Chapter 82: Murder Symposium

In Murphy's memory, a former director once completed preparations in less than a week and finished shooting in just over two weeks. He didn't know how that director managed it, but he believed Lionsgate played a significant role. After all, Lionsgate is a second-tier Hollywood company with undeniable strength.

Compared to Lionsgate, Stanton Studio is a much smaller operation. Besides Bill Rosas, Murphy didn't have much support and often had to rely on his own efforts.

By the end of March, with Bill Rosas' assistance, Murphy had finalized all crew positions. Unlike the Hard Candy crew, which had just over ten people, the new project had nearly thirty behind-the-scenes staff, not including the interns introduced by Paul Wilson.

Paul Wilson brought in three classmates. Even as graduates of the USC School of Cinematic Arts, they rarely had the chance to work on an official feature film.

Additionally, Murphy's lawyer Robert would continue to serve as the crew's legal advisor.

With the personnel assembled, a preparatory meeting was held at Stanton Studio. Murphy needed to communicate and discuss with the main crew members to ensure a unified artistic vision for the project. He also gave a director's briefing to the entire team to align their creative thinking.

After the meeting, Murphy kept the confirmed actors to discuss some issues regarding the script.

He had been revising the script but was still dissatisfied with some elements and wanted to hear the actors' thoughts.

In the study on the second floor of the studio, Paul Wilson temporarily acted as a server, pouring coffee for everyone. Murphy sat behind the desk, while James Franco and Seth Rogen, who had been close lately, sat on the opposite sofa. Bill Rosas stood by the shelf holding camera equipment, and Carey Mulligan sat on a chair by the water dispenser to Murphy's left.

"Everyone has read the script," Murphy said, tapping the desk lightly to get their attention. "It contains various contraptions for murder, which are crucial parts of the film."

He pointed to his head and said, "My ideas are limited. Do any of you have more innovative murder methods?"

This question had an ambiguous phrasing, causing everyone to look at each other.

James Franco crossed his arms and, with a surprised expression, deliberately said, "You want to kill someone? Who do you want to kill? Go ahead and do it; I'll call the police right now."

"Jim, this isn't a joke." Murphy glared at him. "I'm serious. I'm talking about the murder devices in the movie."

"I have one!" Carey Mulligan raised her hand. "I thought of one."

Murphy nodded at her. "Go ahead, Carey."

Carey Mulligan's eyes turned to James Franco. "We could design a chair where the victim—let's say Jim, ah, I mean Jim's character—is tied up."

James Franco's mouth twitched, sensing something unpleasant was about to happen.

"The chair is equipped with a combination lock," Carey Mulligan continued. "If he can't unlock it in time, a blade pops out from the chair and..."

She smiled at James Franco, "castrates him!"

James Franco instinctively tightened his legs, feeling a chill down there as if a blade really had popped out. He stood up unconsciously.

After standing, he noticed everyone staring at him with strange expressions. He forced a smile, "My... my legs were numb. Needed to stretch."

Murphy turned to look at Carey Mulligan, who wore a serious expression but couldn't hide the amusement in her eyes.

"Anyone else?" Murphy asked the others.

To cover his embarrassment, James Franco paced a bit and suddenly said, "Murphy, don't you think Carey's character has too little screen time?"

He spoke as if he was genuinely concerned for Carey Mulligan. "Her character passes the test too easily. The way she finds the key involves harming others, not herself."

Murphy looked at James Franco and nodded slightly. Franco's point wasn't without merit.

He gestured for Franco to continue.

James Franco thought quickly and came up with an idea. "I think we could set a passage between Carey's character and the key-hider. The passage could be filled with..."

Considering that this character survives, knives wouldn't work. He had read the script and knew Murphy favored Mulligan's character, as many others die while hers survives.

"The passage could be filled with syringes," he said, improvising. "For Carey to survive, she'd have to crawl through them."

After Franco finished, Murphy picked up a pen and quickly jotted it down. He didn't care if this was a feud; if it helped the script, he'd use it.

Carey Mulligan glared at James Franco for a moment before glancing at Murphy. Seeing him taking notes, she wisely chose to stay silent, swallowing back her retort. She wouldn't do anything to jeopardize Murphy's opinion of her.

"May I share my idea?" Seth Rogen raised his hand.

Murphy smiled. "Seth, go ahead."

"Once during a chemistry experiment," Seth Rogen began, touching a scar on his hand, "some dilute sulfuric acid splashed on my hand. That burning pain is something I'll never forget."

He paused to organize his thoughts. "What if there's a device where someone is trapped, and the key to their survival is in a bottle of sulfuric acid nearby? They'd have to reach into the acid to get the key..."

Paul Wilson, James Franco, Bill Rosas, and Carey Mulligan all looked at the chubby guy in surprise. No one expected such a twisted idea from someone who looked so good-natured.

Seth Rogen adjusted his new glasses, smiling sheepishly. "It's just a suggestion."

Murphy took it seriously and noted it down.

Although the main focus of the first film in this series wasn't on the murder devices, they were still a good way to attract audiences.

Following this brainstorming session, the discussion turned into a murder symposium. Even Bill Rosas suggested a few twisted methods, like hanging hooks, chainsaw cuts, and needle piercings, which kept coming from everyone's mouths.

Many of these ideas had value, and Murphy would adopt some, continuing to revise the script accordingly.