Chapter 49: Fists, Blood, and Women

Although the scene being shot wasn't particularly difficult—requiring neither deep exploration nor profound meaning, nor any need for the actors to deliver stellar performances—the focus was on displaying violence, blood, and cruelty.

Even so, Murphy did not relax during filming. He spent the entire morning shooting from four different angles and continued well into the afternoon after lunch, filming until he was down to the last reel of black-and-white film. He then gave the actors a long break. While they rested, he reviewed the footage repeatedly in the car, looking for any areas that could be improved.

Murphy placed great importance on this opening scene, which lasted only a few minutes.

For any film, the opening shot is like a key that opens the door to the world of light and shadow, leading the audience into the movie.

An opening scene plays a crucial role in capturing the audience's attention immediately and creating a good first impression. For directors and filmmakers, an opening shot is often well-thought-out, sometimes marking the beginning of the story and sometimes its end, setting the tone and creating twists.

Murphy's planned opening for the film was straightforward: to reveal the true nature of Jeff, the protagonist, right away. This was indeed brutal, but it would make the audience wonder whether such a person would continue to commit crimes and what his fate would be.

Whether Jeff continued to kill other girls or someone sought revenge against him, these were good hooks to keep the audience engaged.

"Combined with the script's ending," Bill Rossis said to the agent named Mike, still standing by the bushes from the morning, "he's using a typical opening-closing mirroring technique."

"The simplest and most straightforward opening shot technique," Mike observed, clearly taking the work more seriously after spending the afternoon on set. "But also the method with the lowest chance of failure for a new director."

Looking at Murphy from afar, he added, "He's a smart person, very aware of his own limitations."

In Bill Rossis's eyes, such techniques were easier for new directors to use successfully, and many classic films in cinema history used this approach.

Mike suddenly turned and asked, "Are you very interested in him?"

Bill Rossis didn't deny it and said directly, "Given our standing in the company, we can't get top-tier clients. Someone like Julian Fellows is our limit. If we want to climb higher, we have to find ways to nurture new talent."

"Do you think he has potential?" Mike asked curiously.

"Who can guarantee such things?" Bill Rossis shook his head. "I just think he has some potential."

Mike understood his point. As agents with moderate status, they signed a few newcomers every year. If any of them succeeded, the agents' status would naturally rise. If not, there was little to lose.

"And he's a director," Bill Rossis emphasized.

Successful directors might seem less glamorous compared to star actors, but the reality was quite the opposite.

Following a director was a universal value in the film industry. Looking at over a hundred years of film history, the true leaders of cinema were directors. Without great directors like James Cameron, Steven Spielberg, and George Lucas, today's golden age of world cinema wouldn't exist.

"Indeed, directors are the masters of the film industry," Mike, as a friend, reminded him. "But every year, thousands of people dream of becoming directors. How many succeed?"

"Everything has its risks," Bill Rossis simply smiled. "I think he has potential, and that's enough."

He knew the difficulty of becoming a director. Even now-famous Ang Lee had spent six years as a househusband, and Quentin Tarantino was once an unknown video store clerk.

As filming resumed, Bill Rossis and Mike continued their quiet conversation.

"I've spent a lot of time with this crew," Bill Rossis said, watching the set. "Partly to take care of Carey for Julian, and partly to observe Murphy Stanton."

Mike frowned slightly. "Does he really have the potential worth your attention?"

"Although the paths to becoming a director are different," Bill Rossis said, clearly having made up his mind, "there are always some common truths hidden within."

"The most important thing is, of course, to prove oneself with strength and achievements," he smiled at Mike. "We can't talk about that now. Proven directors aren't within our reach."

"What else?" Mike was clearly interested.

"Resilience! Directing is a high-pressure job. The hardships and pressures of filming alone can drive an ordinary person crazy."

Looking at Murphy with admiration, Bill Rossis said, "I've researched him. He's faced a lot of setbacks and even spent a year in prison. Yet, he didn't collapse. After getting out, he did even better and dared to invest all he had into this film."

Mike seemed dismissive. "Isn't that a bit crazy?"

"But aren't all successful directors a bit crazy?" Bill Rossis retorted.

He continued, "A director needs the ability to guide performances. Carey Mulligan is my signed actress. Her progress over this period is significant, and the direct reason is Murphy Stanton."

These words were meant both for Mike and to convince himself not to miss out on someone with potential. "And the most important thing is the ability to handle a script. Akira Kurosawa repeatedly pointed out that to become a good director, one must first be a qualified screenwriter. This project's script was written by Murphy himself."

"Of course, I'm not saying the script is outstanding. 'Hard Candy' is at most well-structured."

Mike had read the script, and Bill Rossis continued to analyze it. "The script isn't extraordinary, but it has elements that attract audiences. For small-budget films today, the key to attracting viewers lies in focusing on fists, blood, and women. 'Hard Candy' has plenty of these."

Running the script through his mind, Mike found this to be true. The story began with violent crime, featured a minor girl's harsh punishment of a villain, and interspersed sensitive Lolita elements.

He couldn't help but look at Murphy again, becoming interested in the guy. The script wasn't particularly creative but was filled with audience-grabbing hooks.