"Suggestion?" Murphy looked at Kara Faith. "What suggestion?"
When Kara Faith first entered the industry, she often consulted Murphy for advice on film-related matters. But times had changed, and now she no longer needed it. Compared to Murphy, who focused solely on his film career, Kara Faith, positioned high within 20th Century Fox, had a broader perspective.
Murphy acknowledged this. Without his past experiences, he wouldn't be able to compare to Kara Faith now.
Their different positions had created this dynamic.
Kara Faith knew that although Murphy could be stubborn at times, he was usually open to suggestions.
Given their close relationship, there was no harm in speaking candidly.
So, Kara Faith said directly, "Add an important black character."
Murphy frowned slightly.
Understanding his thoughts, Kara Faith continued, "I know, black actors can be challenging. If you pay attention to them, they might think it's discrimination. If you ignore them, they might still think it's discrimination. But..."
She shook her head, "Besides the hero-villain showdown, aren't there other significant roles? Cast a black actor in one. This way, you'll attract black audiences."
Murphy considered her words. Kara Faith had a point. The increasing number of black people made them a significant audience group that couldn't be ignored. In the past, Murphy had a reputation for not favoring black actors, with some tabloids even accusing him of discrimination. Market research also showed that black audiences were less likely to buy tickets for his films.
However, casting a black actor and dealing with potential mood swings on set was indeed bothersome.
Tapping his fingers on the table, Murphy suddenly had an idea. "There's a role that fits a black actor perfectly—small but truly heroic."
The character had few scenes and was entirely positive. Filming could be done in a day, allowing a black actor to make a cameo. This way, they only needed to be on set for a day...
Kara Faith, trusting Murphy's abilities, smiled. "It's just a suggestion. The specifics are up to you."
Murphy nodded. He wasn't inflexible. The increasing number of black people in North America warranted some changes.
Yes, appropriate changes. Murphy wouldn't follow Hollywood's formulaic changes by giving Chris Dan a heavyweight black partner.
Although his films were industrial products, they differed significantly from the homogenized popcorn movies.
A closer look at Hollywood's production line reveals a formulaic approach in crew setups. Commercial blockbusters typically feature an invincible male lead, a brainless yet attractive female lead, one or two troublemaking kids, and a black character who survives crucial moments.
After discussing this, Murphy prepared to leave. Kara Faith asked, "There's a promotional event for the film's merchandise tomorrow. Are you attending?"
"No," Murphy waved his hand. "I have a flight to New Zealand at noon."
Before he left, Kara Faith reminded him, "Make sure to attend the San Diego Comic-Con in July."
Murphy nodded and left the restaurant.
The next day at noon, he flew from Los Angeles to Wellington, New Zealand. Since Gal Gadot was still in the Caribbean helping James Franco and Lily Collins with their guests, she would arrive two days later. Murphy had Bill Rossis contact Richard Taylor at Weta Workshop for a tour.
This was part of Murphy's original plan, just moved up.
Visiting Weta wasn't just for the tour. With increasing film budgets and larger-scale special effects, Murphy no longer planned to work with small effects studios. He sought more reliable and superior partners.
Weta Workshop was one of his considerations.
Murphy himself was also very interested in Weta.
In Hollywood, there's a peculiar saying.
New Zealand "only" has one director, Peter Jackson, and "only" one film company, Weta. Together, they established a cinematic kingdom.
Back in 2001, when audiences worldwide saw the ethereal Elven homeland on screen, they were astounded. "The Lord of the Rings" elevated the movie dream to a new level.
As a result, Peter Jackson earned the nickname "Emperor of Special Effects," and Weta Workshop rose from a small New Zealand studio to the world's premier "dream factory," challenging the previously dominant Industrial Light & Magic. This left "Star Wars" creator George Lucas quite frustrated.
In the industry, Weta is one of the top two special effects companies.
According to American media, New Zealand has a unique giant insect called Weta. A New Zealand man, Peter Jackson, terrified of Weta as a child, named his special effects company after it when he co-founded it, setting aside his fear.
Today, Weta Workshop is extremely successful. While working on "Avatar," they took "performance capture" to a new level. This led Tim Burton, filming "Alice in Wonderland" for Disney, to collaborate with Weta instead of Disney's own Robert Zemeckis' studio. This forced Disney to shut down Zemeckis' studio this year.
Weta, renowned for its special effects, remains mysterious and low-profile. Located in Wellington, New Zealand's capital, Weta is far from Hollywood's spotlight, allowing them to focus on realizing imaginative dreams for filmmakers.
As a fan of "The Lord of the Rings," Murphy was thrilled driving a rental car through Wellington to visit Richard Taylor's company, which grew from an apartment workshop to a global cinematic benchmark.
Weta's headquarters is in a secluded corner of Wellington's suburb Miramar. Co-founded by Richard Taylor, his wife Tania Taylor, and Peter Jackson in 1987, Weta has become a special effects empire, leading the industry in providing props, on-set effects, makeup, miniature models, and weaponry.
Passing through Weta Cave's entrance, with three giant statues outside for selfies, Murphy saw the unassuming Weta headquarters. Upon arrival, he was greeted by Weta Workshop's creative director and co-founder, Richard Taylor.
"Hello, Director Stanton."
Seeing Murphy, Richard Taylor quickly approached, extending his right hand. "On behalf of Weta Workshop, welcome."
Murphy shook his hand. "It's an honor to see the world's top special effects company."
Richard Taylor was polite, and Murphy responded in kind.
After a few pleasantries, Richard Taylor gestured invitingly. "Let me show you around the workshop."
Murphy smiled. "I can't wait."
As they walked, Richard Taylor led the way. Murphy followed him into the building, where the lobby's decor left him wide-eyed. As a "Lord of the Rings" fan, seeing the varied orc monsters, human armors, and the famous Gollum up close was a dream come true.
Richard Taylor, tall and friendly, enthusiastically introduced Murphy to the workshop's structure, departments, and subsidiary companies.
"The company is a complex entity," Richard Taylor explained. "You're currently at Weta Workshop, adjacent to Weta Digital. The workshop has a comprehensive system, with various departments serving film needs."
Entering a specific work area, he added, "My wife and I moved to Wellington in the late 1980s, setting up a workshop in our apartment's storeroom, serving local companies. About five years later, we met Peter Jackson, who was starting his second film. We got involved and grew continuously to today's scale. We now have 11 different branches, including publishing, marketing, and public art exhibitions, providing various services."
With Richard Taylor's introduction, Murphy gained a deeper understanding of the workshop.
Weta Workshop includes Stone Street Studios, where "King Kong" was filmed; Park Road Post Production, a state-of-the-art post-production facility; Portsmouth Rentals, providing production equipment; Pukeko Pictures, producing multimedia entertainment; and, of course, Weta Workshop, specializing in manufacturing.
Richard Taylor then took Murphy to the special effects makeup department.
"Director Stanton..." he said directly, "If you need, Weta Workshop can provide you with the best service."
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