Wearing cropped pants that revealed slender, fair ankles and canvas shoes, Mindy Foster stood out for her simplicity. Generally, celebrities with decent looks would wear trendy accessories, but Mindy Foster truly had none—her style was genuinely simple, yet still attractive. This fully proves that “if an outfit doesn’t look good, it’s not the clothes’ fault; it’s simply that the person’s looks aren’t high enough.” People with good looks look good in anything.

If I’ve offended, I’ll dare to do it again next time.

Behind her followed her agent Sister Lane and her personal assistant. There’s no need to describe their appearances in detail. Both greeted Shawn Carter; they had done their research before coming and knew about the disastrous debut, but regardless, he was still the director, and the respect due on set must be given.

“After watching ‘Rose Agent,’ I felt that Sister Foster was extremely, absolutely perfect for this role. That flying kick off the two-meter runway at the end—was that a stunt double?”

“Mindy Foster never uses a double when filming.” The personal assistant beside her couldn’t help but interject, then realized she shouldn’t have spoken and stepped back behind the agent.

“I think action actors should avoid using stunt doubles whenever possible. For truly dangerous moves, just make sure all the safety measures are in place,” said Mindy Foster.

“Impressive. That flying kick only appeared for a few seconds, but it was extremely hard to film.” Shawn Carter said, “I’ll ask Sister Foster for an autograph later. Sister Foster wouldn’t refuse, right?”

“Thank you, Little Director Carter, for liking it. Little Director Carter really understands action scenes.” Mindy Foster then asked, “Director, may I ask if the action storyboards were done by Shannon Lewis?”

“I designed them myself,” Shawn Carter replied.

Mindy Foster looked at Shawn Carter with a hint of surprise and delight in her eyes.

“Quick and sharp, with Shannon Lewis’s style.” The name Mindy Foster mentioned was a famous action director in this world, and the Liu family team was also the top martial arts crew in the industry.

The cast of “Kill Ratio” was complete, and Shawn Carter didn’t make any exceptions—he also held a start-of-filming ceremony, covering the camera with a red cloth and even offering a roast pig to the gods.

If you ask these people who they’re worshipping, none of them know. Except in Hong Kong and Taiwan, where they follow the opera troupe tradition and worship Guan Gong.

Shawn Carter knew the ceremony originated in the early days of the film era, when technical issues with equipment meant film stock was easily scratched, which would ruin the shoot.

So they covered it with a red cloth to ward off evil.

“Please bless me with fewer NGs, fewer mistakes. I’ve really worked hard studying the script.” Erin Ray put her hands together and muttered quietly—almost no one but her senior sister beside her heard.

Can you even pray for no NGs? Well, it makes sense. She didn’t say it out loud, but the gods don’t care about filmmaking, Jenny Bolton realized.

“Director, can I pray to the Lord?” Jenny Bolton asked in a low voice.

Shawn Carter asked back, “Are you religious?”

“No.” Jenny Bolton shook her head. “I just feel like, since I’m not Chinese, Chinese gods won’t bless me, so I’ll pray to the Lord.”

“If you get sick in China, which country’s hospital do you go to?”

“China.”

“If you’re hungry in China, which country’s restaurant do you go to?”

“China.” After answering, Jenny Bolton immediately caught on and said, “I get it. In whatever country you are, the director means you should pray to that country’s gods.”

“No, what I mean is, the places that cure your illness and fill your stomach all require payment. More precisely, it’s money you earn yourself. You have to rely on yourself for everything. Praying to gods and Buddhas is just for peace of mind—don’t take it too seriously,” said Shawn Carter.

“……” Jenny Bolton was silent for a while, then said, “Director, you’re too realistic.”

This time, Shawn Carter neither argued nor responded.

In the afternoon, the first scene was shot. It went pretty smoothly—at least the number of NGs was within expectations.

“Move the camera to the left, the track is laid wrong, this way.”

“Lighting, there’s too much light.”

“Master Lee, I want a sharper filter here, I mean an edge cut.”

“Very good, let’s do one more for safety.”

During the shoot at the studio, from lighting to cinematography, even to costumes and props, you could hear Shawn Carter’s voice almost everywhere.

“I want this kind of mask, something like Zorro’s mask,” Shawn Carter said to the head of the costume and props team, Taylor Ford.

The props team’s Taylor Ford asked tentatively, “So the final look is a guy in a suit, holding a katana, wearing a Zorro mask, like a gangster?”

“That’s exactly the effect.” Shawn Carter nodded, then added, “Oh, and I need a prop similar to a meteor hammer, something like this—”

He even drew a diagram and gave approximate dimensions.

Taylor Ford thought it was a pity that someone this talented wasn’t making games.

“Okay, got it.” Taylor Ford nodded. It was a heavy task—he had to supervise both props and costumes.

“Have some water, your voice must be hoarse from shouting all day.” Teacher White handed over a water bottle.

Shawn Carter took it and found it was monk fruit tea. It was bitter, but it soothed his throat.

“Are you trying to use the time during the announcement to shoot another film?” Teacher White already knew about the withdrawal issue.

“I want to give it a try,” Shawn Carter nodded.

“There really isn’t much time left. I’ll do my best to help you. This film has to be shot well.” After saying this, Teacher White frowned and asked, “I have a question—why did you use animation for Julian Stone’s growth segment, and why is it so bloody?”