Echoes of Hollywood

Father Marquez Costello took the matter seriously. Upon returning to his office, he immediately requested the relevant contact numbers and personally called the heads of several Hollywood industry unions.

Murphy Stanton was best known as a director, so Father Costello first called the Director's Guild Council chairman's office number.

After briefly explaining the situation, the person on the other end seemed uninterested and responded nonchalantly, "Sorry, Your Grace, we have no authority over what directors and film companies choose to film. It's their freedom..."

Hearing the word 'freedom' ignited Father Costello's fury. What freedom? The U.S. government was stripping away all freedoms, yet these people still spoke of freedom? What freedom did Hollywood have? Damn freedom!

But the person didn't stop there. They added something that made Father Costello feel even more frustrated.

"Besides, Murphy Stanton isn't a member of the Director's Guild. You've called the wrong number!"

He's not a member of the Director's Guild? How is that possible?

Hanging up the phone, Father Costello's frustration with Hollywood grew. He believed the chairman was merely brushing him off.

He then called the Writers Guild and the Producers Guild, but the responses were similarly unhelpful. The people he spoke to were polite but made it clear they wouldn't interfere with the director's freedom to make films, invoking the same 'freedom' argument.

After making the calls, Father Costello not only failed to resolve the issue but also ended up even more aggravated. He paced back and forth, unable to find a good solution.

He knew times had changed, especially in the more liberal region of Southern California. It was not easy for religious authority to interfere in the secular world.

The media had begun to mention the Catholic-related content in the film. However, with its limited release, the impact was minimal. As the awards season began, journalists focused more on whether Murphy, a perennial Oscar Best Director nominee, would finally win an award at the upcoming Oscars, rather than on the religious controversy.

In two theaters in New York and three in Los Angeles, "Diego-Ross" completed its first weekend of limited release. Although the audience reception wasn't particularly favorable compared to Murphy's previous commercial films, his and Robert Downey Jr.'s star power, combined with the film's brand effect and 20th Century Fox's promotional efforts, led to decent attendance and box office numbers.

On Monday morning, the latest box office report and an invitation from Grace arrived at Wave Manor.

"An invitation?" Gal Gadot, freshly dressed and coming downstairs, picked up the invitation from the coffee table in front of Murphy. "What event is this for?"

"A private aviation exhibition," Murphy replied, picking up the box office report.

Gal Gadot knew Murphy planned to buy a business jet, something easily within their financial means. She opened the invitation and said, "Tomorrow afternoon? At Long Beach Airport?"

"Do you have time?" Murphy asked, looking at Gal Gadot. "We could go together."

Lately, Gal Gadot had been busy negotiating with Netflix and Reed Hastings.

"Tomorrow morning, there are some candidates coming to the studio for interviews. Rosa Rodriguez has retired." Gal Gadot thought for a moment. "I should be free by the afternoon. I'll be back before noon."

Murphy hadn't been keeping up with the studio's personnel changes. Although the studio was technically still a shell company, it had over thirty employees.

"Rosa has reached retirement age?" Murphy recalled the robust front desk and receptionist who seemed capable of breaking any chair she sat on.

"She reached it at the beginning of the month and has just completed the formalities," Gal Gadot replied, looking through the invitation. "Dedicated employees like her are hard to find these days."

Rosa Rodriguez, despite her unappealing appearance, had always worked loyally for the studio, grateful to Murphy for giving her a respectable job with good pay. She was a rare and valuable employee.

Murphy smiled. "Finding a job is harder than finding employees nowadays."

The high unemployment rate in this area would surely disappoint those dreaming of a paradise.

"Yes." Gal Gadot set down the invitation and glanced at the box office report in Murphy's hand. "How's the box office doing?"

"New York and Los Angeles, five theaters total, just over $150,000." Murphy handed her the report. "An average of $30,000 per theater. Not bad."

