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Whether it's as a director or a part-time producer at Murphy, if you're not good at dealing with people, then you're not a good fit for the industry.

As a producer, Murphy needs to connect with all kinds of people; As a director, he has to work with the actors and crew.

Coordinating the crew and logistics is just as important and tricky as the director's job, and he certainly lacks sufficient experience or skills in this area, and even more difficult, because interpersonal skills are often not immediately passed on to someone trying to work in filmmaking.

It takes Murphy to rely on practice to change yourself, to enrich yourself, to make yourself mature.

In addition, there is some paperwork and financial work that Murphy has to deal with.

Clerical work needs to be organized and labeled for later use, including resources, legal documents, checks and accounting books, authorization agreements, contracts, licenses, copyrights, photographs, and so on. For this purpose, most companies have secretaries, accountants, and office staff to handle these "back-of-house" matters.

At the company, these employees belong to the production department, and they study expenses every day, analyze customer data, etc., so that the film crew can be prepared in advance when something goes wrong.

For a low-cost producer like Murphy, the producer is either the top organizer or has to find a dedicated person to perform the position, which must be diligent and professional.

The financial officer hired by Murphy is definitely not qualified strictly speaking, so he found the accountant of "Hard Candy" to lead this part of the work and be directly responsible for him.

In addition, Murphy had to carry some important paperwork on his own, and even if it was in Los Angeles, the formalities of writing and writing during filming were crucial to the film's filming and legal protection, and if he ignored the importance of this aspect, the project was likely to run into unimaginable problems.

Then there is the rehearsal of the actors, Murphy knows the importance of rehearsal, he will not rush to shoot, deliberately packed out the side bedroom on the second floor, and handed it over to the two male leads, James Franco and Seth Rogen, to rehearse.

A lot of movies are not rehearsed before shooting. Sometimes it's because the actors are "big names" and they don't think rehearsals are good for them; Sometimes, the director feels that this is not a good idea, and the actor loses his spontaneity.

But such a plasma horror film does not need the actors to play explosively, and the investment in the money also determines that the shooting must strive for a quick solution, with a patterned rehearsal, Murphy thinks it is more suitable for his crew.

In addition to talking to the actors, Murphy also did a lot of communication and collaboration with other departments.

He and cinematographer Filip Raschel and gaffer David Robbie went to the warehouse where the set was set up several times, and designed the shooting techniques and lighting methods of some scenes in advance, and he asked Fili Raschel and David Robbie to provide the crew with the list of required photographic equipment and lighting equipment respectively, and immediately adjust the equipment after the equipment was in place, so as to minimize the situation encountered during the last shooting.

On the other hand, Murphy asked the various departments of art, scenery, props, makeup, and costumes to submit design plans according to his plan, and all the staff must reach a consensus on the aesthetic style of the film and unify the creative ideas.

Art director Helena Espora was in charge of the set, and since the warehouse was large enough for the crew to use it completely, Murphy asked for not too many scenes, not too spread out, and not too long between each scene, to facilitate a focused shooting.

Prop master Baker Klebert also submitted a list of needed props to Murphy, and Paul Wilson co-authored, rented, and made the props.

Jake Watson, who is in charge of the makeup department, has been designing the actors' costumes according to Murphy's ideas, and the headgear, wigs and the like he needs will also be purchased by Paul Wilson.

It is no exaggeration to say that Murphy alone is burdened with a lot of work, heavy work and heavy pressure, which also makes him feel the importance of a full-time producer and several professional assistant directors.

Paul Wilson is conscientious and responsible, but inexperienced, and needs time to hone and develop.

Later in the preparations, Murphy found himself so worried that he had overlooked one thing and forgot to find a professional live recording engineer.

The filming of "Hard Fruit Candy" is simple, and it almost relies on the sound effects in post-production, which led to this negligence.

Fortunately, it was discovered early enough, and sound engineer is not a scarce profession in Hollywood, and it is not too late to find one, Murphy made a phone call to Bill Rothes, and only two days later, the agent helped the crew contact the right person, and after some detailed discussions, the two sides signed a contract, and the sound engineer will officially enter the crew a week before the start of filming.

Getting the sound recordist, Murphy and Bill Rossis and cinematographer Philip Raschel went to a Hollywood company to see the camera equipment, and he paid more attention to this aspect than anything else.

Murphy is not an admirer of equipment, and does not think that new technology must be suitable for all films, the key to the shooting effect of photographic equipment is to meet his shooting requirements, photographic equipment is an indispensable equipment for a film, and it is also a guarantee of film quality, but it is not decisive, so it is necessary to choose equipment practically and effectively.

HE STILL CHOSE SONY'S 35MM CAMERAS, AND UNLIKE THE PREVIOUS TIME, MURPHY RENTED THREE, A PORTABLE CAMERA AND TWO LARGE CAMERAS THAT NEEDED TO BE SET UP.

When negotiating the price, Bill Rothes showed Murphy the advantages of having a dedicated agent.

Companies that lease equipment are generally reluctant to lower the cost standard, but Bill Rothes borrowed the name of CAA to find a discount on the rental time, and at the same price, Murphy came forward to lease it for only half a month, but he reached a one-month lease contract with the other party, which directly reduced the cost of renting photographic equipment by 50%.

In addition, Bill Rothes also requires that the rental company must have professional maintenance personnel.

"For important and high-value equipment, leasing companies will generally be equipped with special followers to maintain the equipment throughout the process to ensure the safety of the equipment and supervise the correct use, cleaning and storage of the equipment." When he walked out of the rental equipment company, Bill Rothes said to Murphy again, "The crew is usually sent by the equipment company, and you can also ask them to do some additional things, such as focusing and pushing the rail, and they usually won't refuse." ”

The salaries of these people will be included in the rental fee, which means that the crew will at least have one more professional Cheng dù high labor.

Thinking about the rental situation at the time of the previous shoot, and looking at the loan deal reached by Bill Rothes, Murphy felt that he and Jessica Chastain were two at all.

This also made Murphy understand that the water in this line of work is also deep, and he is indeed a fledgling.