Murphy knew who she was even without seeing her face.

"Aren't you working?" Kara Faith greeted as she walked onto the terrace. "Hi, Jody. Hi, Murphy."

"How do you have time to come over?"

Back in Los Angeles, they had planned to dine together, but Kara Faith's promotion made her too busy. Murphy looked at her curiously while introducing her to Paul Wilson and the others.

"The time's about right." Jody Griffiths glanced at his watch. "Let's go back inside."

He led the way into the studio, followed by Paul Wilson and the others.

"When do you finish?" Kara Faith asked.

"Off at six." Murphy also checked the time and poured her a cup of coffee. "If you're not in a hurry, enjoy some coffee. We can have dinner together after work."

Kara Faith smelled the coffee, waved Murphy off, and said, "You go ahead. I'll wait for you."

At six o'clock sharp, Murphy announced the end of the day's work and joined Kara Faith waiting outside. They went to a nearby Italian restaurant for dinner.

Sitting by the window, Kara Faith, seemingly mocking but genuinely concerned, asked, "Is your funding about to run out?"

Swallowing his pasta, Murphy shrugged. "Sorry to disappoint you, but thirty thousand dollars is enough to finish post-production."

Kara Faith raised her head, surprised. "How did you manage that?"

"Planning," Murphy replied without hesitation. "Strictly following the plan, ensuring every part of the work fits like screws on an assembly line."

"Assembly line?" Kara Faith raised an eyebrow. "Didn't expect you to grasp Hollywood's essence so quickly."

"Uh?" Murphy didn't understand. "What essence?"

"Hollywood ruined the art of film," Kara Faith explained. "At first, movies were an art form, with the public viewing filmmakers like Picasso or Chopin. Then came the Industrial Revolution, commodifying everything. Mona Lisas were churned out from printing presses, bringing profits to businessmen."

"So, movies became a money-making business, everything like an assembly line," Murphy continued, "with specialists for market research to find out what movies audiences would pay for; separate departments writing scripts or outsourcing them; production managers, lighting, and set designers each doing their part; and sales teams working hard for distribution. Actors also put in effort, with one or two big stars in a cast, the rest just getting meals and a hundred dollars a day if they want to join."

He adopted a strange tone, "What, you want lines too? No problem, come to my room tonight for some study..."