章 255: Chapter 255: Incredible Figures
This was a middle-aged man with gold-rimmed glasses, appearing to be just over forty, with a receding hairline similar to a Mediterranean hairstyle and a square face reminiscent of Seth Rogen, giving him a naturally honest look. However, his bright pale blue eyes exuded shrewdness.
Although they had only met once, Murphy clearly remembered this person as a Warner Brothers executive, seemingly in charge of the television production department, likely named Bruce Rosenbloom.
When Murphy spotted Bruce Rosenbloom, Rosenbloom also noticed him. Unlike Murphy's calm demeanor, Rosenbloom immediately smiled and approached Murphy.
"Hi, Director Stanton." Bruce Rosenbloom greeted proactively, "I didn't expect to see you here."
"Hello, Mr. Rosenbloom," Murphy responded politely.
"Just call me Bruce." Bruce Rosenbloom said with a smile, contrasting with Warner Brothers' initial attitude, "May I call you Murphy?"
Murphy nodded, "Of course."
Bruce Rosenbloom glanced at Murphy and Paul Wilson, then suddenly suggested, "Got time? Let's find a place to talk."
Murphy was puzzled by Rosenbloom's proposal but agreed as there were no urgent matters at hand.
Not far from Fox Studios was Sydney's Central Business District, where Bruce Rosenbloom and Murphy found a quiet coffee shop.
"You're here," Bruce Rosenbloom looked at Murphy, asking, "to scout filming locations for 'Deadpool'?"
Given it was Fox Studios, it was obvious why Murphy, the director, would be there.
"'Deadpool' will be filmed in Australia," Murphy smiled, "that's no secret."
He curiously asked, "I didn't expect to find you at Fox Studios."
"'Superman Returns' is Warner Brothers' most important project right now," Bruce Rosenbloom immediately stated, "I'm here to supervise a promotional featurette."
Murphy understood, "So 'Superman Returns' is also being shot at Fox Studios?"
"Yes." Bruce Rosenbloom nodded and sighed, "Now, Warner Movie World on the Gold Coast feels more like a tourist area, unsuitable for our filming needs."
Australia is an important overseas filming base for Hollywood, not only for 20th Century Fox but also Warner Brothers, who had constructed their facilities there earlier. However, Warner Movie World on the Gold Coast had become more of a theme park for tourists.
After some casual talk about Fox Studios and Warner Movie World, Bruce Rosenbloom suddenly asked, "Murphy, last time at Warner Brothers, you seemed skeptical about 'Superman Returns'?"
The project had been in development for years, facing numerous setbacks including changes in writers, directors, and financing, with a lot of information circulating publicly.
"Skeptical?" Murphy shook his head, "I'm not familiar with the specifics of 'Superman Returns', and making judgments based on industry rumors isn't necessarily accurate."
Bruce Rosenbloom leaned in slightly and said, "What if I told you most of those circulating rumors are accurate?"
"Including Superman's costume and setting?" Murphy asked.
"Yes." Bruce Rosenbloom nodded.
Murphy observed Bruce Rosenbloom for a moment, weighing his thoughts. After a pause, he said, "It's not about being skeptical, but I think, in the 21st century, Superman still wearing his underwear outside his pants is a terrifying aesthetic. Audiences' tastes are changing, but Superman's look isn't."
"And Superman is too perfect," he reiterated. "If, as the rumors suggest, the new Superman continues in a style similar to Christopher Reeve, then the result..."
Murphy shook his head.
Bruce Rosenbloom, intrigued by Murphy's comments, eagerly asked, "What would you do if you were the director?"
"I've already said," Murphy spread his hands, "like my take on Batman, take Superman off the pedestal and explore his human side more."
Bruce Rosenbloom frowned, "But Superman and Batman are different. Bruce Wayne wasn't born Batman, but Superman was born Superman."
"True, Superman was born Superman." Murphy nodded in agreement, then shook his head, "But don't forget, he's also Clark Kent. Superman didn't land on Earth and immediately become Superman. There was a process to him becoming Superman."
"A process?" Bruce Rosenbloom asked, intrigued.
