Chapter 151: Worth Investing Subscribe!

Calculating the actual cost of a movie is extremely complicated. The production costs displayed by major Hollywood studios often contain a lot of fluff and do not match reality. Moreover, various situations can cause cost fluctuations.

For instance, if Murphy's film is completed and the movie company wants to participate in film festivals, the cost will definitely increase.

Participating in domestic film festivals in the United States requires the preparation of basic related materials, which adds about $100,000 to the cost.

Then there are online costs, which are harder to control.

Online costs include contractual costs for screenwriters, directors, producers, actor directors, script rights, administrative management, labor welfare, etc. These costs can only be finalized after actual negotiations are concluded.

Over the next week or so, Murphy was busy in the studio, revising the initial draft of the script, adjusting the project plan according to the script's needs, and estimating potential challenges in future preparations, shooting, and production.

This project is much more difficult than "Saw," which was entirely financed by Stanton Studios. Murphy had full control, but this situation cannot continue. The new project requires more funding, which will come from other film companies, necessitating more preparation on his part.

Film production always involves unforeseen situations, but it's always good to be prepared for some things, especially funding.

Murphy also considered what to do if, during shooting, unforeseen difficulties arise and the budget provided by investors is not enough.

Should he spend more time trying to raise funds, remaining stuck due to cost limitations, or should he find innovative ways to ensure the film is made no matter what?

Undoubtedly, he, as a director, should opt for the latter.

This is when you dig out the "anemic budget" secretly stashed behind the closet, instead of spending $250,000 to rent a private jet to meet with potential investors who are still undecided.

The less money you have, the more solutions you need to find.

Then there's the issue of actors. Directors like Murphy, who are just starting out, would also like to work with big-name actors, who bring not just attention but also tangible box office appeal.

However, getting big-name actors to collaborate with him is very difficult.

In Hollywood, in some cases, if a director has a project that is attractive enough, it's not impossible to attract big-name actors, especially those who have acted in independent films.

For these actors, they know that independent films offer opportunities that Hollywood commercial films never will, allowing them to fully showcase their exceptional acting skills.

However, Murphy is realistic, knowing that his new project does not offer opportunities for actors to showcase their skills, and big stars would not be interested in such a noir film.

Thus, he considers more practical options like James Franco, Seth Rogen, Jonah Hill, Carey Mulligan, and the soon-to-be-released Robert Downey Jr., who are more suitable for this project.

For the crucial role of the female lead, he considers sending an invitation to the San Fernando Valley. The recipient currently does not hold a queen-like status, so a formal movie invitation is unlikely to be rejected outright.

Regarding the production crew, Murphy has also communicated with Bill Roscis. The main personnel from the last collaboration all came from CAA, who were also beneficiaries of the success of "Saw" and hoped to continue working with Murphy.

These details can be discussed after the project is established. Murphy is not in a hurry, focusing mostly on the funding issue.

Film is a grand art that, in its current state, requires a significant amount of money to realize.

He does not plan to invest in this film himself, and Stanton Studios does not have enough funds to invest, especially with the upcoming collaboration with Fox Searchlight on the sequel to "Saw," which requires a considerable amount of money. Even if the director is changed, the investment risk for such a sequel is lower.

Since the film is not funded by him, Murphy must adjust his mindset: his power will inevitably diminish, and financial control will be stricter.

The former is manageable, as a director with formal education, Murphy understands that the producer is in charge here. The latter, however, is more troublesome.

But there are solutions, and part of being a director is being able to cry poor.

This is not a big deal. As a director, one should be as transparent as possible and always tell the truth. However, the reality is that you are full of enthusiasm and the crew is eager, but you are strapped for cash.

A successful director should also create confidence in the investment before the film is completed, through words, actions, and plans—the greater the investment, the better the film will be, and the higher the future market return.

Convincing investors to fund a project is never easy.

Essentially, it's about getting investors to fund an idea in your head.

Ideas are vague and conceptual. To attract investors, some directors or producers opt to shoot a short film first.

However, this approach has its drawbacks. If the short film is not impressive, it's hard to attract investment.

One must be careful when introducing projects to potential investors and making promises about potential economic returns. There's a clear line between these two, and it's important not to intentionally distort facts to avoid legal scrutiny for fraud.

Of course, Murphy does not plan to shoot a short film, as this method is not suitable for him.

From late September to early October, after spending a lot of time and effort, Murphy finally completed the script and the business plan for the film, which is crucial for CAA's operation.

Even now, Murphy hopes someone will appreciate his script and provide a substantial check for the film's production, a common fantasy among directors.

To make this a reality, the key lies in the business plan handed to potential investors and clients—a meticulously conceived, thoroughly researched strategic plan on how to prepare, cast, shoot, and produce the film.

After completing the plan, Murphy submitted it to CAA. Not just any film company would rashly start a movie project, and even CAA, as the operator, would conduct a preliminary review of the project.

Although not Murphy's direct supervisor, as a senior executive in charge of CAA's film and television business, a copy of the script and plan was also sent to Brian Lord.

Despite not being the sequel to "Saw" that was expected, after carefully reading the plan, Brian Lord was satisfied and nodded in approval. Not only did the project's creativity stand out, but the young director's meticulous planning and attitude left a very good impression.

Moreover, the project's noir style, albeit somewhat absurd, was full of interesting points.

The script and plan contained many gimmicks, crucial for the film industry, where the absence of gimmicks means no selling points, and no selling points mean no box office.

The script is the foundation, but an outstanding business plan is key to convincing film companies.

Initially, Brian Lord did not have high hopes for the plan, considering Murphy is a director, not a professional producer. The plan was to refine it with more professional personnel at CAA to attract funding.

Even projects thrown out by CAA can sometimes be rejected, which is normal in business investments.

Brian Lord focused more on the plan than the script after reviewing it.

The plan, though not particularly thick, had no specific requirements for content or page number. The key was whether the content demonstrated professional competence and whether it was expressed in an easy-to-understand manner, containing all necessary information without being verbose.

This plan covered nearly everything from project initiation and preparation to post-production, with clear and well-organized planning, making the entire project exceptionally outstanding.

Brian Lord carefully reviewed the plan, marking key points and deficiencies with different colored pens. He instructed his assistant to send it back to the audit department for quick processing and then distribute the project to a few suitable film companies.

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