Gal Gadot took the report and looked it over. Compared to some hot art films with opening weekend per-theater averages of over $50,000, "Diego-Ross" wasn't performing spectacularly but wasn't doing poorly either.

Thinking it over, she found it understandable.

Those art films with explosive opening weekend per-theater averages often underwent over half a year of word-of-mouth marketing. They usually started at Cannes or Venice film festivals, gathering awards and buzz in various art film festivals, all the while holding back their North American release until the awards season.

After thorough word-of-mouth fermentation and extensive promotional efforts, audience anticipation would naturally translate into excellent per-theater box office numbers upon release.

What happened afterward depended on the film's reputation.

She continued reading. The 20th Century Fox report also included statistics on various scores three days post-release.

The film received an "A-" CinemaScore and a 74% popcorn rating. Audience feedback was above average. CinemaScore predicted that if the film didn't secure major nominations or awards during the awards season, its North American box office wouldn't exceed $50 million.

In contrast, the film's critical and professional reception was outstanding. On Rotten Tomatoes, 82% of the 89 reviews were positive, with an average score of 8.3. Metacritic aggregated 56 reviews, with an average score of 80.

Even among Murphy's films, such professional acclaim was exceptional.

Unfortunately, the film's aloofness meant that audiences weren't particularly enthusiastic. She sighed inwardly.

"Oh, there's something you should note." Gal Gadot reminded Murphy, "The authorization from The Boston Globe is only for ten years."

In other words, if Murphy and Stanton Studios didn't adapt the film within ten years, the authorization agreement would automatically expire.

Murphy nodded. "It won't take ten years."

If everything went according to plan, it would be done within a few years.

Gal Gadot put away the invitation and continued, "The agreement I signed with The Boston Globe includes a clause. Once you finalize the script, you need to send a copy to Robbie Robinson."

"Remind me when the time comes," Murphy said as he stood up and headed to the study. Gal Gadot followed, saying, "Reading that investigative report made me realize how many scandals the Catholic Church has."

Murphy shrugged. "The real situation is probably worse than the report."

Gal Gadot, curious and a bit gossipy, asked, "I know Catholic priests must be celibate. But if they can't control themselves, why not secretly find women? Why involve minors? Is it because the sin is lighter, easier to be forgiven by God? Or is it that children are purer, making it easier to feel God's presence?"

Opening the study door, Murphy let Gal Gadot in first and then closed the door. "Honey, such profound religious questions—how should I answer?"

Gal Gadot raised her right index finger. "Just speak your mind. Say what you think."

Sitting down at his desk, Murphy crossed one arm over his chest, resting his chin on his hand, and thought for a moment. When Gal Gadot sat opposite him, he said, "I think the main reason is convenience."

"Convenience?" Gal Gadot tilted her head.

"If they went outside, they'd easily be caught. It would disgrace the entire monastery. Ordering 'delivery' would take too long."

He made an analogy. "Honey, haven't you experienced the agony of waiting for something you really want after ordering it on Amazon?"

Gal Gadot rolled her eyes.

"But having ready access to boys is much easier," Murphy continued. "From what I've heard, any organization that bans marriage and has young apprentices is likely to have such incidents, not just the Catholic Church."

Clergy members are human too, with basic needs. Compared to adult women, children are easier to control, and many of these abused children have little contact with the outside world, making it less likely for such incidents to be discovered.

Additionally, clergy members often hold high social status, working in schools, hospitals, orphanages, and other places with access to children. Many children enter religious institutions at a young age, providing the opportunity for such crimes.

Murphy recalled reading about this in a book, though he couldn't verify its accuracy.

In one of his early adult reads, he came across this: An old monk went to the back garden and accidentally had his anus impaled by a bamboo shoot. Crying out in pain, a young monk saw him, clasped his hands together, and said, "Amitabha, heavenly retribution."

"Honey, let's not dwell on such dark matters," Murphy suggested, changing the topic. "Let's discuss what kind of plane we should buy."

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