Murphy pondered. "Man of Steel" wasn't a complete success, but Zack Snyder did infuse Superman with more humanity, a journey of self-discovery and surpassing oneself, something previous Superman films lacked, aside from one series, and a rarity in other superhero movies as well.
If not for the "Batman" trilogy, especially "The Dark Knight" paving the way, "Man of Steel" might have received higher acclaim. But with those films as a benchmark, "Man of Steel" appeared as an unsuccessful attempt to emulate by Zack Snyder.
The situation has changed because of Murphy's presence in this world, potentially preventing the new "Batman" trilogy from materializing.
The "Batman" films set a new standard for superhero movies in both acclaim and depth, reviving DC superheroes but also hindering the DC Extended Universe's growth. Batman reached unprecedented heights as a superhero, dragging down the rest of the DC series to some extent.
Murphy knew that to become a top director, relying solely on independent and art films was not enough in this era. The global film industry has evolved, and without blockbuster support, reaching the pinnacle of directing was impossible.
Maybe he could change the DC film universe?
The thought inevitably crossed Murphy's mind. Having come to this world, he wanted to make a difference.
Of course, it wouldn't be easy, especially since Warner Brothers and DC Comics didn't take him, a relatively unknown director, seriously.
For now, he'd wait. Perhaps "Catwoman" and "Superman Returns" could change the situation.
Murphy didn't answer Bruce Rosenbloom's question and shrugged, "I haven't really thought about it."
Bruce Rosenbloom sensed Murphy had opinions on Superman but chose not to share them.
After exchanging a few more pleasantries, Murphy excused himself, citing busy work, and left Sydney's Central Business District.
The timing wasn't right for superhero films, with visual effects offering a new sensory experience. However, as these films became ubiquitous, audience fatigue from overexposure and a focus on visuals over plot became inevitable, resulting in monotonous stories.
To make a different superhero film, a breakthrough in storytelling was necessary.
Previously, Warner Brothers had remade "Superman" and "Batman" repeatedly, while Marvel launched one hero series after another, eventually teaming up for blockbuster success. Warner Brothers only then realized their approach needed to change.
To date, Superman and Batman had always been standalone stories, with other DC heroes barely mentioned.
The day after meeting with Bruce Rosenbloom, Murphy visited the "Superman Returns" set to observe the ongoing set construction, revealing little.
He decided not to associate further with Warner Brothers and DC Comics before "Catwoman" and "Superman Returns."
But what about "Batman"? Without its core character, the series' disappearance seemed likely.
Murphy had little time to dwell on this, as he and his team began scouting suitable locations across Sydney. Led by Paul Wilson, they covered potential filming spots, finally settling on seven key outdoor locations after a week of comprehensive evaluation.
"Helen, the film's style will be realistic."
Before leaving, Murphy called
over Helena-Espola, the art director staying behind to design and set up shooting scenes, and instructed, "Don't use the background style from the previous film. The set design should lean towards a darker, colder color scheme."
Having worked with Murphy on three films, Helena-Espola understood his vision and intentions well, assuring, "Don't worry, I'll video call you every day."
During his days in Sydney, Murphy kept in touch with Gal Gadot and monitored the preparations back in Los Angeles through video and phone calls, as a director can't be detached from a film's pre-production phase.
After wrapping up the preparatory work in Sydney and rejoining Cara-Fest, who had completed the tax rebate process, Murphy and his group boarded the flight back to Los Angeles.
Unlike Murphy's hectic schedule, Cara-Fest, thanks to thorough preparation, quickly finished her tasks, spending the rest of her time exploring Sydney.
Back in the first-class cabin, Murphy curiously asked, "The Australian government was easy to deal with? You finished your work quite fast."
"A local Hollywood intermediary provided us services,"
Cara-Fest, putting down her magazine, shrugged, "They're a long-term partner of 20th Century Fox, with close ties to government departments."
Murphy nodded, recognizing such intermediary companies exist in most countries.
"How much was the tax rebate?" he casually inquired.
Cara-Fest revealed an unbelievable figure, "$8.4 million."
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