Chapter 250: Adorably Stupid and Cheap

"Actually, CAA is providing us with management services."

This was something Robert Downey Jr. was very clear about. He strongly advised, "There's really no need to join Michael Ovitz's Artist Management Group. The tug of war between the two will drain your energy and choices, and it could affect your standing at CAA, which isn't good for the resources and treatment you'll receive there in the future."

Although just an actor, Downey Jr. understood how crucial it was for a director to keep focused. Murphy had always looked out for him, and he didn't want to see Murphy make a mistake.

In Hollywood, sometimes one wrong step could lead to an abyss.

"I'd just be adding more people to share my remuneration, right?" It seemed Murphy wasn't considering the future collaboration with CAA, he just didn't want more people sharing his earnings, "That would probably be another 10%, right? No way!"

After saying this, he laughed first.

Downey Jr., disdainfully flipping him off, was also relieved.

He was currently a client of CAA, too. If Murphy left CAA, it would inevitably affect him as well.

To a great extent, Murphy wasn't just his friend but also a benefactor. He hoped they could continue to collaborate and create their unique brilliance.

"It's about time," Downey Jr. checked his watch and suggested, "If you're free, how about a drink at Depp's bar?"

Murphy shook his head, "I need to get back early to rest. I've got an appointment with Kara Fes tomorrow morning at 20th Century Fox for market consulting on a project."

This was crucial for the potential greenlighting of "Deadpool," so he needed to be fully energized.

After leaving the restaurant and parting ways with Downey Jr., Murphy drove towards Santa Monica. Passing through Westwood, he called Gal Gadot.

"Darling, what are you up to?"

Just after asking, he heard Gadot's tired voice on the other end, "Just finished cleaning the dormitory, about to take a shower."

Thinking of Gadot's slender physique, Murphy's heart warmed, "How about I join you?"

"You sure you want to come over?" Gadot teased, "Men aren't allowed to stay overnight in the dormitory, and you won't be able to get in at this time."

"How about you come out," Murphy suggested, "and go home with me?"

"I... I…" Gadot seemed tempted but her upbringing gave her enough self-control, "Let's wait for the weekend. I just arrived here and need to get used to the environment and my classmates, and..."

She paused, then added, "We've indulged nearly a week. I'm already getting dark circles under my eyes from excess, we need some restraint."

"Alright then." Murphy sped up, "I'll come pick you up this weekend."

After a few more intimate words, he hung up and drove home.

Perhaps due to the recent indulgence, Murphy slept soundly that night. He woke up a bit late the next day. Since he was in a hurry to get to 20th Century Fox, he skipped his routine exercise, had a quick breakfast, and rushed out the door.

When Murphy, accompanied by Kara Fes, entered the conference room at 20th Century Fox, the members of the project review committee were already waiting.

The committee, consisting of nine people, was responsible for evaluating scripts, proposals, and preliminary data provided by the marketing department. In any larger-scale film company in Hollywood, a similar department existed. Any project with significant investment had to go through this process, especially those with investments exceeding tens of millions of dollars. Even the CEO didn't have the authority to greenlight a film alone.

In a sense, the review committee, like the completion bond, was a robust safeguard of Hollywood's industrialization.

The scenario where a script is thrown out and Hollywood executives desperately compete to invest in it is an impossibility in large companies. Regardless of the script's quality, all major Hollywood companies are shareholding entities with well-established supervisory and power structures and constraints. Such a scenario would not pass even the most basic systems of a film company.

In the meeting room, seven of the nine members of the Fox committee were present. They asked Murphy questions directly related to the film's preparation, shooting, production, and marketing. There were no inquiries about the artistic depth or aspects of the film — that wasn't their concern.

"Director Stanton," a Black woman asked first, "Are you sure $60 million is enough to make a superhero film?"

Murphy came prepared, "The film will be limited to a relatively small scope, both in terms of the characters Deadpool interacts with and the battle scenes. It won't feature large-scale scenes, and the selling point is the special effects. We won't use A-list actors either. So, the two most expensive aspects will be relatively economical."

