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After hiring the right finance staff, Stanton Studios' new project was officially launched, and unlike the rest of the crew, most of the behind-the-scenes jobs on this project were still vacant.

There are only a few positions that have been confirmed, director and producer Murphy, assistant director Paul Wilson, assistant director Seth Rogan, makeup artist Jake Watson, prop master Baker Klebert, editor Jodi Griffiths, telephone operator Rosa Rodriguez......

Several actors have also been tentatively identified, Seth Rogen, who auditioned, James Franco, who ended negotiations, Carey Mulligan, who was temporarily disciplined by the school, and Paul Wilson and Rosa Rodriguez, who could act as backdrops.

In addition to these people, Murphy also met with Bill Rothes many CAA signatories, of course, they are all people who do not have much qualifications and fame like him, but it is true that as Bill Rothes said, the basic ability to be signed by CAA is definitely guaranteed.

Since Murphy is listed as a super potential customer, Bill Rosis also introduces some very reliable people.

"Murphy, this is Philip Raschel......"

In a CAA meeting room, Bill Rothes introduces Murphy to a middle-aged white man in his mid-30s to 40s, "who worked on two TV shows and worked as a second cinematographer on the set of the fourth season of 'Buffy the Vampire Slayer.'" ”

Turning his head, he introduced a mixed-race woman in her thirties, "This is Helena Espora, who has been an art director for three episodes in "******The End of the World" and is as good as her appearance. ”

Then, he introduced the rest of the person to Murphy, "This is David Robbie, from Australia, who just took over as a lighting engineer for "Wolf Girls Club" last year. ”

Finally, he looked at Murphy and said, "Felt, Helen, David, this is Murphy Stanton, a good director. ”

"Hello, it's nice to meet you......"

Murphy shook hands with each of them, greeted them, and sat down on the couch by the window at Bill Rossis's motion.

Director Stanton...... "Director of Photography was Director of Photography Philip Raschel who spoke first, "Bill told us about your project, and we've seen your Hard Candy, so I wanted to ask, what genre will your new film be?" ”

In many cases, it is not only the director who chooses the cameraman, but also the photographer who chooses the project that suits him, and if the style of a film does not match his own shooting style, it will not help his career much, and even have a negative impact.

"Plasma horror film." Murphy knew what the other party meant, and said directly, "Black style CUT film type." ”

As soon as the latter sentence was said, Fili Raschel, Helena Espora and David Robbie nodded at the same time, which is exactly the style they are good at.

Not only had they seen Hard Candy, but Murphy had also seen their work before he came, and he had already talked to Bill Rothes about the style of the new project, and he had found someone who would fit that style.

Whether it's "Buffy the Vampire Slayer", or "The End ******of the World" and "Wolf Girls' Club", they all have a typical black style.

If these three people enter the crew, they don't need to have a fundamental change in concept, just relatively simple adjustment and adaptation.

From this aspect, it can also be seen that Murphy's experience in the first filming was not enough, and he didn't think about it so much on the "Hard Fruit Candy" project, and the recruited staff except for Jack Watson were miserable.

Then again, with Murphy's conditions at the time, he couldn't have asked for more.

It's just the first time the two sides have met, and Murphy has been talking to the three of them for a while, especially in terms of the style and concept of the film, exchanging a lot of views, to be precise, there are similarities in the ideas between them, and there are also differences between them, which are normal.

It is impossible to officially finalize the cooperation at the first meeting, after all, this is a filming movie, not a child's play, Murphy has to consider the whole picture, and those three people may not join his crew, it depends on the salary offered by Stanton Studios.

None of these three people are like the three people in the corresponding profession in Hard Fruit Candy, they are more than themselves, Fili Raschel has a camera assistant, Helena Espora works with two set decorators, and only lighting designer David Robbie is alone.

According to the rules of Hollywood, hiring them means hiring their team, in addition to their own personal salaries, the crew also has to bear the team's expenses.

Murphy has no opinion on these, the new project involves several times more scenes, actors, and sets than "Hard Candy", and it cannot be completed simply like the previous time, and a complete crew is required.

And Murphy has other considerations, as a director with lofty goals, he also needs to consider forming his own relatively fixed team.

Working together is the best way to see your abilities and develop a sense of cooperation.

Every behind-the-scenes career in the crew is quite important, and if there is a problem at one point, it is likely that the entire project will be suspended, in addition to these key jobs, Murphy then met with seven or eight people from other positions recommended by Bill Rossis, these people are from CAA's many potential signings, as I said before, fame and qualifications may not be available, but the ability to be favored by CAA is always guaranteed.

It took a whole week for Murphy to finalize the positions of the crew one by one, unlike the cheap manpower recruited last time, the relatively excellent ability also means a relatively high salary, and the high salary expenditure also allows Murphy to continue to be careful and budget-conscious.

Not to mention anything else, the cost of photography, props, lighting and art direction alone is quite large.

The importance of cinematography to a film is undeniable, and the pay in this department is generally higher, in most cases more than other behind-the-scenes positions.

Fili Raschel and his team earn $5,500 a week; Art director Helena Espora's team earns $4,000 a week; There are fewer gaffers, only $3,000 a week; Coupled with the $5,000 for the props crew, the crew will be paid nearly $20,000 a week for this department alone.

If a new project takes more than half a year or even a year to prepare for and shoot like mainstream Hollywood films, the compensation of personnel alone can crush Murphy's budget and make him bankrupt.

Murphy's own estimate of the cost of making the zuò was $800,000, so the shoot must not be too long.

According to the plan he made, if a qiē is more smooth, the film will not take more than two months from preparation to shooting.