Chapter 54: Meeting Kobe Again

Back in Los Angeles, Murphy decided to take a two-day break. He hid in his house in the Latin community, catching up on some much-needed sleep. It seemed that the strange experiences had left him with lingering headaches. Despite being busy during this period, the frequency of his headaches increased. Though not as intense as when he first arrived in this world, they still hampered his ability to think clearly and work efficiently.

After resting for two days and feeling refreshed, Murphy didn't immediately dive into post-production. Instead, he contacted Bill Rossis. After several discussions, they prepared to sign a formal agency contract.

Having a professional agent from CAA had more benefits than drawbacks. As someone without much experience, Murphy had nothing to lose. Unlike managing established actors or successful directors, CAA wouldn't invest much in a newcomer like Murphy. However, signing with CAA meant that Bill Rossis would become his exclusive agent.

The signing process was straightforward. Once the intention was agreed upon, Murphy, accompanied by his lawyer Robert, went to Century City. In a small conference room rented by CAA, Bill Rossis and a CAA business lawyer were waiting.

CAA signed several newcomers every year, and Murphy was no exception. This signing felt more like a routine.

"Welcome to CAA," Bill Rossis shook Murphy's hand solemnly after signing the contract. "Here, your future is limitless."

These were just words of courtesy. CAA signed basic contracts with newcomers like Murphy, akin to internships in big companies. These contracts also allowed CAA to easily let go of clients if they didn't see any value in them. Similarly, the restrictions on signed clients weren't too strict, and both parties could part ways with minimal penalty if they wished.

Such contracts were only used for newcomers like Murphy. Once they gained popularity, CAA would offer them a new, more substantial contract.

Despite the pleasantries, Murphy was more concerned with practical matters. Once the lawyers left, he straightforwardly said, "Bill, I need a post-production studio. The equipment must be comprehensive, and the rent relatively cheap."

"No problem," Bill Rossis didn't hesitate. "Wait for my good news."

Originally, Murphy had considered renting a post-production studio from Channel Six. However, after contacting Kara Fais, he abandoned that plan. Channel Six's studio could only be rented by time slots, which didn't meet his needs.

Being in Los Angeles, the epicenter of the world's film industry, finding a post-production studio to rent wasn't difficult. However, after the pre-production and shooting phases, and just settling the crew's wages, Murphy had less than fifty thousand dollars left of his three hundred thousand dollar budget. There were still expenses for the editor's salary and music rights fees, so he had limited funds for rent.

Wanting a well-equipped studio with affordable rent posed a challenge.

Without waiting for Murphy to leave, Bill Rossis took out his phone and made a few consecutive calls, showcasing his abilities and network as a professional entertainment agent. After putting down his phone, he smiled and said, "I can find a suitable post-production studio within five days."

"OK!" Murphy wasn't foolish; he could see that Bill Rossis was demonstrating his capabilities. "I'll wait for your good news."

As he was about to leave the meeting room, Bill Rossis said, "Wait."

Murphy looked at him and asked, "Is there something else?"

"How long will it take for your film to be completed?" Without waiting for Murphy's response, Bill Rossis continued, "If you can finish all the production before the new year, I can help you secure a spot at the Sundance Film Festival."

Hearing this, Murphy immediately became interested. The Sundance Film Festival was a haven for independent films. Although the entry requirements were relatively low, entering the official screening section required meeting certain criteria.

From what he knew, applying to the Sundance Film Festival required advance registration. After approval, the organizing committee would send an invitation letter. Only with this letter could one participate.

Of course, for some outstanding films or filmmakers, the Sundance Film Festival organizers would directly send invitation letters.

Murphy didn't consider himself at that level yet.

"I'll do my best," he said before leaving.

Just like shooting, he was also a novice in post-production. Who knew what challenges lay ahead.

After leaving the meeting room, Murphy headed towards the elevator lobby, his mind preoccupied with thoughts about the upcoming post-production phase. He waited for a moment, and soon the elevator descended from above. Lost in contemplation about the challenges of post-production, he stepped into the elevator without lifting his head.

Once inside, Murphy immediately sensed something amiss, feeling a towering presence on his left that almost completely obscured him from view. Quickly turning his head, he saw a man standing about six feet six inches tall, his face stern as he glanced back.

"It's you!" The man's tone was decidedly unfriendly.

"Hello..." Murphy calmly greeted, "Long time no see, Mr. Bryant."

The man on his left was none other than Kobe Bryant, the star player for the Los Angeles Lakers.

Kobe Bryant hadn't expected to encounter this audacious guy while at CAA. His fist instinctively clenched.

Murphy tensed up, preparing for a confrontation.

But Kobe Bryant, more rational than Murphy imagined, merely uttered a cold grunt, refraining from any physical altercation.

Being a top-tier superstar, Kobe Bryant wasn't one to resort to brawling. Murphy glanced up at his dark face, as Kobe Bryant stared down at him.

As the elevator door chimed open, Murphy hurriedly exited before Kobe Bryant, seizing the opportunity. It was probably during office hours, as the elevator lobby on the ground floor was deserted.

Kobe Bryant followed suit, stepping out of the elevator. Murphy turned around, extending his hand. "Let's formally introduce ourselves, Mr. Bryant. I'm Murphy Stanton, a film director."

"What?" Kobe Bryant was surprised, showing no intention of shaking hands. "Aren't you a paparazzo?"

Murphy shrugged. "I'm a director, and we're at the same talent agency."

Without waiting for Kobe Bryant's reaction, Murphy handed him a business card, which Kobe Bryant took with his large hand. "If you're interested in acting, you can give me a call."

With that, Murphy nodded and walked out of the elevator lobby.

Behind him, Kobe Bryant seemed bewildered, first glancing at Murphy's departing figure, then at the business card in his hand. This was undoubtedly the most shameless and thick-skinned person he had ever encountered.

Casually tossing the business card into the trash bin, Kobe Bryant left as well.

Five days later, Bill Rossis arranged for Murphy to lease a post-production studio in Burbank. Affiliated with a small production company under Disney, the studio was well-equipped, and Murphy paid thirty thousand dollars for the next two months.

This price wasn't expensive, and Bill Rossis played a significant role in securing it.

After signing the formal lease agreement, Murphy, Griffiths, and Paul Wilson, who volunteered to be his assistant, moved in with a large amount of film footage.