Hollywood Road

A year ago, "The Matrix" created a global sensation, turning the Wachowski brothers from newcomers into some of Hollywood's hottest directors. Warner Bros. and their partner, Village Roadshow Pictures, raised a massive budget to begin work on the film's sequels.

Bruce Berman from Village Roadshow Pictures became one of the producers for this project. Due to the enormous investment, even a seasoned producer like him felt immense pressure. Ever since the formation of the crew, he was frequently seen losing his temper at Warner's production studios.

As an old-school producer, Bruce Berman was extremely stringent with all the preparatory work. He would join the recruitment process whenever he had the time.

A project like the "Matrix" sequels required a massive crew, needing countless behind-the-scenes roles. Besides recommendations from various Hollywood guilds and agencies, there were also public recruitments.

"This is a super project with an investment exceeding 300 million dollars."

Before the morning's interviews began, Bruce Berman gathered a few key personnel for a brief pep talk. "You must ensure that every person we hire is an industry veteran with extensive experience!"

Bruce Berman was not one to just talk. After the meeting, he followed a production manager into an office, ready to personally participate in the interviews.

A black Chevrolet drove into Burbank. One of Murphy's most valuable assets left by his predecessor was his familiarity with the Greater Los Angeles area. He quickly found Warner's production studios. After parking, he grabbed the carefully prepared portfolio from the passenger seat, completed the relevant registration at the entrance, and boarded a shuttle to the production area.

Sitting on the shuttle with a few others, Murphy realized he was the youngest there. He had been only twenty years old when he went to prison last year, and now he was just legally an adult.

Warner's production studio was behind the Warner building. Looking at the building, Murphy exhaled lightly, believing that one day he would be welcomed by all production companies.

Though his goal seemed distant and somewhat unrealistic, Murphy kept convincing himself—he was the special one!

Hollywood was tough. If you couldn't even set a goal or muster basic confidence, it was better to find another job.

Since he was here, Murphy was full of confidence, believing he had resources unmatched in this era.

He was convinced that given the right opportunity, he would shine.

The shuttle stopped in front of the office area in the production lot. Hollywood crews often worked off-site, making the large lot seem empty and quiet. Murphy and the others were guided by staff into a large conference room to wait.

Sitting in the conference room, Murphy wasn't interested in chatting with others. He kept holding his portfolio, thinking about the possible questions he might face and how to highlight his advantages.

He was applying for a position as a production artist and had prepared extensively for it. Thanks to his time at film school, Murphy had drawn several dark, Gothic-style sketches, hoping to make a good impression.

Since he was in the first group to arrive, he didn't have to wait long before a staff member came to notify him. Murphy grabbed his portfolio and followed the staff to an office door. He knocked lightly and, hearing a "Yes" from inside, pushed the door open.

There were only two people in the office: a middle-aged man with short chestnut hair, who had just spoken, and a gray-haired, heavyset man sitting behind him, whose small eyes looked particularly sharp.

"This way."

The middle-aged man pointed to the chair opposite him. Murphy gave a polite smile and said, "Thank you," as he sat down.

He glanced at the heavyset man behind the middle-aged man, realizing that the latter's position was clearly higher.

"I'm Chris Miller, the production manager responsible for art and props."

As if following a routine, the middle-aged man introduced himself and then politely gestured to the back, saying, "This is the producer, Mr. Bruce Berman."

"Hello, Mr. Miller." Murphy greeted politely. "Hello, Mr. Berman."

Both men just nodded. Chris Miller continued, "Let's begin. Please introduce yourself briefly."

"I'm Murphy Stanton, from Los Angeles..."

Having done considerable prep work over the past two days, Murphy recited his well-prepared personal resume. He embellished the previous owner's few noteworthy experiences, making them sound impressive. "Mr. Miller, although I was a freelancer before, I self-taught production art..."

He opened his portfolio, placing a stack of drawings on the desk. "These are some sketches I drew, inspired by 'The Matrix'."

Chris Miller took the sketches and flipped through them. Although the drawing skills weren't exceptional, the style was eye-catching—a typical dark, cyberpunk aesthetic. Every background and character emphasized one word: cool!

Murphy subtly observed Chris Miller's expression. When the moment seemed right, he added, "I believe the core of this series is its philosophical depth, while its visual style, which is extremely cool, is the main selling point."

Bruce Berman knew why "The Matrix" succeeded. It wasn't the philosophical musings praised by critics but the film's extreme coolness that captivated audiences.

Hearing the young applicant say this, Berman looked over. This young man had a tall, strong build, and even sitting there, he exuded a hidden toughness. His angular face had a few faint scars, and his short brown hair made him look less than friendly.

Whether Murphy was a good person didn't concern Berman. Hollywood wasn't a place for good people.

Berman kept looking at Murphy, not only because his words aligned with the production philosophy of the upcoming films but also because Berman felt Murphy looked familiar, as if he had seen him in the media a long time ago.

"I believe I need this job..."

Murphy continued to make his case, "This is a career where I can learn and grow. I work hard and have great ambitions. People around me think I'm persistent and honest."

Murphy spoke without blinking, "I grew up with a strong sense of self-respect and was a favorite in school. I used to focus on my own needs, but I know today's professional culture isn't about job loyalty like the previous generation..."

Prison was a complex environment, and being tough alone wouldn't yield good results. Murphy had learned over a year when to say the right things. "My belief is that hard work brings good rewards."

Looking at the interviewers, he earnestly said, "People like you, successful in your careers, didn't get there by chance. It's through hard work."

Chris Miller nodded slightly. If it weren't for Murphy's lack of experience, he would have passed this initial interview and moved on to more rigorous assessments.

This young man was polite, confident, and appropriately humble. Chris Miller was inclined to give him a chance.

Just as Miller was about to speak, Bruce Berman's voice came from behind, "Young man, you were a freelancer before. What kind of work did you do?"

Murphy could tell the interviewers had a good impression of him, and this man behind them could change their opinion. He didn't hesitate; there was no point in hiding it.

"A freelance journalist, mainly filming news about social events," he said.

Bruce Berman seemed to remember something, staring at Murphy. "What did you say your name was again?"

"Murphy Stanton," Murphy replied.

"Murphy Stanton?" Berman repeated quietly, a strange smile forming on his lips. "I remember now. You're the reporter who broke into Sumner Redstone's house and injured a British director?"

Seeing Berman's expression, Murphy's heart sank. He tried to clarify, "I'm sorry, sir. I think it should be corrected—it was an accidental injury."

Reportedly, the director had suffered a head injury that might prevent him from ever making films again.

Recalling the previous owner's actions, Murphy felt some guilt, but it was outweighed by frustration and resentment. After all, he had paid with a year of his precious time.

It was an indescribable feeling—hating Sumner Redstone yet knowing he could do nothing about it.

"Interesting, a guy who attacked a film director wants to join the film industry."

Though Redstone never publicly responded to the incident, everyone in Hollywood knew he had pressured the LAPD. Even if this project wasn't directly related to Viacom, Bruce Berman didn't want to hire someone who had attacked a film director. It would make them a laughingstock in the industry.

"NO!"

He spoke just one word to Murphy.

Murphy clenched his hand lightly, taking a deep breath. This was the best opportunity he had found so far. He didn't want to leave or give up so easily.

Think about it. Having experience working on the sequels to "The Matrix," a super project, would make the road ahead much smoother.