Hollywood Road

Since the North American premiere of Michael Bay's "Transformers" in July, "Man of Steel" could no longer maintain its prior heat. While it remained in the top ten at the North American box office every weekend, its daily earnings had fallen to around one million dollars, with some weekdays even dropping below that mark.

The frenetic pace of big summer releases often means that most of a film's gross is made in the initial weeks. "Man of Steel" was no exception. After surpassing the $400 million mark in North America, the number of theaters showing the film and its showtimes began to decline steadily. By the end of July, the number of theaters had fallen to 1,200, with less than 5% of total screenings, indicating that it was nearing the end of its theatrical run.

Through this extended period of screenings, "Man of Steel" managed to add another $37 million in North America, bringing its total to $445.5 million.

Given that "Spider-Man 3" and "Shrek the Third" were hindered by critical reception, "Pirates of the Caribbean: At World's End" could not match the success of its predecessor, and "Transformers" was just beginning its franchise, the $445.5 million gross ensured that "Man of Steel" would top this year's North American box office.

This would also mark Murphy's first annual box office championship in Hollywood.

Internationally, without the addition of any new major markets, "Man of Steel" garnered an additional $150 million in July.

However, the global gross of "Man of Steel" was now tantalizingly close to the $1 billion mark.

Crossing the billion-dollar global threshold would catapult "Man of Steel" to new heights, greatly benefiting Murphy as a director.

In August, "Man of Steel" was released in Japan, which was crucial for the film's push over the $1 billion mark.

The Japanese film market is known for being idiosyncratic, and general market rules do not always apply there. American superhero movies are traditionally not as popular in Japan—even Spider-Man, arguably the most popular American superhero there, did not achieve remarkable box office returns.

However, "Man of Steel" only needed a boost from the new market. Even if the Japanese market underperformed, earning tens of millions of dollars was still feasible.

In North America, although the screenings were winding down, the film still managed to bring in hundreds of thousands of dollars daily. Coupled with contributions from other overseas markets, by mid-August, "Man of Steel" had easily surpassed the $1 billion mark in international box office.

By the third weekend of August, the latest box office totals showed that "Man of Steel" had accumulated $451.68 million in North America and a global total of $1.01159 billion!

Following "Titanic," "The Lord of the Rings: The Return of the King," and "Pirates of the Caribbean: Dead Man's Chest," "Man of Steel" became the fourth film in cinema history to cross the one-billion-dollar global box office threshold.

Murphy also became the fourth director to achieve this feat.

Most notably, he was only 27 years old, far younger than his peers, which in the eyes of Hollywood and the public, signified boundless potential.

There is an inevitable pattern in Hollywood where a star or director continuously succeeds and earns glowing reviews from the media.

This time was no exception. The entertainment media in North America could have renamed the third week of August "Murphy Stanton Week."

"Hollywood has never seen a director like Murphy Stanton. Looking at the entire history of world cinema, no other director has achieved as much at such a young age as Murphy Stanton."

— Entertainment Weekly

"Murphy Stanton possesses a natural talent for directing and an endless curiosity. He has created countless memorable moments but continues to strive for excellence, achieving unparalleled success!"

— The Hollywood Reporter

"The trajectory of a director's career is often as compelling as his films, and Murphy Stanton is such a director."

— Yahoo Entertainment

"Murphy Stanton has the vision of a painter. From a high vantage point, he oversees epic battles and human struggles, as if he has seen too much that we can hardly believe, and through his films, he turns these incredibilities into reality."

— Empire

"Even as shocking special effects and the upcoming 3D era revolutionize film production techniques, Murphy Stanton still focuses on what truly makes a movie successful—the superb narrative!"

— The New York Times

"No one can portray the human inner struggle through film as specifically as Murphy Stanton. In just a few years, he has achieved what most directors only dream of, yet he never stops moving forward. His works will prove everything."

— Los Angeles Times

"Murphy Stanton's work is a paradox. Although he is gentle in his actions, he is bold in his artistry, moving between forms and taking risks. In the controversial '

Man of Steel,' he successfully gave comic book heroes genuine human emotions. In 'Gone Girl,' the traits of a thriller were used to explore deeper and more profound themes."

— The Washington Post

"Since adulthood, Murphy Stanton seems to have been continuously observing the world, transforming all the illusions he has seen into his unique style, narrating fascinating stories in his films."

— Vanity Fair

"Few directors can contribute more to film noir than Murphy Stanton. He is a visionary who likes to push the boundaries of media imagination, clearly depicting his endless desires while changing how we watch films."

— Miami Herald

With the media's praises, Murphy had become one of Hollywood's top directors, solidifying his industry status with the success and acclaim of "Man of Steel."

Now, calling Murphy a top-tier Hollywood director would be met with nods of agreement from ninety percent of people.

This media frenzy peaked when Time magazine featured Murphy as its cover story.

Since there was no actual interview with Murphy, the cover featured a photo of him on the set of "Man of Steel," with the accompanying article narrated from a third-person perspective.

"When we met Murphy Stanton on the set of 'Man of Steel,' we saw a young man full of energy and creativity. Tall and well-built, with an air of elegance and handsomeness, he looked like he should be an actor, yet he chose directing—a profession that does not rely on appearances."

"When he speaks, his voice is soft, his accent light, sometimes with a hint of mockery. He takes every question seriously, as if he's never heard them before. He doesn't have rehearsed answers and doesn't speak off the cuff."

"Like other great artists, Murphy Stanton's reflections on life and the world are not burdens but opportunities that fuel his curiosity and drive his exploration."

"He is a director who enjoys interacting with people, smart, entertaining, and sometimes modest—of course, he is also proud of his films, whether they are noir entertainers or thought-provoking dark movies."

"Although he is already twenty-seven, there is still a youthful—even innocent—quality about him."

"However, when he enters work mode, we see a completely different director. Murphy Stanton takes complete control of the set; he demands light wherever necessary by any means; he also firmly believes that humanity will not suddenly evolve to a point where everyone joins hands singing about world peace. Peace must be achieved through superior military force. This deeply ingrained philosophy imbues his work with its unique elements: profound, dark, and serious..."

"In Murphy Stanton's cinematic world, he is the king. Fate brought this once-lost young man into the realm of filmmaking, undoubtedly opening Pandora's box. Whatever he sets out to achieve seems within reach."

Media influence on public opinion is undeniable, and this media frenzy had brought Murphy's fame and reputation to a peak, especially solidifying his position within the industry.

Additionally, across North America, various Murphy Stanton fan clubs sprang up like mushrooms after the rain, and on IMDB discussion groups, he entered the top ten of all directors and stars.

Bill Rossis was exceedingly busy, as Warner Brothers and DC Comics, through "Man of Steel," had made a significant box office comeback, visible to all. Although high compensation issues prevented a new directorial contract, it did not stop other Hollywood studios from chasing a consistently successful young director.

Numerous film offers arrived at CAA, including invitations from other major studios. Murphy asked Bill Rossis to pick out some promising offers for his review. If something suitable came up, he wouldn't mind signing a contract, provided the director's fee was right.

For now, with no immediate prospects, Murphy left these matters to Bill Rossis as he planned to attend an auction with Gal Gadot to bid on "The Bloom of Lys."

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