Everyone is smart. Murphy wasn't just here for a tour, and Richard Taylor could guess that.
Murphy didn't immediately respond to Richard Taylor's words. Instead, he took a keen interest in circling around the special effects makeup room.
The walls of the special effects makeup room were adorned with numerous "human heads," all realistic facial models of real people such as Tom Cruise, Demi Moore, Brad Pitt... and surprisingly, even Bruce Lee's face mold.
Why there was a Bruce Lee model, Murphy could only guess. Perhaps Bruce Lee had left behind a face mold, and Weta Workshop later acquired it.
From these models, it was evident that Weta Workshop meticulously controlled every step of the modeling process. In one corner, there was a bear's head with remote-control wiring at the back. Even up close, it was hard to distinguish it from the real thing, complete with a wet nose.
"Richard..." Murphy stopped in his tracks. "This is truly impressive. Weta Workshop's technology is indeed industry-leading."
"Many people think special effects are just digital technology and computers," Richard Taylor said with a smile. "But that's just supplementary. The main thing is our strong model-making capability."
Murphy completely agreed. The true determinant of special effects wasn't the computer but the people.
Under Richard Taylor's guidance, Murphy found the Weta Workshop tour very interesting. While everything wasn't unfamiliar to a director like him, it was still quite moving.
Murphy moved from one room to another as Richard Taylor introduced the studio's artists and technicians. They were responsible for rubber noses, miniature models, makeup, modeling, weapons, and any physical effects he could imagine.
In the corridors between different departments, successful samples were displayed, including swords, battle-axes, shields, and famous actors' face molds, which would be used to design character makeup and costumes in the future.
Additionally, there was an area between corridors housing realistic creature models. This included an array of dazzling buildings, cars, and props used in various productions. These props helped develop visual effects and complete live-action filming.
Weta Workshop had a special room showcasing their earliest trophies, including the undead baby from "Dead Alive," a rotting hunting dog statue from "The Frighteners," and other memorable models. To avoid confusion with their partner, Weta Digital, Weta Workshop focused on building real props and items instead of creating virtual products through CGI.
Throughout the overview tour, Murphy was most impressed by Weta Workshop's attention to minute details. Details directly determined the effectiveness of special effects.
Finally, Richard Taylor led Murphy to a meeting room where coffee was served.
"We are not empire builders," Richard Taylor said, trying to win over Murphy despite not knowing which project he wanted to collaborate on. "I know it's hard to convince you after you've just seen the workshop, knowing how big it is and everything going on here."
He spread his hands and smiled. "But we didn't create a conceptual business plan and then build departments and opportunities in the company to execute it. What drives us is our desire to create many unique things in life, based on our love of making things and the joy of creating with our hands. I never want to limit our prospects with a rigid norm, like we're just special effects people. I want to maintain an open mind, which has allowed us to embrace many extraordinary opportunities over the years."
Weta's technology could meet the demands of any current film production. Richard Taylor knew it wasn't easy to impress a director like Murphy.
Having seen so much and heard Richard Taylor's words, combined with Weta's industry reputation and successful work, Murphy felt confident.
"No other company in the world has left such a lasting impression on me."
Richard Taylor's politeness was matched by Murphy's kind words. "And maintaining a low-profile, approachable, and humane side. From the exhibition room to the products, the eclectic and diverse themes, and the employees' simple pursuit of quality and consistency, I believe Weta Workshop is uniquely impactful."
Hearing Murphy's recognition and praise, Richard Taylor's smile grew even brighter.
Murphy took a sip of coffee and got to the point. "For 'City of Chaos' Part Two, I plan to use large-scale model effects, filming on location in New York."
The decent performance of the first part had given him more ideas for the second, one of which was to make a mark during awards season.
This meant reducing CGI effects and using live-action scenes as much as possible.
Richard Taylor nodded slightly. "Weta Workshop has a good relationship with New York City Hall. Live-action filming is entirely feasible. We can make props and models here in Wellington and ship them to New York. The relatively low labor costs here are still an advantage."
"Then..." Murphy thought for a moment, "I'll have my assistant Michelle Williams come over for a detailed inspection after I return to North America. He will discuss the specifics with you."
He only needed to confirm the intention; the rest could be handled by his team.
Moreover, the second film needed enough time for the first to ferment. Once the collaboration was confirmed, the work could be refined.
Of course, this was done with the consent of 20th Century Fox, as they were the investors and producers.
Murphy had noted this in the plan he gave to Kara Faith, and 20th Century Fox had no objections.
Later, Murphy politely declined Richard Taylor's dinner invitation and drove away from Weta Workshop.
Upon returning to his hotel, Murphy received a call from Kara Faith. Many international distributors were inquiring about when "City of Chaos" Part Two would be released.
20th Century Fox also wanted Murphy to provide a complete crew and project plan as soon as possible to start the necessary internal review process and begin pre-sales to raise as much filming capital as possible from overseas distributors, reducing their own risk.
On the surface, North American box office numbers were high, suggesting prosperity. However, Hollywood's revenue sources were shrinking.
So far this year, Hollywood's DVD sales had dropped 29% compared to the same period last year. Overseas distributors were only interested in pre-sales for typical Hollywood blockbusters.
"The current situation is that if a film lacks big-name stars and a renowned director..."
Kara Faith explained over the phone, "No overseas buyers will pre-purchase the distribution rights."
The sharp decline in pre-sale income was another major challenge for Hollywood. Even TV income sources were slipping due to falling ad sales and competition from online video.
The financial crunch forced major Hollywood studios to adjust the production ratio of various films. The industry was experiencing a "dumbbell effect," with frequent releases of high-budget and low-budget films, while mid-range budget films were becoming rare.
Hollywood studios invested more in blockbusters like "Transformers" and low-risk genre films like "Final Destination" and "Saw." Films with budgets between $50 million and $100 million were significantly reduced.
In essence, Hollywood's funding sources were far less extensive than before 2008, which was why 20th Century Fox accepted investment from the Wanda Group.
To put it in terms used across the Pacific, those holding significant funds would become Hollywood's "Gods of Wealth." As long as they were willing to spend, Hollywood didn't care where these "Gods of Wealth" came from.
After ending the call with Kara Faith, Murphy called Gal Gadot to confirm her flight arrival time. Then he called Bill Rossis, urging CAA to push Henry Cavill to start more professional training.
James Franco, when he went crazy, had an overwhelming presence. If Henry Cavill didn't enhance himself, there would inevitably be a role imbalance in the future.
An actor's presence isn't innate but achieved through professional packaging and training, with time, acting, status, and fame contributing. Years ago, no one thought James Franco had a strong presence capable of giving a character an invisible and intangible quality.
Don't underestimate presence; an actor's presence can dominate a film.
Despite being on vacation, Murphy couldn't stay idle. The next morning, he visited a beach set on New Zealand's North Island, where Paul Wilson was shooting with the "Game of Thrones" crew. This fantasy TV series was now recognized as a classic, bringing Stanton Studios over $50 million in net profit each season. It was undoubtedly a golden goose for Murphy and 20th Century Fox.
However, as time passed, the series inevitably approached its conclusion. But Murphy had already agreed with George R. R. Martin and 20th Century Fox to start producing spin-offs after the main series ended.
After spending half a day there, Murphy returned to Wellington. That evening, he went to the airport to pick up Gal Gadot, who had flown in from the Caribbean, and she brought several decisions about her own future.
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