Chapter 75: New Plan

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After officially joining the guilds, Murphy shifted his primary focus to preparing for the new film. The script needed further revisions, especially adjustments based on the actual funds he could invest. Just like last time, he couldn't afford to sink all of his $900,000 into a single project.

Stanton Studio needed operating funds. Although it currently had no employees, he would need to hire at least a receptionist/cleaner and, if the right candidate came along, a financial officer. All these required money.

Moreover, the series of expenses that cropped up after "Hard Candy" was completed taught Murphy that throwing all the funds into one film was an incredibly foolish move. Not to mention, he needed money to maintain a normal life.

He planned to invest between $800,000 and $900,000, with the final amount depending on circumstances.

He wasn't capable of producing a gore horror film with just $300,000, but he was confident about handling a slightly larger budget. After all, the purchasing power of the dollar was different now compared to a few years ago.

As the major universities across North America resumed classes, Paul Wilson ended his spring break and rejoined Stanton Studio. Unlike his previous unpaid internship, Murphy now recognized his contributions and offered him a weekly salary of $400.

Upon completion of the new project, there would also be potential bonuses.

Paul Wilson's enthusiasm for work increased significantly. Dreams could drive one's motivation, but money was the foundation of survival.

Murphy valued Paul Wilson not just because of his skills but also because he introduced a few classmates to intern at Stanton Studio. These students could serve as unpaid interns when the film crew formed.

These were all positive developments.

"Right now, it's just the two of us in the crew."

Standing in front of the house on 13th Street in Santa Monica, Murphy hung the Stanton Studio nameplate on the iron gate and said to Paul Wilson, "You are now one of the crew leaders. Pay attention to your work."

Paul Wilson, not having graduated yet but already earning a decent salary, felt privileged. Witnessing the establishment and development of a film company and gaining practical experience in filmmaking made him feel like a lucky person among his peers at USC's School of Cinematic Arts. He was one of the few who had actually participated in a film that was officially released in theaters.

Compared to others, he was already a step ahead.

Looking at the young director next to him, who became a millionaire in his early twenties and had a feature film released in theaters, Paul Wilson was full of admiration. "Don't worry, boss. I have some experience now. Leave those trivial tasks to me."

He didn't think he would perform worse than Jessica Chastain, the former female intern.

Murphy patted his arm lightly. "We're partners in this startup. No need to be so formal. Call me Murphy."

Paul Wilson nodded emphatically, appreciating the feeling of being valued.

Clearly, Murphy was trying to build loyalty. Stanton Studio, just getting started, needed talent. While he wanted to hire experienced and capable people like Kara Faith, the current situation didn't allow for it. He had to find his own way to recruit.

After glancing at the metal nameplate reading "Stanton Film Studio," Murphy pushed open the iron gate and walked into the small building. The empty living room still had a dozen office desks, but now, at the desk closest to the entrance, sat a Latina woman in her thirties.

She was the newly hired receptionist/cleaner/phone operator.

"Hello, Mr. Stanton," she greeted Murphy.

Murphy nodded and asked, "Rosa, any calls?"

Rosa, the woman, immediately handed him a form with the contact details and basic information of two individuals.

"These two people want to apply for the financial officer position," she said. "I've scheduled interviews for tomorrow morning."

"Okay." Murphy glanced at the form and returned it to her. Rosa Rodriguez went back to her desk, sitting heavily in her chair, which creaked ominously as if it might collapse at any moment.

Paul Wilson couldn't bear to look at the poor chair, which was under the weight of a woman nearly six feet tall and over 200 pounds. He pitied the chair, doubting it could last long.

Murphy, accustomed to this over the past few days, ignored the creaking chair and headed upstairs.

He hired Rosa mainly because she was willing to do three jobs for the price of one. Her appearance, education, and skills didn't qualify her for better employment.

Back in his study, Murphy continued revising the script. During breaks, he contemplated the project plan.

Initially, after finishing the first draft, he planned to contact Jones Butler to see if Miramax would be interested in a preliminary collaboration to ease Stanton Studio's financial burden.

After careful consideration, he decided against it. Although he had registered the new project's script with the Writers Guild, Hollywood studios were notorious for their lack of scruples. With the simplicity of his new project, if it were copied, he would be helpless.

With Miramax's resources, they could finish filming while he was still in pre-production if they decided to act unethically.

Murphy never counted on the Writers Guild registration alone to solve copyright or plagiarism issues. While North American copyright laws were comprehensive, similar-themed films kept emerging, like "Deep Impact" and Michael Bay's "Armageddon," or "Olympus Has Fallen" and "White House Down." These couldn't be explained by mere coincidence.

His new project couldn't compare to those films, but taking basic precautions was still necessary. Given his current reputation and capabilities, he couldn't do much if Miramax decided to take liberties.

Even if it went to court, such lawsuits could drag on for years. He couldn't afford that.

Writers Guild registration was merely an insurance policy, not a guarantee against copyright infringement. Murphy wasn't naive enough to believe that registering the script meant he was completely secure.

He would break the script into character scripts and scene scripts, as most Hollywood productions did, ensuring that only a few people would see the complete script.

Another consideration was the shooting schedule. Traditionally, the fall season was ideal for horror films in North America. Every September, numerous horror films hit theaters, drawing hordes of fans.

However, Murphy was determined not to release his film in September.