"So far, 89 actors have signed up for the male lead audition, most of whom are unknowns."
In the office, casting director Michelle Williams informed Murphy, "For the female lead, more than a hundred people have signed up, including some established stars."
Murphy nodded and asked, "Who are they?"
Before announcing the auditions, the crew had disclosed that the maximum pay for this role wouldn't exceed $500,000, which would not be enticing for established stars.
They were auditioning for other reasons, perhaps because of Murphy's reputation.
In this regard, Murphy wouldn't underestimate his own influence. Any new project by a top Hollywood director would be a media focal point. Being part of such a project would ensure that an actor's name was mentioned in countless reports, turning even previously unnoticed actors into the targets of paparazzi and journalists.
If possible, the crew would prefer to cast already established actors. Their star power and more extensive experience could help avoid many unnecessary problems during preparation and filming.
Michelle Williams understood this too. She glanced at several highlighted names on her list and said, "There's Blake Lively, Lindsay Lohan, Lupita Nyong'o, Alexandra Daddario, Alicia Vikander..."
She suddenly looked at Gal Gadot, who was sitting across from Murphy, and added, "And Margot Robbie."
Gal Gadot showed no reaction, and Murphy, propping his chin up, thought for a moment before saying, "Let them all audition, except for Lindsay Lohan and Lupita Nyong'o."
"Understood," Michelle Williams crossed the two names off the list.
Murphy didn't want the crew to waste time on actors who obviously didn't fit the role. Lindsay Lohan was synonymous with trouble; while many Hollywood actresses did drugs, few were as out of control as her. Lupita Nyong'o was a black actress, and Murphy wanted to avoid potential accusations of discrimination against black actors.
He had no desire for his crew to end up embroiled in a scandal over alleged racism. Additionally, black actors were not always as noble as they claimed to be.
Interestingly, Murphy recalled that Lupita Nyong'o once made headlines for claiming she had a $150,000 pearl dress ready for an Oscar ceremony. The dress, which supposedly featured 6,000 pearls, was stolen before the event. When the thief discovered the pearls were fake and reported it to TMZ, the website called out Nyong'o's hypocrisy. This became the biggest joke of that Oscar ceremony.
For the other key roles, the crew needed older actors. Murphy had Michelle Williams send audition invitations to actors like Liam Neeson, Kevin Spacey, Christoph Waltz, Gary Oldman, and Ralph Fiennes. The final choices would depend on the audition results.
Given the large number of actors auditioning for the male and female leads, the crew planned to hold two rounds of initial auditions to weed out those who didn't fit the physical requirements.
Michelle Williams soon left the office. When only Murphy and Gal Gadot remained, she suddenly said, "I've invited David Robbie and Margot Robbie over for the weekend."
"Okay," Murphy nodded. "You handle these things."
He understood Gal Gadot's intentions and said, "If Margot does well in the audition, I'll consider her."
Gal Gadot smiled and didn't say much more. Margot Robbie had a good relationship with Murphy and had known him for a long time. Murphy would certainly consider her favorably.
Hollywood was all about connections. Now that Margot Robbie had signed up for the audition, Murphy was already considering her suitability for the female lead role.
In this film, the female lead was essentially a decorative role. With Margot Robbie's looks and the acting skills she had honed over the years, she would more than suffice for this role.
However, the female lead would become more significant in the sequel, requiring a performance with more depth. Margot Robbie's acting might still be a bit raw for that.
But following the principle of prioritizing his people, Murphy would cast Margot Robbie as long as her audition wasn't terrible.
Leaving the initial auditions to Michelle Williams, Murphy focused more on planning the entire project.
20th Century Fox successfully secured financing from various channels. The film, marketed as a "Murphy Stanton" production, began presales in the international market. Murphy's name carried significant weight, attracting many overseas distributors to Los Angeles. Securing advance presale funds was not an issue.
With the first batch of funds deposited into a third-party escrow account, the crew's preparations went into full swing.
The headquarters remained at the Venice Warehouse Studio under Stanton Studios. Whether using his own facilities or others', Murphy ensured that any location fees were paid. He was always wary of letting opportunities slip away to others.
After assembling at the warehouse studio, Murphy's directing team split into two groups: one assisting Michelle Williams with the auditions and the other drafting a more detailed shooting plan.
The primary tasks included writing the shot list and drawing the storyboards, as well as breaking down the shooting budget for each scene.
Simultaneously, the crew recruited additional behind-the-scenes staff. Departments led by Phil LaSher, Helena Esporra, and David Robbie all required temporary personnel increases.
Gal Gadot, leading a producer team, flew to New York to scout exterior shooting locations and assess the feasibility of filming on the city's streets.
Additionally, props and equipment rentals were essential. Murphy had meticulous plans for these, delegating responsibility to various department heads.
As a director, Murphy was well-versed in the numerous tasks involved in a project. However, unlike his early days, he now had ample funds and personnel at his disposal. Many tasks didn't require his direct involvement. Instead, he focused on overseeing the overall plan, maximizing efficient allocation and coordination of each department's preparatory tasks.
"The protagonist's gear has special requirements," Murphy explained to props master Wells Brooks, who had just joined the crew. "It should primarily be black and reflect the texture of Kevlar. Coordinate closely with Jack's costume department."
Wells Brooks nodded repeatedly.
Murphy eyed him. Bill-Rossis and CAA had highly recommended this props team, so he trusted their competence. CAA wouldn't recommend anything but top-tier props masters.
Murphy's usual props team had transitioned into a special effects company, so he needed a new props team.
"I also need a motorcycle," Murphy said, emphasizing, "It must have a strong tech vibe."
Wells Brooks tentatively asked, "Can it include some sci-fi elements?"
"A bit is okay," Murphy raised a finger, "but it must stay grounded. This is a realistic noir crime film, not sci-fi."
"I understand," Wells Brooks said cautiously. "I'll start by designing a scale model."
"That's fine," Murphy nodded. "Go ahead."
Choosing this props team meant granting them some autonomy.
Of course, the motorcycle couldn't look like it was from a sci-fi world. Realism over sci-fi was the film's core.
Murphy had emphasized this point in the initial crew meetings: the film was a realistic noir crime movie, showcasing ideological conflicts, not another formulaic Hollywood sci-fi blockbuster.
From computers to utensils to vehicles, some equipment in the film might be slightly ahead of the current era but never too far, nor too sci-fi. All props and set designs had to adhere to the dark realism concept.
Darkness was Murphy's style, encompassing not just the film's tone but its themes. Realism was the foundation of the shooting and production.
To enhance realism, Murphy planned to shoot on film, capturing the texture it provided. He also had Gal Gadot contact IMAX to film some segments with IMAX cameras.
A $150 million budget wouldn't allow extensive IMAX footage. Murphy aimed for 30 to 40 minutes of IMAX scenes.
IMAX's unparalleled advantage in showcasing panoramic shots was key.
However, this plan required 20th Century Fox's approval. Though these plans were submitted early, there had been no specific feedback.
After urging them via phone, 20th Century Fox sent Kara Faith to convey a message.
In Murphy's warehouse office, Kara Faith wasted no time, presenting 20th Century Fox's idea.
"Can we make this film in 3D?"
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