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Whether as a director or Murphy's part-time producer, if you are not good at dealing with people, then you are not suitable for this industry.

As a producer, Murphy needs to contact all kinds of people; as a director, he needs to communicate and cooperate with the actors and crew.

Compared to the director's work itself, coordinating the crew and logistics is equally important and difficult. He certainly lacks sufficient experience or skills in this regard. What's more difficult is that interpersonal skills are usually not immediately taught to someone trying to engage in filmmaking through others.

This requires Murphy to rely on practice to change yourself, enrich yourself, and become mature.

In addition, there are also some clerical and financial work that Murphy needs to be handled.

Documentary work requires sorting and labeling for later use, including the production of resources, legal documents, checks and accounting books, authorization agreements, contracts, licenses, copyrights, photos, etc. For this purpose, most production companies have secretaries, accountants and office staff to handle these "backstage" matters.

In large production companies, these employees belong to the production department. They study expenses, analyze customer information, etc. every day, so that the film crew can prepare in advance when problems arise.

For low-cost productions like Murphy, the producers are either the highest organizers or find specialized personnel to perform this position, and must be diligent and professional.

The financial officer Murphy hired was strictly unqualified, so he found an accountant who was in charge of this part of the work when the fruit candy was directly responsible for him.

In addition, Murphy can only carry some important paperwork by himself. Even in Los Angeles, the documents and all text procedures during the shooting are crucial to the filming and legal protection of the film. If he ignores the importance of this aspect, the project may encounter some unimaginable difficulties.

Then there is the actor rehearsing. Murphy knows the importance of rehearsal. He will not go to film rashly. He deliberately cleans up the side bedroom on the second floor and leaves it to the two male protagonists, James Franco and Seth Rogan, for rehearsal.

Many movies do not rehearse before filming. Sometimes this is because the actors are very "big names" and they think rehearsals are of no benefit to them; sometimes, the director thinks this is not a good idea, and the actors will lose their spontaneity.

However, such plasma horror films do not require the actors to perform explosively, and the investment also determines that shooting requires quick battles and quick decisions. With patterned rehearsals, Murphy believes that it is more suitable for his crew.

In addition to telling actors about the show, Murphy also did not do much communication and collaboration with other departments.

He visited the warehouse where the scene was built several times with photographer Felix Raschel and illuminator David Robbie, and designed the shooting methods and lighting methods of some scenes in advance. He asked Felix Raschel and David Robbie to provide the crew with the required list of photography equipment and lighting equipment, and to debug it immediately after the equipment rental is in place to minimize the situation encountered during the last shooting.

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

Art director Helena Espora is responsible for the scene layout. Since the warehouse is large enough, it is impossible for the crew to use it completely. Murphy requires that the scenes should not be too many, too scattered, and the distance between each scene should not be too long to facilitate concentrated shooting.

Props artist Baker Clebert also submitted a list of required props to Murphy, which was jointly purchased, rented and made by Paul Wilson.

Jack Watson, who is in charge of the dressing department, has been designing actors' dressings according to Murphy's idea. The headgears, wigs and other things he needs will also be purchased by Paul Wilson.

It is no exaggeration to say that all the troubles are pressing on Murphy alone. The heavy work and heavy pressure also make him feel the importance of a full-time producer and several professional assistant directors.

Paul Wilson is serious and responsible, but lacks experience, and it still takes time to train and cultivate.

In the late stage of preparation, Murphy found that he had thought about it for a long time and ignored something and forgot to find a professional live recording engineer.

Fruit Hard Candy all went from simple shooting, and almost entirely based on the sound effects of the later stages, which led to this negligence.

Fortunately, the discovery was early enough, and the recording engineer was not a rare profession in Hollywood, and it was not too late to find one now. Murphy called Bill Rosess. After only two days, the agent contacted the crew with the right candidate. After some detailed discussion, the two parties signed a contract, and the recording engineer would officially join the crew a week before filming.

After finishing the recording artist, Murphy and Bill Rossis and photographer Felix Laschel went to a Hollywood company to see photography equipment. Compared to other things, he paid more attention to this aspect.

Murphy is not an admirer of equipmentism and does not believe that new technology is suitable for all films. The key to the shooting effect of photographic equipment is to meet his shooting requirements. Photography equipment is an indispensable equipment for a film and a guarantee of the quality of the film, but it is not decisive, so it must be practical and effective in selecting equipment.

He still chose Sony's 35 cameras. Unlike the previous time, Murphy rented three, one portable and two large cameras that needed to be installed.

When negotiating the price, Bill Rossis allowed Murphy to see the advantage of having a full-time agent.

Companies that rent equipment are generally unwilling to lower the cost standards, but Bill Roses borrowed the name of Caa and found a discount on the rental time. At the same price, Murphy could only rent it for half a month, but he reached a one-month lease contract with the other party, directly reducing the cost of leasing photography equipment by 50%.

In addition, Bill Rossis also requires the rental company to be equipped with professional maintenance personnel.

"Important and valuable equipment, rental companies generally have special equipment maintenance for full-time maintenance to ensure equipment safety, supervise the correct use, cleaning and storage of equipment." When leaving the rental equipment company, Bill Rosess said to Murphy, "The equipment company is usually sent by the equipment company, and you can also ask them to do some extra things, such as follow-up focus and pushing the rails, which they generally will not refuse."

The salaries of these people are counted as rental fees, which means that the crew will at least have a very high professional labor force.

Thinking about the rental situation during the previous shooting, and looking at the lease contract reached by Bill Roses, Murphy thinks that he and Jessica Chastain are just two fools.

This also made Murphy understand that the water in this line is as deep as it is, and that he is indeed a young bird.
Chapter completed!