Filming resumed, with the faint sound of explosions echoing in the background.
Michael asked, "Robert, are there any companies in Los Angeles that provide professional audiences?"
Robert looked puzzled. "Professional audiences?"
"For live variety or music shows, they need audiences who are camera-friendly and good at expressing emotions," Michael explained based on his memory. "These audiences know when to cry, when to laugh, and can enhance the show's appeal."
"Is that even a thing?" Mary was a bit surprised.
Robert thought for a while, then shook his head. "I don't think there are any companies that specialize in this."
Michael nodded lightly. Such audiences became popular with the rise of talent shows and might not appear for a few more years.
"Are you planning to start this business?" Mary reminded him, "Movie industry professionals can't touch agency businesses."
Michael smiled. "I know." The laws here are strict; skirting the line is one thing, but outright violations are another. He then told Robert, "Once the film enters post-production, find some fresh faces, preferably fans with some acting experience. Not too many; about a dozen will do. Find them separately, no more than two in each group. I'll give you a plan later; someone will train them for a few days. I'll need them later."
"That's easy to find," Robert said, seeing this as no big deal. "Many community theatres have similar amateur performers."
Michael nodded. "They should be smart, discreet, and in need of money."
"I understand," Robert replied.
Filming had already reached the mid-to-late stages, and since the film didn't have particularly complex post-production requirements, Michael had also instructed James Wong to complete as much as possible during shooting rather than postponing to post-production.
He had to ensure the film was ready for distribution.
This movie had to make it into theatres and aim for maximum profit.
Otherwise, it would be hard to justify the investment to the Abu Dhabi Investment Authority.
Movie distribution is highly unpredictable since a distributor might not even consider this film.
To be honest, for such a small production, the control over distribution was not in their hands.
It would be quite an achievement if a distribution company agreed to a wide release.
Seashore Entertainment needed more distribution capability, and establishing a distribution channel wasn't something that could be done immediately; it required time and investment.
For Seashore Entertainment to grow, having independent distribution capability was essential, at least within North America.
But that was a future goal, not a present one.
Michael's ideal plan was to find a suitable distributor once the film was completed or at least secure an intent for distribution.
If that didn't work, the film must be taken to independent film festivals.
If it came to that, they might have to sell off the distribution rights entirely.
In this era, distribution was controlled mainly by the Big Six and their affiliates.
Some medium-sized distribution companies seemed independent but were actually subsidiaries of the Big Six.
Negotiating with the Big Six was difficult as they were in a completely different league, and the terms for distribution could be problematic.
Unfortunately, the Internet and computer industries were not yet developed and widespread enough.
The emergence of new media could effectively challenge the established monopolies.
After discussing the new plan with Michael for a while, Robert left the van first.
Michael turned down the air conditioning and asked Mary, "Have you found out anything about what I asked you last time?"
"What was that?" Mary was momentarily confused.
"About San Fernando Valley," Michael reminded her.
Mary suddenly remembered and said, "No luck. None of my friends know anyone in that industry." She shrugged. "I can't help you there. You'll have to find another way."
"Alright," Michael acknowledged. He knew some things couldn't be forced.
Mary opened the car door. "I'm heading out."
Michael waved. After Mary had left, he left the van. The crew was still filming a gunfight scene, and the gunshots sounded quite intense.
Standing beside the car, Michael looked around. These were typical American-style single-family homes or small villas. Before "The Purge" crew arrived, other crews often came to shoot here, but they were all from bona fide romance film productions.
By noon, the crew took a break for lunch, and the O'Neill district finally quieted down.
During lunch, James Wong joined Michael at the table.
"As the filming progresses, I think we should show more of the Purge itself," responsible director James Wong said earnestly. "Without showcasing the Purge or just flashing it briefly, this nationwide frenzy lacks enough credibility."
Michael took a sip of water and asked, "What's your suggestion?"
This was a regular producer-director discussion without unnecessary pleasantries.
James Wong posed a question, "Should we add more action and killing scenes?"
Michael didn't respond immediately. This was a standard approach, but action scenes were costly and would impact the already limited budget, as well as increase the film's runtime.
For this type of movie, excluding the prologue, the content should ideally be at most 90 minutes.
James Wong opened his mouth but swallowed his words. As a director, he could sense the crew's overall situation. Adding scenes meant increasing the investment, and it seemed the crew's budget wasn't very high.
A director could demand additional investment, but he had more critical future collaborations with Seashore Entertainment, like "Final Destination." Straining the relationship wouldn't be beneficial.
Michael frowned in thought for a while, recalling the movies he had seen before, then slowly said, "How about this? The main family has a TV, and the house has surveillance. We can show the nationwide chaos of the Purge through TV broadcasts and the neighbourhood turmoil through surveillance footage."
Hearing this, James Wong pushed his glasses up forcefully. "Yes! Why didn't I think of that? That's a great idea."
Some thoughts he didn't voice out loud but were very clear in his mind. This seemingly young producer had devised a way to showcase the nationwide background while saving money.
The clarity of the TV broadcast didn't need to be too high. Just shoot some far-off scenes, which wouldn't cost much at all.
Moreover, presenting it as a TV news broadcast within the film would be more convincing.
No wonder he could get the Arabian oil tycoons to invest. He, indeed, was capable.
"And James, I might have overlooked something before," Michael added. "Let's give more weight to the scenes involving the black character that the main family rescues."
James Wong wasn't slow to understand. "For commercial reasons?"
Michael nodded lightly. "Yes."
After lunch, Michael watched the filming for a while, then prepared to return to Los Angeles. Before getting into his car, his phone rang. He saw that the call was from an international number.
International? Could it be Carmen Kass?
Both of them were busy with work, and their contact was rare. They usually exchanged a few texts each week, rarely calling.
Michael answered the call, but a stranger's voice spoke instead.
"Is this you, Michael?" The voice belonged to an older woman. "I'm Helen."
Michael responded, "This is Michael." Then he remembered who she was and smiled. "Hello, Aunt Helen."
"I heard you've encountered a lot of trouble in Los Angeles recently. Do you want to come to Germany and help me? I'm opening a butcher shop in Berlin..."
Michael responded, "I've already resolved the trouble." He selectively shared his current situation. "If I can't make it to Los Angeles, I'll definitely come to Germany to rely on you."
They chatted a bit more about the late Davenport couple before ending the call.
Michael saved the number. Germany, huh...
This Aunt Helen was a relative of the late Mrs. Davenport. In words from across the Pacific, they were still within five degrees of kinship, but she was German.
Such situations were shared in this immigrant nation.
The so-called German plan he had used to persuade Saleh and the Davenport family's connections in Germany actually referred to this Helen Koch.
However, she had nothing to do with the film industry, being in the meat business.
In simple terms, she was a butcher shop owner.
Returning to Los Angeles, Michael spent a few days designing a plan, then handed it over to Robert, ensuring he had enough time to prepare and recruit the right people.