Chapter 211: Pure and Fervent Dreams

"The City of Sin", with its North American promotion and distribution, was fully managed by Miramax. The film's production alone cost $40 million, and its international distribution rights were acquired by Miramax's parent company, Walt Disney, and handled by Buena Vista International, a label specializing in non-children's movies.

Like any normal film promotion, Miramax meticulously planned and executed the marketing strategy from the outset. Posters, trailers, outdoor advertisements, and online ads were released early. Frank Miller, the original author, participated in several media interviews, praising Murphy's direction and post-production, declaring the film as a faithful adaptation of the comic and a milestone in comic-based movies.

With the endorsement of the original author, comic fans undoubtedly had heightened expectations for the film, forming its core audience.

However, Miramax did not overlook the general audience. Murphy and Harvey Weinstein were well aware that relying solely on comic fans would not sustain the projected $60-80 million North American box office. For instance, a 30-second clip of Jessica Alba's bar strip dance was released. Although it contained no nudity, its release on TV and the internet garnered significant attention. Miramax capitalized on this to create a series of related news for "The City of Sin".

Recently, many online media outlets stirred up related news, and Jessica Alba's name was everywhere. At Murphy's suggestion, Miramax indeed made her a focal point of the promotion.

"Reviewing the strip dance careers of Hollywood actresses..."

Such posts appeared on influential film and TV websites and forums, recalling famous strip dances by actresses like Demi Moore, Elizabeth Berkley, Nicole Kidman, Meg Ryan, and Salma Hayek, before focusing on Jessica Alba's performance in "The City of Sin".

"In the upcoming 'The City of Sin', Jessica Alba plays Nancy, a pure yet sexy stripper. Her bar pole dance video has been sensational, with many viewers commenting that she redefines sexiness and charm with her style and body. The only critique might be that the cowboy-dressed dancer is a bit too covered up; perhaps the film will reveal more..."

These efforts increased the topic's popularity and successfully attracted many male viewers, which was the film's target audience from the beginning.

Besides Jessica Alba, the recently popular Robert Downey Jr. and James Franco were also key points in the promotion. Both actors gave media interviews.

In an interview with the Los Angeles Times, James Franco said, "At first, Murphy needed someone to help him gain Frank Miller's trust. I hadn't read 'The City of Sin' comics before. When I did, I realized how cool this world was, perfectly fitting Murphy's style. The men are big and bloodthirsty, the women clad in leather and wielding whips. It's like old noir taken to an extreme, unique on the big screen."

Robert Downey Jr., in an interview with The Hollywood Reporter, focused on the film's green screen technology, "Acting in front of a green screen was strange at first because it all depends on your imagination. I had to immerse myself in the world of the film, which was fun, unique, and fresh. I think Murphy is a wizard for finding a way to turn drawings into special effects, turning water into wine."

The modern era is no longer a time when word-of-mouth alone can ensure success. To truly succeed, a film must be extensively promoted, with creating hot topics being one of the most effective strategies.

Miramax's PR department did not miss any potential topics, especially Murphy's departure from the Directors Guild of America, which attracted considerable attention.

In the media hype, Murphy was portrayed as a selfless person, a director who sacrificed personal interests for his film. Premiere magazine relayed Harvey Weinstein's description of Murphy's reasons for leaving the DGA, "After obtaining the film rights to 'The City of Sin', Murphy still wanted Frank Miller to play a role in the film. He told me that having Frank as a director would be important for staying true to the original. The decision seemed simple but required Murphy's sacrifice because the DGA's rules state that each film can only have one director. To co-direct with Frank Miller, Murphy had to leave the DGA."

After media hype, this initially unnoticed matter became widely discussed, even influencing fans. Many who previously didn't pay attention to Murphy or "The City of Sin" began to notice a director willing to leave the DGA for his film.

To increase the topic's relevance and further promote the film, Murphy, after completing all post-production work, also gave an interview to Premiere, specifically mentioning this hot topic.

"Leaving the DGA was a necessary decision because they didn't want me collaborating with a new director, violating their rulebook. During filming, the DGA representatives asked us to stop for an investigation. I wouldn't let anything stop us," said Murphy.

Murphy, of course, portrayed himself as the innocent party while attracting attention, "In my mind, Mr. Miller is not a novice director. If you've seen his comics, you'll find they are as successful as any big-screen hit in terms of plot, visuals, action, editing, and direction. The only difference is that Frank uses paper and pen instead of cameras, actors, and lights."

When it was time to praise, Murphy was generous, "Like movies, comics tell stories through visuals. The DGA was adamantly opposed, so to make this film, I had to leave. Sometimes, when you want to try something different, you have to break some rules."

These were all part of the promotional hype, where media images are often what PR and marketing want people to see.

Any negative aspects of the film were concealed as much as possible. Everyone involved in the production, including Frank Miller, wanted it to succeed. Miller also responded to the news of Murphy leaving the DGA.

Of course, Miller, a seasoned player, had only words of praise, "Murphy's work on the film was astounding. In all comic adaptations, his 'The City of Sin' is the best translation of the original. Especially in terms of black and white and rapid, jumping cuts, Murphy achieved this effect in a groundbreaking way. I believe both comic and movie fans will be astonished by 'The City of Sin'. It's not fabricated realism; it's more like a pure and fervent dream."

With Miller's response, Miramax's handling of this news became even more adept.

Such publicity was not only for the upcoming theatrical release but also for the post-theatrical DVD and videotape market.

A film with considerable content like this could see explosive revenue numbers in the DVD market.

Murphy's previous films proved this point. Both "Saw" and "Grindhouse" had entered the top three of the North American DVD rental charts, generating nearly ten million dollars in sales and rental income, with the number still growing over time.

Especially "Grindhouse", though it had a lesser box office performance in North America compared to "Saw", it dominated the rental market, exceeding the million-dollar mark in rental income in just half a year.

These not only brought Murphy a significant dividend but also solidified his foundation. This was why Miramax confidently allocated a whopping $15 million for the North American promotional and marketing expenses of "The City of Sin".

Everyone knows that publicity requires funds. Not just Murphy and Robert Downey Jr., who are far from A-listers and need funds to sway media for momentum, even films of superstars like Tom Cruise and Leonardo DiCaprio require substantial promotional funds during their marketing phase.

Depending on a single person to drive a film to super success was possible in the past, but it's challenging in the current era. Even James Cameron couldn't do it; his record-setting film later relied not only on his reputation but also on promotional and marketing expenses far exceeding the production costs.

After the interview with Premiere, Murphy's work was temporarily concluded, allowing him time to continue his other endeavors.

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