Chapter 135: Fifty Million Dollars

"Secret?" Murphy shook his head. "I don't think a secret can help much in making a movie."

Miranda across from him showed an interested expression, and beside her, James Franco, Jonah Hill, and Seth Rogen also looked over with interest.

They knew Murphy well, aware of his disreputable past, and it was impossible not to be curious about such a rapid transformation.

Of course, Murphy had his secrets but couldn't share them with others.

After thinking for a moment, he said, "Before the project began, I was seriously studying horror movie techniques and found that elements like confined spaces, serial killers, haunted houses, exorcisms, cursed dolls, ghostly apparitions, sudden sounds, and unexpected twists—from content to form—are all classic Hollywood clichés."

Hearing Murphy's words, Daisy thought about the horror movies she had seen in the past and couldn't help but nod slightly. If you isolated the single scene from "Saw," it indeed had a familiar feel from past Hollywood films.

"These are just the basics of a horror film," Murphy knew how to speak to achieve the best promotional effect. "To make a film stand out, you must carefully arrange these elements, meticulously coordinate the shots and sound effects, place the Jigsaw's appearances, reveal the mystery at the right time, and pace the flashbacks perfectly."

Many people in the crowd were nodding because Murphy was not just making empty promises; there was a currently showing movie to back up his claims.

"I want everyone to be on edge from start to finish, thoroughly thrilled until the last second," Murphy said sincerely. "Using Hollywood clichés as building blocks to create a new film that can captivate everyone."

Miranda was the first to applaud and turned to the audience, loudly saying, "Murphy did it, didn't he?"

No one answered verbally; the response was a wave of applause like ocean waves.

"He said it perfectly!" Daisy heard someone nearby comment, "He's a director who really cares about the audience, not just making inexplicable films."

Another person responded, "Even for his words alone, I want to watch 'Saw' again."

Daisy also considered whether she should buy another ticket.

"I believe horror movies don't need grand scenes, big stars, or special effects to attract people," Murphy concluded. "Horror films rely not on flashy gimmicks but on solid production work."

He looked towards the audience, "It's best to scare the audience out of their wits while making them unable to stop watching."

Laughter erupted from that side, followed by enthusiastic applause.

These words were not spoken randomly by Murphy but were summarized from the experiences of a former director.

From the famous "Saw" series to the subsequent "Insidious" and "The Conjuring" series, whether as a screenwriter, director, or producer, the Wen horror films have always been industry models of low investment and high returns, never failing. Such a robust market potential has earned him widespread acclaim and unanimous recognition from profit-driven producers.

James Wan is also one of the few Asian directors to make it to the top tier in Hollywood.

Just like what Murphy is doing now, these achievements weren't made through bluster or genius but through step-by-step effort.

The show ended, and Murphy and his group quickly returned backstage.

"Well done."

A crisp voice came, and Murphy looked ahead. Kara Faith walked over. "You spoke so well that I'm now interested in you and your film."

Murphy spread his hands and smiled.

Kara Faith approached, lowered her voice, and said, "Your way of speaking and doing things is still your style; you haven't changed."

"How could I change?" Murphy turned and walked towards the dressing room. "I'm going to remove my makeup."

James Franco, Seth Rogen, and Jonah Hill quickly followed.

Carey Mulligan glanced at Kara Faith and walked towards the women's dressing room.

Having competed in the workplace for so many years, Kara Faith could read some things from her gaze, but she didn't care.

With her status and experience, how could she care about the thoughts and views of a sixteen-year-old girl?

After removing his makeup and waiting for Bill Rossis to finish negotiating the remaining matters with the TV station, Murphy's group left. It was very late by then, and Kara Faith escorted Murphy to the foyer of the TV station's studio.

"Let's call it a day," Murphy waved goodbye to her. "You can head back."

Kara Faith nodded. "I won't see you off. Let's have coffee together sometime."

She didn't even glance at Carey Mulligan, turning to walk towards the program group's director's room.

