Hollywood Road

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The Morris Theater is located in the south of Park City, and its location is not good. It is a little far from the central screening area of ​​the Saint Denis Film Festival where the theaters are concentrated. It can only accommodate 150 people, and the projection equipment is also very old. It can be said that the conditions are not ideal.

Even so, the Morris Theater's screening table is still full, and a considerable number of screening films will be screened every day for more than ten days during the festival.

As can be guessed from the conditions of the theater itself, the screenings here are basically small productions by unknown people.

The screening of "Fruit Hard Candy" is placed here. There is only one screening of the film for the time being. According to the practice of the Saint Denis Film Festival, if the word-of-mouth response is good, there may be additional screenings.

Just after three in the afternoon, Murphy took Paul Wilson to the Morris Theater.

Before the previous movie was over, he greeted the manager of the theater and the staff of the film festival organizing committee, and stood near the entrance of the theater.

On the slightly outdated propaganda board at the door, there is a list of movies that will be shown in the past few days, "Love and Madness", "Poor Roski", "My City" and "Long Island Love"...

Glancing over the titles, Murphy was not impressed.

"There are so few people."

Standing next to Murphy, Paul Wilson looked towards the exit of the theater. The last movie had just ended, and a dozen or so audience members came out sparsely.

"Wasted an hour and a half..."

"The shaky footage made me vomit."

"What exactly did the director say? It's inexplicable."

These audience members walked beside Murphy and it was easy to see from the discussion that they were very dissatisfied with the film just now.

Murphy glanced at these people and shook his head lightly. These were ordinary audience members, and there was no buyer in them.

The end of the previous movie also means that the screening of Hard Candy is about to begin. Murphy stood at the entrance of the theater and watched it for a long time, sadly to find that no audience entered.

The venue is remote, the film is unknown, there is basically no publicity, and the screening is in the middle of the afternoon instead of the prime time of the evening. He is not surprised by this situation.

Murphy remained calm, Paul Wilson's anxiety was written on his face, and he kept walking around the door, complaining that the theater that the organizer had arranged for them was far from the central screening area.

"Paul, be quiet for a while." Murphy walked to the steps of the entrance of the theater and glanced back there, "You made me dizzy."

The theater was so quiet, it was impossible to say that he was not in a hurry, but Murphy still kept his mind clear enough.

He took out his mobile phone and checked the time. It was nearly half an hour before the screening started, and Bill Rossis and the professional filmmakers and buyers he contacted should be arriving soon.

At the corner of the street, several people approached from far and near, and soon came to the door of the theater, without looking at Murphy who was standing at the door, and entered the theater directly. This theater was not completely unattended, and the next ten minutes Inside, four or five people walked into the door behind him one after another.

Similar to the situation in the last show, there will be about a dozen spectators by the time of the screening.

Fifteen minutes before the screening, Murphy took out his mobile phone again to check the time. Finally, two taxis turned around the corner of the street. The cars soon arrived in front of the theater, and just stopped, Bill Rossis came from the front. The passenger seat of the car got up and down and opened the rear door actively.

Paul Wilson was very winking. When Murphy was going down the steps, he rushed over from behind, walked to the car behind in a few strides, followed Bill Rossis's way, and opened the door.

Murphy showed a professional and enthusiastic smile, but his eyes quickly swept over the three strangers who got out of the two cars.

The first person to come down from Bill Rothys' side,

He was a middle-aged man with a slightly bald forehead and round eyes on the bridge of his nose. At first glance, he looked like an old-fashioned professional accountant.

Behind him was a man in his mid-thirties, with brown split hair and a suit that smelled of cologne, which Murphy could smell even from a distance.

There was only one person in the taxi behind, a black man with long, permed hair. Judging from his appearance, he was probably in his thirties.

Murphy went down the steps, and they happened to come over, and Bill Rossis took the initiative to introduce the two sides.

The middle-aged man with a slightly bald forehead is Joel Graham, from Harbour Entertainment; the cologne man is Baker Larson, a professional filmmaker at Castle Stone Pictures; the black woman is the most successful, Miramax Films buyer Jones Butler.

They were the guests invited by Bill Rothys.

Murphy now has no capital, and shook hands with them one by one, took the initiative to lead the way, and led the group into the screening room.

The auditorium, which can seat 150 people, looks quite empty, and there are a dozen or so audience members scattered in the middle rows.

Murphy took them to a row of seats specially reserved in the theater, and said politely, "Please take a seat."

The three just nodded to him, but said nothing.

Especially the black man named Jones-Butler, who never said anything other than a hello in greeting.

After she sat down, she didn't mean to talk to others. As a buyer from Miramax Films, being able to watch such a film was more for the sake of having a little friendship with Bill Rossis. Otherwise, how could such a film that has not been produced by any director before possibly arouse her interest.

The other two are not much better either. In this circle, distributors are at the top of the food chain, especially when it comes to investors, producers or directors of small film projects, they naturally have an advantage.

This kind of contempt and arrogance is not deliberately revealed, but a natural situation.

Murphy can see it, but doesn't care. This is a very realistic circle. If you want others to respect, you must have the strength to be respected.

"Can they see our film?" Paul Wilson, after all, was a student who had not yet left the school gate. He couldn't help but leaned into Murphy's ear and whispered, "It seems that they are all disdainful."

Murphy shrugged, "I don't know either."

Bill Rossis sat with the three people, but from time to time his eyes turned to Murphy's side. Seeing Murphy's calm face, he nodded secretly.

The calm and tenacity of this rookie director is indeed rare among young people.

The lights on the ceiling went out and the screen turned on. Jones-Butler habitually took out a pen and notebook to record the possible selling points of a film, which is the basic quality of a film buyer.

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