Chapter 258: Breaking the Fourth Wall

"I tried, but the company still doesn't want to release 'Deadpool' during the summer season."

Inside the Sydney Fox Studios, after Murphy finished his tasks and returned to the director's monitor, Cara Fes came over, stood by his chair, and said, "I don't have a say in distribution."

"That's okay." Murphy looked at the set being prepared, gestured to Philip Lashley to change the angle of camera two, and after seeing he understood, turned back to Cara Fes and said, "April is not bad, my best-performing film was released in April."

Pushing into the summer season to compete directly with a host of blockbuster productions was Murphy's initial thought. Unfortunately, directors, even less so than Cara Fes, have no say in this matter. The release timing of a film largely depends on the distribution company's schedule.

Even without a distribution department, Murphy understood that distribution was not as simple as contacting some theater companies and setting a release date; it was a systemic project.

"This is good for us, at least the competition won't be as fierce."

This was clearly said by Cara Fes to comfort herself. Like Murphy, she never feared any competition. However, the reality was there, and 20th Century Fox couldn't ignore it. They definitely wanted to place their most competitive films in the summer season, "May is reserved for 'The Day After Tomorrow,' June has 'Dodgeball,' and July's resources will lean towards 'I, Robot.' 'Deadpool' can only be placed in April."

"Hmm..." Murphy nodded, then asked, "Which weekend in April? What competitive films are there that weekend, and the weekends before and after?"

A film's box office performance depends not only on its quality but also on its competition at the time.

What would happen if 'Deadpool' and 'Spider-Man 2' were released on the same weekend?

Even with all his confidence, Murphy didn't believe 'Deadpool' could directly compete with the super popular 'Spider-Man' series without being affected.

"The second weekend of April." Cara Fes had researched the situation, "From what the major companies have announced so far, there aren't any films of the same caliber releasing that weekend. However, the weekend before, there's Revolution Studios' 'Hellboy'; and the following weekend, Warner Brothers' big show of the year..."

She glanced at Murphy and added, "'Catwoman' is set to release the weekend after ours."

"I remember..." Murphy was puzzled, "Warner Brothers initially planned to release that film during the summer, right?"

Cara Fes shrugged, her expression a bit odd, "Apparently, Warner Brothers has doubts about a female superhero, believing that 'Catwoman,' centered entirely around a female character, isn't suitable for the competitive summer season, so they moved it to April."

"Female..." She sighed.

Though she didn't finish her sentence, Murphy understood her meaning, offering a comforting squeeze on Cara Fes's shoulder.

They both knew well that Hollywood is a circle that shouts anti-discrimination slogans the loudest yet practices various forms of discrimination the most.

Many forms of discrimination could be ignored, but pretending they don't exist doesn't make them disappear.

Recently, the Annenberg School for Communication and Journalism at the University of Southern California released a report on diversity in Hollywood, analyzing 414 films and TV shows produced and distributed by ten media giants, including Sony Pictures, Warner Brothers, Universal Pictures, Walt Disney, and 20th Century Fox. The report labeled the American film industry as a "white straight male club."

Besides minorities, older people, women, and the LGBT community — lesbians, gay men, bisexuals, and transgender people — also weren't adequately represented.

Gender discrimination is widespread in this circle, evident from the ratio of male to female actors entering the twenty million dollar club.

After a few more words, Murphy returned his full attention to work, receiving confirmations from various departments.

"Camera crew ready!"

"Lighting ready!"

"Props ready!"

"Stunt team ready!"

Most departments were ready, only special effects and actors remained.

Murphy had Seth Rogen hurry the makeup team along, and soon, Robert Downey Jr., dressed as Deadpool, along with his two stunt doubles, entered the studio.

Robert Downey Jr., in his playful and mischievously charming red suit, holding an exaggerated mask, approached Murphy and asked, "Anything I need to watch out for?"

Murphy glanced at him and said, "Bring out two hundred percent of your trash talk and sarcasm."

"Am I that kind of person?" Robert Downey Jr. seemed to start warming up, exaggeratedly saying, "Am I the type to spout nonsense? When have I ever used sarcasm to attack someone? You can't just lump me with him because I took the role of Deadpool. Isn't that unfair? Remember, back in prison, when you told me to shut up, I shut up..."

"Stop! Stop!" Murphy quickly interrupted him, "I still have to film, save it for Seth."

Robert Downey Jr., who had been getting into character as Deadpool, seemed to want to say more, but Murphy waved him off, and Paul Wilson hurriedly pulled him away.

Watching Robert Downey Jr. get acquainted with the set, Murphy called out to Philip Lashley to begin testing shots in the studio to identify any potential oversights.

The studio was set up with a wall with a door, surrounded by green screens for adding computer-generated imagery in post-production. If anyone familiar with the "X-Men" visited, they'd surely find the setup somewhat familiar.

The scene about to be filmed was Deadpool seeking help from the X-Men, set at the Xavier School for Gifted Youngsters.

Due to budget constraints, Murphy couldn't afford to have famous characters from the "X-Men" series make cameos, so he stuck with the previously established setting featuring Colossus and Negasonic Teenage Warhead.

The actors playing these roles appeared on set quickly; one Russian actor covered in motion capture markers for Colossus, and a young actress with smoky makeup and short hair, looking somewhat exaggerated, was Lily Collins, recommended by James Franco.

Given James Franco's recommendation, Murphy wouldn't refuse, though he wasn't entirely clear on the peculiar relationship between the two.

After all departments were ready, Murphy had the actors rehearse their movements one more time before nodding to the clapper loader.

"'Deadpool', scene one, take one..." the clapper loader positioned the clapperboard in front of the camera, "Action!"

In front of the camera, Robert Downey Jr., already wearing the red mask, ran towards the door, jumping and wiggling his hips in a manner that was both playful and unserious.

He hopped over to the door set in the half-wall, raised his hand to knock, but the door was pulled open from inside by Lily Collins, looking up at Deadpool.

"Oh... are you Ripley from 'Alien 3'?" Robert Downey Jr. immediately said, "But your outfit really lets old Ripley down!"

This was clearly a dig at 'Alien 3' and Ridley Scott.

Lily Collins responded with a middle finger, her mouth dropping a few F-bombs at Deadpool.

Robert Downey Jr. laughed even more exaggeratedly, "Just kidding, what I mean is don't be too hard on yourself.

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