A middle-aged man with glasses asked, "Don't you think this will make the film lose a lot of appeal?"

"The appeal of a film isn't just about piling up endless special effects and big-name actors," Murphy calmly replied, "Deadpool's action scenes will be short and intense, not needing overly complex effects."

The film's main draw was its witty dialogue and realistic action scenes, not requiring large-scale special effects.

"But what about the R-rated content?" the white-haired old man in the middle asked the core question, "It'll push the teenage audience out of theaters."

"We have to consider the comic's audience and style. The film will indeed differ greatly from the comics, but it can't completely deviate," Murphy explained. "Deadpool" comics were known for their adult and violent content, which hadn't deterred viewers and had even accumulated a loyal fan base. Hence, Murphy had this approach, "The target audience for this film is primarily 17 to 35 years old. I believe Fox also has statistics showing that this age group constitutes 51% of the North American movie-going audience!"

While it couldn't compare to the family-friendly PG and teenager-targeted PG-13 films, such an audience was sufficient for the project.

Across North America, it wasn't uncommon for audiences under 17 to sneak into R-rated films.

The youngest committee member suddenly asked about promotional strategies, "In your proposal, you suggested making Deadpool 'come to life' in promotions?"

"One of Deadpool's most talked-about aspects, besides his adorably stupid and cheap personality, look, and unstoppable banter, is his ability to break the fourth wall."

Breaking the fourth wall meant Deadpool was aware he lived in a comic or film world, allowing him to communicate directly with the audience or even the editors. Everything from real-life personalities to other hot films could be the subject of his satire, all detailed in Murphy's proposal, "So, if the project is greenlit and we start promotions, we need to immediately finalize Deadpool's film look and have his actor, Robert Downey Jr., appear in the real world as Deadpool."

After a lengthy explanation, Murphy felt thirsty, took a sip of water, and continued, "Having Deadpool interact with the public as a real character, creating light-hearted humor in his adorably cheap manner. We could establish an official website and blog for Deadpool, along with promotion through the Fox television network."

Social media wasn't yet prevalent, but blogs had gained significant influence post-9/11 and could play a role.

Most importantly, a Deadpool who constantly interacts with the public, appearing stupid, cheap, and adorable, would resonate with people more than a high-and-mighty superhero.

"For promotional reasons," Murphy brought up another point from the proposal, "I plan to intersect some of the film's plot with the X-Men."

"Intersection with X-Men?" A Jewish member on the edge questioned, "If it involves minor X-Men characters, their fame and popularity aren't enough! High-profile characters require high-profile actors like Halle Berry, Ian McKellen, Hugh Jackman, who even for a cameo would demand a full film's salary. Their high fees are something the film's budget can't afford!"

"I never said their characters would appear," Murphy replied, surprised at the Jewish man's assumption, "Deadpool's strength is his banter. I think it's more suitable to let him roast these famous characters in various creative ways. The actual appearances of Colossus and Negasonic Teenage Warhead in the X-Men can be played by newcomers with lower fees."

Murphy would be crazy to include actors from two successive hit X-Men films, who now demanded exorbitant fees, in his project.

However, linking the film with the successful "X-Men" was a good promotional strategy.

"Therefore," Murphy continued, "I think in promotions, Deadpool could appear in iconic X-Men scenes. For example, sitting in Professor X's chair or messing with Wolverine-like claws that fit Deadpool's character."

In the following time, the committee asked Murphy numerous questions related to the film's production, which he answered accordingly. Given the larger scale and more established systems of 20th Century Fox, coupled with the potential investment scale of the film, cautious actions were necessary.

In this world, no investment exceeding fifty million dollars is made lightly, nor does one decide on a whim after a few flattering words about a script.

After dealing with 20th Century Fox, Murphy spent a weekend in San Francisco with Gal Gadot, patiently awaiting the results from Fox — not just for the film's greenlighting but also for Stanton Studio's investment.

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