Chapter 231: The Stanton Followers

For a director, there's nothing more appealing to investors than box office success. To enter the mainstream film industry and gain significant authority, rather than being treated as a puppet for shooting materials, one must present convincing commercial data. Unlike what he told Roger Ebert, Murphy was very keen on entering mainstream Hollywood because it was the only way to become a top director in Hollywood.

"Sin City" had an impressive first-week box office in North America, but such stylistic movies always face the challenge of maintaining momentum, especially with the fiercely competitive North American summer season approaching. To achieve high box office numbers, marketing and promotion couldn't be neglected.

Murphy's interview with Vanity Fair was mainly driven by CAA, with Miramax also participating.

Although the interview focused more on promoting Murphy as a director, it also benefited the movie, and Miramax never let up on the film's comprehensive marketing.

Even so, at the start of the new week, "Sin City" experienced the typical significant drop in daily box office that niche films face. Fortunately, the drop on Monday was only 70% compared to Sunday, still earning $3.15 million.

Tuesday, traditionally a discount day for theaters, saw a slight uptick in attendance, resulting in a box office of $3.2 million.

Throughout the week, the movie seemed to stabilize at just over $3 million daily, earning $3.05 million on Wednesday.

As April ended, May began, marking the start of the North American summer season. The highly anticipated "X-Men 2" entered the market with over 3,000 advanced screenings, showing a fierce presence.

May 1st, International Labor Day, a holiday that originated in the United States but isn't a legal holiday there, was not just the release date for "X-Men 2." It also attracted many moviegoers, especially from the elite class, due to another event.

The latest issue of Vanity Fair featured a young director on its cover – Murphy Stanton, with his arms crossed and a sharp gaze into the distance. Behind him stood four men, each with a distinct look. The cover's side headline read: "Hollywood's up-and-coming director Murphy Stanton and his Stanton Followers!"

Like all Vanity Fair cover stories, following the cover page was a detailed description and introduction of the person.

"Some people are born to show the world that despite life's unfairness, they can still carve out their destiny with their own hands and effort. 23-year-old director Murphy Stanton is one of these people!"

"Born at the start of the 1980s in a Los Angeles slum, with alcoholic and drug-addict parents who died in a car accident, he lacked a proper education and spent his youth on the streets of Los Angeles. It seemed he was stuck in an unbreakable cycle, later even going to prison for assault, seemingly setting his life's trajectory."

"However, after his release, he had a profound realization and decided to turn his life around. He taught himself the basics of filmmaking and directing skills. After working on a documentary, he resolutely became a film director, investing all he had."

"In 2001, a noir film called 'Hard Candy' marked Murphy Stanton's debut. Over the next two years, he successively completed 'Saw,' 'Planet Terror,' and 'Sin City,' each a masterpiece and a success, earning him acclaim as the first breakout director of the new century!"

"He delivers a high return on investment, far beyond anyone's imagination. 'Miramax's Harvey Weinstein said this.'"

"Murphy Stanton doesn't fight alone in Hollywood. Besides the support from Miramax Films, he has a few good brothers."

"On his directorial journey, Murphy Stanton befriended Robert Downey Jr., James Franco, Seth Rogen, and Jonah Hill. These actors and directors, not yet famous, shared the same cinematic vision and collaborated on several works, becoming close friends."

"They rallied around Murphy Stanton, mutually supporting each other and joining forces in movies. This teamwork achieved excellent results, garnering high box office returns on modest budgets, advancing their film careers."

"These people, closely surrounding Murphy Stanton, were nicknamed 'The Stanton Followers' by the Weinstein brothers of Miramax."

"Technically, Murphy is great. His storytelling rhythm is captivating, and he has a knack for drawing the protagonist into a whirlwind of dark forces, accelerating towards the climax. This is fascinating. There are few directors today who can handle such a seamless rhythm. He's one of the best. Robert Downey Jr., who met Murphy in prison and collaborated on two films, is very representative."

"Murphy is one of the most outstanding and ambitious directors. Every film he makes is a masterpiece. It's incredible! If I had to choose one director to work with consistently, it would be Murphy because he's a true genius, unrivaled in some aspects. James Franco never denies that it's because of Murphy that he has become a well-known actor."

"Canadian actor Seth Rogen, who collaborated with Murphy three times, told us with a candid tone: 'Murphy is unbelievably good. He has an incredible balance and a deep understanding of framing and shot energy. He's so smart; nothing seems to puzzle him. If he gets an Oscar nomination for Best Director in the next few years, I wouldn't be surprised.'"

"I think Murphy totally deserves the Oscar for Best Director next year for 'Sin City.' I know it's impossible because the Oscars and I don't share the same taste. Jonah Hill said, 'Saw' created a myth for horror films, significant for all involved. It's irreplicable. Other horror films struggle to reach Murphy's height because they lack his genius thinking and capabilities.'"

"The Stanton Followers trust and admire their leader and brother, believing that following him will make their film dreams come true."

"How does Murphy Stanton evaluate himself? When asked, he replied, 'I am Murphy Stanton, a regular film director. I aspire to be as outstanding as James Cameron and Steven Spielberg, not just as a director, but also as someone with an imaginative ability.'"

"We believe Murphy's style is always about keeping the audience anticipating the next moment, without letting them linger in the current one. And that's what delights people the most."

The final part of the Vanity Fair article was a summary of the cover person's description.

"From his personal growth, it's evident that there are two people in Murphy Stanton's soul. One is a wanderer in a white tower, seeking direction for the future, yet always facing the evil flowers grown from blood of darkness, where evil wizards crawl out, trying to drag him into the hell of corruption. The other is a brave, struggling knight, rising from the bottom, cutting through obstacles and cleanly eliminating evil wizards, moving further and further in the direction of success."

This was just the beginning of Vanity Fair's feature on Murphy, followed by a substantial interview by Jennifer Mona. As Murphy handled various questions exceptionally well, the interview was not heavily edited.

With CAA and Miramax's communication and review, the interview was largely factual, without excessive embellishment or fabricating unreal details.

The publication of this interview not only helped promote "Sin City," which was currently in theaters, but also brought Murphy into the view of the elite class.

Especially the audience of Vanity Fair, many of whom are prominent figures in Los Angeles and New York, the cities with the most concentrated membership of the Academy of Motion Picture Arts and Sciences. The relatively unfamiliar name of Murphy Stanton would leave an impression on them, undoubtedly beneficial for his future.

Since Tina Brown became the editor-in-chief, Vanity Fair has completely overcome its previous predicaments, increasingly influencing magazine media, especially in recent years with added content on entertainment gossip, reaching deeper into various aspects of society.

Many ordinary movie fans, seeing their favorite cover person, also choose to buy a copy. Daisy, on her way home, bought one.

At home, seeing Murphy's sharp gaze on the cover, Daisy felt she could sense the hidden psychosis beneath his eyes. She couldn't even bother to eat, curling up on the sofa and flipping through the Vanity Fair magazine.

From the cover person's introduction on the title page to Jennifer Mona's interview, she read every word carefully, fearing to miss anything. After reading it once, she went back and read it again, hoping to learn more about her favorite director.

Unfortunately, aside from learning that Murphy Stanton had started dating, Daisy didn't find much else of value.

Whenever she saw Gale Gadot's name, she felt uncomfortable. Putting down the magazine, she decided to continue writing letters to Murphy Stanton, even though her previous letters never received a response. She was determined to keep writing.

"Dear Murphy..."

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