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With the film's completion guarantee in place, Murphy returned to his job, making a shooting schedule, drawing storyboards and set sketchboards, communicating with director of photography Fili Raschel and art director Helena Espora, analysing the characters with the four identified actors, Robert Downey Jr., Jessica Alba, Dwayne Johnson and Gina Carano, and coordinating the action scene design with Chen Hu, who guided their training. Pen & Fun & Pavilion www.biquge.info

These jobs make Murphy extremely busy, and the importance of pre-preparation is self-evident, and the director and producer are at the heart of it.

So far, the crew has received a total of $5 million from Murphy's Stanton and $10 million from Twentieth Century Fox itself, which is only a quarter of the total production cost, but enough to ensure that the crew's preparation work runs smoothly.

And after bringing in an American insurance company to serve as the guarantee for the completion of the project, Twentieth Century Fox's previously stalled financing work immediately made a breakthrough, with two private equity funds and a bank agreeing to inject $20 million into the crew, and three more funds are under negotiation.

Since Twentieth Century Fox has a wide range of distribution channels both in North America and overseas, most of the film's overseas distribution work will be handled by Twentieth Century Fox's overseas branches, and the pre-sale of overseas rights of the film can only be said to be better than nothing, and the production funds of the crew come more from various financings.

Large studios, especially those with distribution capabilities, are undoubtedly safer for investors.

The so-called channel is king, and the production company with this element undoubtedly has the greatest competitive advantage, and the risk of film investment is greatly reduced when the market is controllable.

Companies with strong distribution capabilities like Twentieth Century Fox have an innate advantage when penetrating into the upper end of the industrial chain, and they have cultivated a keen judgment ability in the actual combat of facing the market and facing the production company.

With this guarantee, the film's market-oriented channel is undoubtedly the broadest.

There are many ways to finance a film, the most common of which is undoubtedly a bank loan, which is not much different from an ordinary commercial loan, and does not involve the copyright of the film.

The most complex ways to finance a film are the other two – private equity and tax financing.

Like Murphy's Stanton Studios, private equity funds invest in a film, not for interest, but for the purpose of raising film private equity investment funds, which are usually completed by private equity funds using different types of financial products such as high-yield bonds, low-yield bonds and preferred stocks to attract investors with different risk tolerances.

The purpose of their investment is to share the profits of the film and also to enjoy the copyright income of the film.

However, the copyright of the film is a ban on large Hollywood companies, and they generally do not share the long-term income of a film with private equity investors, and generally agree with investors to repurchase the shares of the financier within a specific period of time, which not only preserves the integrity of the film copyright, but also ensures a good exit channel for investors.

With enough financing channels, the follow-up investment of "Deadpool" is also guaranteed, and after Paul Wilson passed on many locations suitable for filming from Australia, Murphy took Philip Raschel, Helena Espora, David Robbie and several producers directly to Australia to investigate and determine the locations that are really suitable for filming.

Originally, he wanted to hand over the crew's affairs in Los Angeles to Carla Firth, and Carla Firth was also going to Australia to handle business and chose to pass with him, so Murphy had to temporarily hand over the audition work for some of the roles that were not very important in the process to Seth Rogen, who served as his assistant director this time.

"I'm going to Australia to deal with tax incentives."

Inside the plane's first-class cabin, Carla Firth unbuckled her seatbelt and said to Murphy, who was sitting next to her, "It's part of the investment." ”

"Tax incentives are also considered investments?" Murphy was puzzled, "That's why you're bringing so much information to do this?" ”

When they went to the airport together, he saw that Carla Firth was carrying a lot of documents and contract texts.

"Before applying for the tax incentives, I had to prepare a sufficiently attractive business plan and project description, a director's statement, a list of the main creative team, as well as a shortlist, a script, a plot overview, and a list of leading or starring candidates."

Carla Firth replied, "With these materials, you can really get concessional funding from the Australian government." ”

Murphy nodded, in fact, from the beginning of the film's establishment, Carla Firth didn't care much about the crew's direct involvement in the preparation of the film, and basically handed it over to him to deal with, more to do security work for the crew, such as raising funds.

