Chapter 217: Bloody and Cruel

"Murphy, looking across Hollywood," Roger Ebert spoke with deep sincerity while sitting at a table with Murphy, "directors with a unique and distinct style like yours are rare. Every work you release shows progress. Hollywood needs directors like you. Stick to your style, and one day you will reap rich rewards."

"Different styles bring different surprises," Murphy raised his glass to Roger Ebert, "Stylized films will definitely find their own place and path in Hollywood."

Roger Ebert took a sip from his glass, "Your presence proves that Hollywood has more to offer than those heavily homogenized films."

Murphy modestly smiled, "You flatter me too much."

While Murphy discussed the stylization of Hollywood films with Roger Ebert, Quentin Tarantino sat with Harvey Weinstein, discussing Murphy and "Sin City."

"During filming, Murphy told me digital photography could easily achieve some special effects. I was skeptical, but now I believe it," Quentin Tarantino said, slapping his thigh. "This guy has done an amazing job! Murphy has picked up what Hollywood long abandoned - that tough and extreme style. This time it's bound to bring a superlative brilliance!"

Harvey Weinstein, finishing his drink in a gulp, looked very pleased, "I can already foresee another success for him."

"It's not just about success," Quentin Tarantino added, speaking from both a director's and an audience's perspective, "With digital technology as a support, filming for Murphy is as easy as drawing on a canvas. Many think this film is just a recreation of the comic, but that's a misconception!"

Quentin scoffed dismissively and continued, "How different are films from comics? Can they even be compared? Without Murphy's top-notch camera sense, as well as his meticulous storyboard and sketches, could this film have achieved its current effect?"

"Impossible!" Harvey Weinstein shook his head without hesitation.

He fully agreed with this. Without Murphy, the visually stunning "Sin City" wouldn't exist as it does now. Frank Miller's comics only provided the storyline and character settings. However, Murphy's guidance was paramount in shaping the film's visual style and camera movements.

Murphy even played a key role in organizing the plot materials and controlling the film's pace.

"The control of the film's atmosphere and pace, Murphy did an excellent job. He made the somewhat scattered comic story tightly knit," Quentin Tarantino remarked, sipping his water and continuing to Weinstein, "Murphy has endowed the film with tremendous watchability. During the two hours, there was never a dull moment. From beginning to end, I was excited, and I felt the film was too short when it ended."

Weinstein smiled, knowing that Quentin admired Murphy for their unique styles, finding endless common topics between them.

Since the project's inception, there had been whispers within the crew that Murphy wasn't really directing but using the camera to create comics, and he was merely Frank Miller's puppet.

But was this really the case? If Frank Miller were the director, this film wouldn't exist!

"Let me put it this way, Harvey, Frank Miller's comic stories are scattered and the pace is a bit dragging, not suitable for direct adaptation to film," Quentin Tarantino, having heard some of the discussions and after watching the film, naturally supported Murphy. "We both know Murphy didn't simply copy the comic but chose parts of the story, making each narrative concise. The twists were surprising without feeling disjointed, and the fast pace didn't feel rushed or piled up."

Harvey Weinstein, of course, was aware of this. Having watched the completed film five times, he found Murphy's editing nearly divine. The film's pace was far tighter than the scattered comics.

Considering the transition between stories, the first segment "Sin City" had the fastest pace, with Seth Rogen's character Marv providing a surprise every minute. The second segment "The Assassination" had its ups and downs, with wild beginnings and endings, while the middle part used lengthy dialogues to showcase character personalities. The third segment "The Yellow Bastard" was the slowest-paced but never boring. Murphy seemed to be teasing the audience's patience while subtly building up emotion. When the emotion peaked, the plot suddenly accelerated, fitting Robert Downey Jr.'s character's resilient nature and providing viewers with a burst of emotional release.

"I think the best thing Murphy did was the violent scenes in the film," Weinstein didn't hide his appreciation, "The stylized action scenes he created were most satisfying to me!"

In terms of violence, the film could set a record for Hollywood movies that year. Shootings, bloodshed, beatings were minor; it was the extreme, bloody, and cruel scenes like castration, dismemberment, decapitation, and heart-piercing arrows that were a common occurrence under Murphy's direction.

"The level of violence exceeds my 'Kill Bill'!" Quentin Tarantino admitted, yet admired Murphy's techniques. "These violent scenes are more bloody and cruel than 'Kill Bill', but Murphy skillfully used visual styles to soften the impact."

Thinking about this, Quentin Tarantino shook his head, feeling that his own method of using black and white imagery for the Bride's battle against the Crazy 88 in "Kill Bill" was child's play compared to Murphy's work.

Compared to Murphy's "Sin City," his own "Kill Bill" was noticeably inferior. This rising star seemed to be on the verge of surpassing him.

Realizing this, Quentin Tarantino knew he had to work harder and not just muddle along. Of course, if Murphy had any interesting ideas in the future, he had to be included. The most fun was had when everyone played together.

Suddenly, a young man approached their table and whispered something in Weinstein's ear.

"Quentin, make yourself at home," Weinstein stood up, "I need to step out for a moment."

Quentin Tarantino waved his hand nonchalantly.

Harvey Weinstein adjusted his suit, buttoning up a button, and followed the young man, nodding to those greeting him as he passed through the banquet hall and entered a larger resting room on the left.

Upon opening the door, he found Jones Butler, a black woman holding a file bag, who had recently changed her position. He gestured for the young man to close the door and sat down on a single sofa, asking, "Are the statistics out?"

"As soon as the company's tally was complete," Jones Butler sat down as well, "I came straight here."

She handed over the file bag, but Weinstein didn't take it, instead asking her to just tell him.

Jones Butler, not needing to look at the files, reported, "After the screening, our PR staff contacted eight professional film critics. They all had a favorable attitude towards the film, and their upcoming articles should be positive too. Additionally, Kenneth Turan, Todd McCarthy, Joe Morgenstern, and Roger Ebert, who are less influenced by PR, we did not contact."

"I've spoken with Kenneth Turan, Todd McCarthy, and Roger Ebert," Weinstein mentioned, "All three like Murphy and the film and are unlikely to give negative reviews."

Jones Butler noted this down.

"For the media journalists," she continued, "due to time and professional constraints, we only have a rough statistic. Of the 46 entertainment media journalists who attended the screening, 38 gave positive reviews, and nearly 20 found the film exceptionally exciting, leaving a deep impression."

Weinstein nodded slightly, as he had expected. Murphy had done exceptionally well.

"What about the audience who attended the screening?" he asked.

Jones Butler promptly responded, "Forty male and ten female viewers attended. Over thirty men gave the film an A+ rating; nine women rated it below B, with only one giving an A-..."

This clearly showed "Sin City"'s main target audience.

Thus, Weinstein instructed, "Inform the marketing department to drop all promotional efforts aimed at female viewers and increase the campaign among adult males."

Jones Butler took note of this and added, "Regarding the theaters, representatives from eight companies attended our screening. All believe the film has market potential, willing to allocate enough screens."

She paused, "Emperor Entertainment and All American Artists are even willing to increase their screen count by ten percent over what was initially agreed upon."

This was undoubtedly good news. More screens meant potentially higher box office returns.

From the screening's end to now, Weinstein's mood had been good. He stood up, instructing, "Notify all departments, there's one week left until the premiere. Make final preparations for publicity and distribution."

___________________

(Support with power stones, comments or reviews)

If you guys enjoy this story, In support me on Patreon and get access to +200 advance Chapters

Read Ahead

Patreon.com/INNIT