"Boss, there's a lot of online discussion about Sherlock Holmes: Season 2 – Murder on the Orient Express right now!"
Zoroark reported excitedly just as Edward got into the car after getting off the plane.
Edward glanced at Zoroark. Ever since Zoroark had taken some lessons from Secretary Kennedy on how to be a proper assistant, it had become noticeably more professional. It had even learned to proactively search the internet for potentially useful information. That alone was a huge step forward—definitely a big improvement from before.
"The buzz is normal," Edward said casually, but he couldn't help pulling out his phone to check. After all, Murder on the Orient Express was a project he was particularly proud of. Among all his adaptations of Sherlock Holmes stories, this one was one of the few he was truly satisfied with. Despite requiring extensive line edits after the adaptation, it had turned out well.
Every creator has a natural urge to share their work. When someone creates something they feel is genuinely good, they can't wait to get feedback and see how others react. While Edward wasn't overly eager, he still had that instinct.
So when he saw news headlines like "Murder on the Orient Express: A New Peak in Mystery Fiction!", his mood lifted considerably.
Zoroark noticed the pleased look on Edward's face and smiled as well. Then it quickly snapped a photo of him. The camera shutter sound made Edward pause for a moment.
"You're texting Shizuka again, huh?" Edward asked helplessly.
Zoroark nodded directly, without trying to hide it. Edward sighed but didn't comment further.
Ever since Shizuka and Zoroark had separated into two entities, the two had become as close as sisters. They weren't related by blood, but they were closer than many siblings. Edward didn't find it odd—in fact, it made sense. Without Shizuka, Zoroark wouldn't even exist. The system's unique reward mechanism had prevented Edward from becoming a furry enthusiast, but ever since their separation, Zoroark and Shizuka had kept in regular contact. They shared many of the same hobbies and interests, so they had a lot to talk about.
"Let's go check how the Kanto League's construction is coming along," Edward yawned and boarded the bus prepared by the League with Zoroark and a few company staff.
When he stepped off the bus, even Edward was a little surprised.
"This... looks pretty good," he said, looking around.
The rocky terrain, full of craters, and the full-metal spaceship sitting off to the side, exuded strong sci-fi vibes. Edward had to admit—the League had put real effort into this. He had given them the design blueprints earlier, but he hadn't expected them to construct it so quickly and with such quality.
"This is going to be the main filming location?" Deck asked, visibly impressed but also somewhat worried.
After all, Edward had mentioned that most of the filming would take place inside the spaceship, with only a few exterior shots. Wouldn't having just a single setting make the movie feel monotonous for viewers?
"Looks pretty good," Edward said, very satisfied.
Next, it was time for Gengar to work on the set decorations. Once the props were in place and the interiors were properly weathered and worn, filming for Alien could begin.
Though Edward had carved out some time for the movie, Devon Corporation was a massive enterprise, so he still had to address company affairs from time to time. That meant his shooting schedule needed to be tight and efficient.
"Thankfully, Alien doesn't require that large of a set," Edward muttered, gazing at the spaceship.
The biggest challenge of filming a sci-fi horror movie was usually the modeling and special effects. Beyond that, it came down to the script. If the script was solid, even a confined setting could still result in an excellent film.
Just look at the movie Buried from his previous life—it didn't have ghosts or monsters, but it was masterfully done and genuinely gripping.
This new Alien project was well within Edward's expertise. The original Alien had faced some limitations due to the special effects technology at the time. But in the world of Pokémon, those limitations no longer applied. Special effects were much easier and more cost-effective to achieve here.
This was one of the greatest advantages of making films in the Pokémon world. Production costs were significantly reduced. If directors from his past life—those who spent 280 million of a 300 million budget on actor salaries—knew about this place, they'd be overjoyed. They could easily set aside an extra 10 million just for actor paychecks.
"Director Edward, I'm the head of the Kanto League's First Construction Division," a man walked over and warmly extended his hand.
"Nice to meet you. I'm Edward Stone" Edward replied courteously, shaking his hand.
"Director Edward, based on the construction list you sent us earlier, we've already completed part of the work—such as the alien landscape and the spaceship's main structure," the man said, giving Edward a quick tour of the area.
The spaceship wasn't particularly large, but that was exactly what Edward had requested. A massive ship would have been too cumbersome, and in the original Alien, the ship wasn't that big either. It was a transport ship, not a space station. Had it been a station like those seen later in the series, the Kanto League probably wouldn't have approved construction so quickly.
"Great. Thank you. How about the interior layout?" Edward asked, nodding with approval as he surveyed the ship. It still looked too new, but they could age it later during set dressing.
"We haven't touched the interior yet, since we weren't sure how it should be arranged," the man replied.
That response pleased Edward. The interior didn't need to be ultra-precise anyway—he had already handed the interior design plans over to the props team.
When filming a movie, not all props need to be 1:1 replicas. Sometimes sets are created temporarily with movable walls to facilitate specific camera angles or shots.
Even food on set was often fake. Though fake food props were more expensive than real food, they were necessary for productions with long shooting schedules.
(End of Chapter)