Chapitre 159: Chapter 159: Trouble
Compared to the last time preparations were made for "Saw," this time "Planet Terror," although on a larger scale in terms of investment and production, was less burdensome for Murphy, who served only as the screenwriter and director, not taking on the role of producer overseeing all aspects of the project. This allowed him to avoid being distracted by minor and tedious tasks.
His energy was entirely focused on preparing for the shoot.
This was to be a darkly comedic, absurd story featuring beautiful women, handsome men, and a sleazy guy battling zombies. It did not require the actors to deliver outstanding performances or showcase their acting skills, nor was there a need for breakthrough, genius-level performances.
Therefore, following Murphy's directives, from the day the actors' contracts were signed, James Franco, Robert Downey Jr., Seth Rogen, Jonah Hill, and Carey Mulligan began mandatory rehearsals to ensure a smoother shooting process.
Especially for Robert Downey Jr. and Carey Mulligan, who had numerous action scenes in the film, they had to engage in fitness and physical training in addition to their rehearsals.
Murphy did not need to worry too much about this aspect. Quentin Tarantino, for his new project "Kill Bill," had specifically invited Yuen Woo-ping's stunt team. As they were waiting for Uma Thurman, the "Kill Bill" project was delayed from moving into production. Harvey Weinstein then decided to transfer some of Yuen Woo-ping's team to work on "Planet Terror," directing the action scenes.
Murphy had discussions with two of Yuen Woo-ping's disciples. Given that the characters played by Robert Downey Jr. and Carey Mulligan were assassins, the fight scenes designed for them needed to be concise and practical, emphasizing deadly strikes.
Murphy had not focused much on action scenes in his previous films. This film, with its numerous action sequences, was a new challenge for him. He was eager to learn and made time to discuss the choreography with the action directors.
Hong Kong cinema, known for its distinct style of action, had influenced Hollywood and North American cinema significantly, even as it declined. This blend of styles was akin to Hollywood's inclusiveness, and Murphy, just starting out, never ceased to improve his own skills.
Murphy also considered forming his own action direction team that would match his style for future mainstream films, as action sequences are crucial in big productions, and not just any team could adapt to his style.
Every director has a preferred style, including versatile directors like Spielberg. There are no directors without a style, and Murphy was no exception.
He had studied noir films extensively and was now comfortable in that genre. The addition of other elements to his films had to align with this overall style, as eclectic films generally do not fare well, not just in North America but globally.
"Phil, you've seen the plan," Murphy said to his cinematographer, Phil Rachele, in his office, "for this film, I need a cinematography style that leans towards dark yellow."
Phil nodded, about to speak when they were interrupted by loud shouts from next door.
They were in a warehouse outside the small town of Venice, which had been rented and modified for the shoot, including the construction of Murphy's office.
Next to Murphy's office was a temporary gym where Carey Mulligan and Robert Downey Jr. were training.
Despite not having the resources of a big Hollywood production, the crew was better off than during the "Saw" shoot.
They were aware of the challenges faced when a film project moves into full preparation.
After Downey Jr.'s voice quieted down, Murphy continued, "The entire film takes place at night, but we'll shoot during the day. Make sure to coordinate that."
Phil furrowed his brows, pondering, then suggested, "Let me do some special processing on the film. I'll shoot some test shots to see if we can achieve the look you want."
Murphy agreed, promising assistance from Paul.
Not just Phil, but also the prop master Jedidiah Hudson, art director Helena Espola, and lighting technician David Robey were briefed by Murphy on various specific requirements.
These discussions were based on the fundamental production concepts of the film. Murphy planned to scout locations and discuss scene settings, requiring detailed attention.
The pre-production phase was set to last over two months, continuing until around the New Year. Murphy aimed to start shooting in 2002 to participate in the Cannes Film Festival by mid-May, leaving ample time for production.
Later, representatives from the insurance company discussed scene expenses with Murphy.
"Can we reduce the action scenes?"
Their goal was to cut costs, "And the explosion scenes are too large, posing uncontrollable risks. If an explosion spreads, it could cause additional damage."
"Jim, we've hired a professional pyrotechnics team!" Murphy put down his pencil, addressing the concern, "The remaining explosion scenes are crucial and cannot be reduced."
"What about the cars?" asked Jim Clement, a conservative and stingy representative, "One scene requires blowing up five cars, and you insist on using real ones. Even with scrapped cars, that's an extra ten thousand dollars."
Murphy wished to dismiss Clement but instead took a deep breath and asked, "What do you suggest?"
"Use props!" Clement suggested, claiming it could save half the cost.
"But that won't achieve the effect I want," Murphy explained, "The difference between exploding a prop and a real car is noticeable on camera."
"Murphy, this will lead to overspending!" Clement warned, "Overspending on one scene will cause subsequent scenes to exceed the budget, escalating the film's total cost. You can't complete this film with eight million dollars!"
"Have you read the plan?" Murphy pointed to his forehead, "Every scene has been carefully considered by the production team. We won't exceed the budget; in fact, I've allocated a buffer of five hundred to eight hundred thousand dollars."
Clement was about to argue but Murphy stopped him, "Jim, if you have concerns, discuss them with Erica or Mira Max, not here with me."
"Fine," Clement stood up, planning to meet with Harvey Weinstein.
Murphy waved him off, tired of the hassle.
The previous films had been easier to manage without such interference, but now, dealing with the insurance company's cost-cutting measures was a challenge. While Clement was diligent, his conservatism posed problems for Murphy.
Fortunately, Murphy knew when to compromise. Weinstein and Max supported him, making Clement's objections less impactful.
Most importantly, Murphy's plan for the film was distinct from his past projects. As long as no major accidents occurred, the eight million dollar budget was sufficient.
Murphy had been frugal in his previous productions.
As Clement left, Carey Mulligan entered the office, dressed in white training gear, her golden hair damp with sweat. She fanned herself as she approached.
"Want some water?" Murphy offered her a glass. Mulligan sat down, took a sip, and asked about Clement's visit.
Murphy shrugged it off as work-related.
They had no personal issues; it was all for the job.
Mulligan changed the subject, asking about the decision to replace Jenna Jameson with a new female lead.
Murphy confirmed, planning to hold auditions for the role.
Mulligan mentioned her friend from acting school, Elizabeth Banks, expressing interest in the role.
Murphy remembered Banks and suggested her agent contact Paul for an audition.
Mulligan was excited at the prospect of working with Banks, but Murphy cautioned that Banks must meet the requirements.
Leaving Murphy's office, Mulligan eagerly called Banks to share the good news.
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