Chapter 297: The Wife-Killing Movie

"Black actors are too troublesome, too hard to deal with, and too sensitive."

In front of Murphy, Kara Faith made no attempt to hide her disdain. "Most importantly, I don't like them at all. Paul W.S. Anderson also recommended Milla Jovovich, so I had the script rewritten for a white character."

She, like Murphy, didn't really pay much attention to Hollywood's so-called political correctness.

"What about your new project?" Kara Faith brought up the new movie Murphy had temporarily set aside. "When will you continue with it?"

Murphy thought for a moment and said, "After I wrap up the negotiations for 'A Song of Ice and Fire.' If there's no progress by next month, I'll hand everything over to Bill to handle."

Kara Faith, aware of the content of Murphy's new project, asked curiously, "Why choose such a theme?"

"'Deadpool' was a huge success, boosting my reputation and leading many to consider me one of Hollywood's most promising young directors," Murphy said evenly, simply stating the facts. "But there can be negative reactions. If the academy's old guard pegs me as purely a commercial director, that would be problematic."

Kara Faith understood, "You're still fixated on the Oscar."

"How many directors in this circle don't dream of winning the Best Director Oscar?" Murphy pointed at himself. "I certainly do, and I've never denied it."

"So, you chose a theme that doesn't seem very commercial?" Kara Faith asked.

"It only appears less commercial on the surface," Murphy shrugged. "In reality, it's still very entertaining. I can't afford to make a loss."

He laughed, "I don't have James Cameron's ability to win over the old guard with purely commercial work, so I have to be selective with my themes."

If the academy's old guard firmly labels him as a commercial or comic book adaptation director akin to Michael Bay, Murphy might wait for an Oscar until his hair turns gray without ever receiving one.

His obsession with the Oscar isn't new; it also stems from his past.

Many in the film industry across the Pacific harbor a deep obsession with the Oscars, and Murphy, inevitably, was influenced by this. Moreover, due to personal tastes, he's always believed the Oscar to be far more significant than the top awards at the three major international film festivals.

Many would sneer at this perspective, but everyone has their own views on different matters.

He might not be very interested in the awards from the three major international film festivals, but he dearly wants to win an Oscar.

Most directors who win an Oscar rely on more than just their films; many directors, no matter how hard they try, often go unnoticed by the academy's old guard.

This group undoubtedly includes typical commercial directors and those who started in advertising.

Murphy is well aware that the Oscars always choose the "right" films, not necessarily the best ones.

Thus, while he makes commercial films, he also chooses projects that seem less commercial on the surface but are still essentially commercial films.

While earning commercial profits, these films also demonstrate that Murphy Stanton isn't just a purely commercial director; he's ambitious.

Although the theme of the new project is dark and morally ambiguous, it continues the unique style of his previous independent films, showcasing a distinctive flair.

Today's Hollywood severely lacks creativity; not that there's no creativity, but creativity almost equates to risk, and few companies are willing to take significant risks. Hence, adaptations, sequels, and remakes dominate Hollywood, with original works rarely appearing on the investment lists of the six major studios.

"Alien vs. Predator" isn't a sequel but an epic clash between two of Hollywood's most famous monsters. Despite facing protests from fans of both franchises, the hype and Paul W.S. Anderson's passable production attracted a significant audience to theaters.

In its opening weekend, "Alien vs. Predator" earned over $41 million from more than 3,400 theaters in North America, meeting its pre-release targets and suggesting it could join the North American box office's $100 million club.

With two successful films under her belt, Kara Faith solidified her position at 20th Century Fox and demonstrated her strength.

This was undoubtedly very beneficial for her continued ascent to higher positions.

Returning from cheering for Kara Faith, Murphy picked up his previously set-aside work – writing script outlines, planning the project, and sketching some storyboards.

When Murphy completed the script outline and began filling in the template, Gal Gadot became the first reader.

"When I think of my wife, I always think of her head. I imagine opening her lovely skull, studying her brain, seeking answers…"

Just one sentence in, Gal Gadot felt a chilling sensation, knowing without reading further that a man who says such things is definitely not normal.

"Is this a wife-killing movie?" she immediately thought of the shocking O.J. Simpson case.

Looking at Murphy, who was sitting in front of the storyboard, hmm… her boyfriend seemed quite normal.

Still, Gal Gadot sighed and muttered to herself, "Why does he always focus on the dark side of humanity?"

Sitting in a chair, chin propped on one hand, Gal Gadot watched Murphy sketching, barely noticing the faint scars on his face, lost in thought for a while before slowly nodding.

She grew up in comfort, never facing survival challenges. Murphy's background was different; growing up in the slums, he described his youth and early adulthood as troubled and regrettable, even spending a year in prison…

Without much thought, it was clear to her that Murphy's early life exposed him to darkness and situations she couldn't imagine. Such environments inevitably influence one's choices as a director…

Gal Gadot shook her head, feeling somewhat relieved that Murphy's darkness was only displayed in his films, while his real life was full of positivity.

Seeing Murphy put down his pencil, Gal Gadot stood up and approached him. The storyboard depicted a woman falling headfirst into water.

"Is it really a wife-killing theme?" Gal Gadot asked.

"No," Murphy shook his head. "Dear, what you're seeing are illusions meant to mislead and pique the audience's curiosity."

Gal Gadot stood behind his chair, running her fingers through Murphy's slightly messy hair. "Can you tell me about it?"

While early stages of a project require some degree of secrecy, Gal Gadot wasn't included in that category. Murphy briefly organized his thoughts and explained, "It's a dark comedy and suspenseful love movie set in modern urban life, about a couple from different backgrounds who love and hate, control and can't bear to part with each other."

"Why…" Gal Gadot was still puzzled. "Why does everything you write and draw seem like a husband planning to kill his wife?"

"It's a necessity for the future movie, specifically, to attract the audience," Murphy put down his graphite pencil and began wiping his hands with a wet wipe, explaining, "A good movie draws people in irresistibly, making them willingly believe in the intricate visuals, precise directing, and sharp editing, all serving the story rather than showing off technique, overshadowing the story itself."

Gal Gadot nodded. "So, what I saw are just illusions in the future film? Not about killing a wife."

"No," Murphy shook his head. "It's a story of intertwined love and hate between lovers."

"I see," Gal Gadot

 glanced at the storyboard again, noticing a line of small text in an inconspicuous corner, "Is that the future film's title?"

"Yes," Murphy threw the wet wipe into the trash can. "If all goes as planned, it will still be called 'Gone Girl.'"

Gal Gadot's phone suddenly rang. She checked it, "It's my mom."

With that, she turned towards the window, leaving Murphy to tidy up quietly.

"Gone Girl," a dark-themed movie with questionable morals, is Murphy's planned new project.

Originally adapted from a novel, Murphy doesn't have to worry about rights and adaptations since the novel doesn't yet exist in his timeline. He plans to go straight to writing the screenplay and then producing the film.

Without the original novel, there might be some impact on the movie, but it won't be significant. The original novel, considered a third-rate work, would likely have been lost in the vast sea of literature without the film adaptation, even in North America.

This movie is an example of a third-rate novel adapted into a first-rate film. As Murphy said, it allows him to demonstrate that he's not just a commercial director while ensuring the film is entertaining.

Entertainment is crucial for the film's commercial success.

Additionally, Murphy has considered marketing strategies that match the project. Without the constraints of a novel, these plans can be executed more smoothly, potentially causing a sensation.

Murphy spent the end of August and early September working on these tasks. After completing the first draft of the screenplay, Bill Rossi finally brought some good news.

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