Just like before, she didn't intend to do anything, so there was no need to care about Carey Mulligan.

It was indeed quite late. After coming out, they waved at each other, got into their respective cars, and drove off in different directions.

Adjusting the uncomfortable seatbelt, Carey Mulligan's displeasure had been evident since she got into the car. She now stared at the road ahead, saying nothing.

"What's wrong?" Murphy glanced at her.

Carey Mulligan tilted her head, still silent.

Murphy, although inexperienced in this aspect, couldn't help but recall Seth Rogen's reminder when he saw Carey Mulligan's expression.

He turned the car onto the main road and said with a smile, "Dear, you're overthinking. Kara and I are just ordinary friends."

Even though they occasionally joked around a bit too much, he and Kara Faith were indeed just friends, and he had never intended to take it further.

"Really nothing?" Carey Mulligan turned to face him, her eyes wide as if interrogating a criminal. "Or are you lying to me?"

Murphy frowned slightly and said, "When I first met Kara Faith, I didn't even have fifty dollars on me. Do you think someone as proud as her would look at me?"

Carey Mulligan's tense face didn't relax at all. "But you're not the same person you were before!"

She had heard from Elizabeth Banks that when a director achieves success, many women immediately flock to him, using every means possible to please him.

"Don't worry." Murphy reached out and pinched Carey Mulligan's cheek. "Even if she likes me, I don't like her."

The tension on her face gradually relaxed. Carey Mulligan turned back and leaned against the passenger seat, whispering, "I've already fallen out with my parents and Uncle Julian. I have no one to rely on except you."

Murphy knew all about this. His hardened heart softened, "Dear, as long as you want, I will always be your support."

Carey Mulligan turned to look at Murphy, who was so close, and nodded vigorously.

Murphy knew that in this unpredictable world, seizing the present was the best approach. No one could foresee the future, especially since they were living in Hollywood.

The interview was just the beginning of a series of promotional plans by Fox Searchlight. The box office performance of "Saw," far exceeding expectations, gave them strong confidence. Having achieved such box office success, they naturally aimed for more profit. From the next day, Murphy and the crew, led by Fox Searchlight professionals, embarked on a North American promotional tour.

These promotions were nothing special, mostly the usual Hollywood routines.

Perhaps due to the expanded release or the show's effect and subsequent promotions, "Saw" did not experience a dramatic drop in its third week, instead continuing its steady performance in the North American market.

During the first four working days of that week, the daily box office remained around $1.5 million. Before the third weekend began, the film's cumulative North American box office had reached $31.28 million.

This was already three times the North American box office expectations most companies had for the film!

During the subsequent weekend, "Saw" drew a rare beautiful box office curve for a horror film, with a drop of less than 40% compared to the previous weekend, earning $11.2 million, pushing its North American box office past the $40 million mark!

With a box office of $42.48 million, it was enough to dazzle many.

As before, Stanton Studios announced that the film's production cost was $800,000. On the surface, a fifty-fold return on investment was scarier than the film itself.

According to Fox Searchlight, DreamWorks fired two indie film buyers, and Morris Entertainment replaced the deputy director of the distribution department...

The success of "Saw" far exceeded expectations but could not change its inherent limitation of a small audience. In the new week, due to the expanded release in the previous two weeks consuming enough potential horror film fans, the film's box office began to show a downward trend.

During the week, "Saw" fluctuated and earned over $6.7 million, bringing its North American box office close to the $50 million mark.

However, the number of theaters showing the film began to shrink drastically. By mid-August, fewer than 1,200 theaters were still screening it. On August 14th, Murphy and "Saw" reached a historic moment.

After earning $720,000 in a single day, the horror film's North American box office finally broke the $50 million mark!

Like all normal movies, the number of theaters and the North American box office continued to decline over time. The final box office figures could only be accumulated over time.

Murphy and his team returned to Los Angeles. Fox Searchlight had prepared a grand celebration party, but before that, he planned to visit California State Prison to see an old friend struggling with addiction.

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