Movies can be financed in a variety of ways, and each crew needs to find a few financing methods that are most suitable for their project.

Fortunately, North America is gradually recovering from the trauma of 911, the federal government is vigorously promoting the real estate industry, adopting a strategy of using real estate to drive the economy, housing prices are rising steadily across the country, and the bank related loan business is also booming, and the national economy is thriving.

With the guarantee of the general environment, Hollywood's financing is also relatively much easier.

But Murphy knows that that will change in a few years, and that raising money in a downturn will be a daunting thing, and there will certainly be investors talking about risk aversion, which will also mean less and less money willing to invest in filmmaking.

"Kara, if there is an economic crisis," Murphy asked, "do you think it is as easy to finance a film as it is now?" ”

"The economic downturn will definitely affect investors' decision-making."

Compared with Murphy, who basically knows nothing about the economy, Carla Firth seems to have studied, "I think that even in the face of an economic crisis, Hollywood can still attract money, and the most important thing is to do two things well." ”

Seeing Carla Firth holding up a glass of water and having a posture of selling off, Murphy made a gesture of please.

"First, whether it's an economic crisis or not, a great project and a marketable marketing strategy will always make your project stand out." Carla Firth took a sip of water and put down the glass, "The second point is up to you, you are the one who the investors deal with, you are the executor who helps them make a profit, as long as you can impress them, investment is not a problem." ”

Arriving in Sydney, the capital of New South Wales, Murphy and Carla Firth split into two groups, he led his team to inspect the filming location, and Carla Firth took his lawyer and accountant to negotiate with the relevant departments of the Australian government.

After a one-night stay at the hotel, Murphy and Director of Photography Fili Raschel and Art Director Helena Espola first went to Fox Studios to inspect the studio, and then for a while, the crew's set set, props and art direction team would be the first to come to Sydney to set up the scenes in the studio according to Murphy's needs.

As we all know, Australia is one of Hollywood's most important overseas filming bases, and the Australian government has also formulated many policies such as tax rebates in order to attract investment from Hollywood crews and stimulate local employment.

Fox Studios in Sydney is an important example of the Australian government's efforts to attract investment from Hollywood.

To be more precise, it should be called Fox Studios Australia, a major film studio in Sydney, Australia, located in Moore Manor, a former Sydney showground.

The studio, which is of course owned by News Corp., opened in May 1998 and is one of Australia's three largest film studios.

The reason why Murphy chose to shoot here is not only because he can get the corresponding tax rebate because he is one of the investors, but also because of the many advanced equipment that can be provided here.

It is undeniable that most of the studios and studios in Hollywood and Burbank are dilapidated and very old, while Fox Studios in Sydney has been in operation for less than a few years and can provide state-of-the-art production facilities for screens, television, commercials, music videos and other related productions, and the studio has been responsible for providing the main television recording studios for Twentieth Century Fox, which is also conducive to the promotion of the films.

Twentieth Century Fox has reserved more than a dozen offices for Murphy, and among the many studios, Murphy has also chosen a large studio and a small studio as indoor shooting locations.

Of course, similar to Hollywood studios, there is also a tour area where you can see huge posters of many films shot at Fox Studios, including many famous titles such as "The Matrix", "Moulin Rouge", "Star Wars Prequel: Attack of the Clones", and "Star Wars Prequel: Revenge of the Sith" that has already been prepared.

At Fox Studios, after Murphy joined Paul Wilson, he also met with the head of an entertainment agency that would use a large number of Australian extras and crew for the future filming of "Deadpool".

This is mainly based on two considerations, the first is to use people to increase the cost, and I also know on my toes that the labor cost of the film industry in Los Angeles is far higher than that of Sydney, and the transportation of a large number of extras and crew from North America to Australia is a lot of expenses just for air tickets and accommodation.

On the other hand, it is the hard and fast rules of the Australian government's preferential tax rebate policy, since they give a large amount of tax rebate to the film, of course, it is not to curry favor with Hollywood, but also to benefit Australians.

In the office area, he made a deal with the head of the entertainment agency, and when Murphy went out, he met a man he saw on his last trip to Warner Bros. in front of the office building. (To be continued.) )