Chapter 930 930 Screenwriting Work

Rick is still reluctant to give up "Apollo 13". Compared with "Future Water World", this work can be said to be the latest in terms of script quality, investment scale, cast lineup, and character mining. The most suitable choice for all the works in Time Rick's hands.

The most important thing is that "Apollo 13" not only satisfied Rick's ideas, but also met Hugo's requirements, although Hugo did not seem so satisfied, and "Apollo 13" was not in a hurry to start shooting. , is still in the process of seeking an actor team.

So Rick wanted Hugo to keep the script, read it a few more times, and then make a new decision. Hugo agreed.

On the one hand, it is because Hugo knows how to compromise and back down, and Rick has done his best to adjust it, so it is not bad for him to read the script several times, and Rick's sentence "If necessary, you can put forward your own opinions, Just like the original 'The Shawshank Redemption', even if it didn't work out, at least you tried it", persuaded Hugo.

On the other hand, it is also because Hugo believes that Tom Hanks is indeed more suitable for the script than he is, and once Universal Pictures sends Tom the invitation, Rick will understand this. Tom and Hugo are both actors under Rick. When the palms and backs of the hands are full of flesh, it is natural that the more suitable person will win. So Hugo's refusal need not be rushed.

With Rick gone, Joseph got busy too—reading the script was his most important job as a manager, and he was now carrying a heavy responsibility.

Generally speaking, when an agent collects projects and recommends them to actors, he is the first check. However, due to the fact that the agent's interests are paramount, and there are many actors under him who need to be taken care of at the same time, his checks are generally rough; The manager then reads and judges the script. He is the second gatekeeper. He attaches his own opinions to all the scripts submitted by the manager before handing it over to the actors.

If the actor trusts the manager enough, or his tastes are exactly the same as the manager's, then he will make decisions based directly on the manager's judgment; if the actor has his own opinion, or if he wishes to judge himself, then he will Read the script yourself, then make a decision with your manager's input.

Therefore, a good agent and a good manager actually play a pivotal role in an actor's career.

However, Rick is special at present. He attaches great importance to the cooperative relationship with Hugo, and the cooperation between the two has just begun, and they are still in the stage of mutual exploration. Most agents communicate with actors on the phone or through managers.

Due to the great success of "Speed ​​of Life", Hugo's next work has attracted a lot of attention, and both Rick and Joseph have paid 100% serious attitude, which has also led to Joseph having a lot of scripts to read carefully recently. Busier than Hugo in the studio.

After sending Joseph and Rick away, Hugo briefly flipped through the script of "Apollo 13".

Hugo thinks that the script is actually a very wonderful thing. How did the screenwriters come up with these stories and how did they conceive these plots? And why does the same story appear different in the writing of different screenwriters? For example, the story of "Schindler's List" has been revised for ten years. - Tarantino's writing glows? Then there is if a true story or a comic or a novel is adapted into a movie, how to condense it and how to connect it? Most importantly, how does the connotation of the script manifest itself?

The job of a screenwriter sounds so magical and full of wonder, and of course there is a much more difficult director position than a screenwriter's job, and there's a big difference between a screenwriter and a director.

A screenwriter's creation is the process of conceiving a storyline, and more of it is flat; while a director's creation is the process of telling the story, and more of it is three-dimensional, from the set, the pattern to the picture, from the dialogue, the expression to the performance . To give an example that is not entirely correct, the script is the book, and the director is the storyteller. The story is wonderful, but the storyteller may not be able to tell it well. Whether the audience likes it or not depends on whether the story is good or bad. Skill is also very important. Of course, if the story itself is bad enough, even the storyteller's abilities can't turn it around.

To some extent, many directors are good screenwriters, but screenwriters are not necessarily successful in becoming directors full-time.

But at the end of the day, a great work starts with a great script.

Thinking of this, Hugo couldn't help but start to lose his mind. In the works he has starred in, the importance of the script has been greatly exerted. For example, the description of the lieutenant colonel in "Smell the Fragrance and Know a Woman" is so delicate that it penetrates into the soul. For example, "Sleepless in Seattle" tells an ordinary or even incredible story in a gentle and moving way. For example, "Life and Death" climaxes a seemingly simple story telling one after another. For example, "Pulp Fiction" opens up new stories. A completely different approach to storytelling.

Look at the "Apollo 13" in your hand again. Why is this script considered to be stable? Because it simply states that classic historical event, but in the process of telling the story, it ignores the shaping of the characters and reduces the characters to masks? But the question is, if you want to modify it, how should you modify it? Is it enough to add just a few details? Obviously not.

When Hugo proposed revisions to "The Shawshank Redemption", it was based on the character itself and put forward some embellishing opinions, but in fact, there were not many parts that really promoted the script and the plot; and now watching "Apollo 13" No.", even if Hugo wanted to modify it, he felt that there was no way to start.

Hugo became more and more interested in the role of the screenwriter. He was very curious as to where the screenwriter would start if he wanted to make changes to "Apollo 13". Thinking of this, Hugo suddenly remembered, why did he need to meditate here alone, there was a ready-made wise elder by his side who could give him some advice.

Hugo suddenly stood up and ran down to the second floor.

Standing at the door of the second floor, Hugo knocked politely on the door. Ernst Lechmann didn't wait too long before he came to open the door. Originally, he just opened a gap and looked through the gap impatiently. He came out, but after realizing it was Hugo, he opened the door, but still complained impatiently, "What's the matter! If you came to apologize for the beer bottle in the corridor, then you don't need it, I've long ago. Get used to it, you young people are so bad, dirty, scruffy, noisy..."

"Ernst, we didn't throw that beer bottle. I've been in the recording studio lately." Hugo interrupted Ernst's words, but Ernst turned around, frowning and looking puzzled Staring at Hugo, "I don't believe it" was written all over his face.

Hugo didn't feel guilty at all, and looked at Ernst with a smile. It was obviously hot now, and he was alone at home, but he was wearing a white shirt and fastened all the buttons properly. He even wore a tie, and his meticulous appearance made people mistakenly think that he had a dinner party to attend at night. The room was still filled with countless books, making the air even more stuffy, and the whole room was like a steamer.

Hugo opened the door of the room, and then opened the window on his own initiative, causing Ernst to start cursing immediately, "Hey, young man! Are you crazy!"

Hugo gave Ernst a helpless look, "Hey, old man! Don't you know it's August? It's at least ninety-five degrees Fahrenheit today, and you're still stuffing yourself at home, and sooner or later you'll get sick. By then you will faint at home, who will know?" Looking at Ernst's angry eyes, Hugo stared back without caring, "Don't count on me, there is no way I would know. , I have a job, have you forgotten?"

"Who is counting on you! Che, as far as your singing job is concerned, I don't think it has any value. You are an actor, an actor! Don't do your job properly!" Ernst rambled, but this situation was not a big deal for Hugo. It is said that he is used to it. After living here for more than two years, Hugo has long known Ernst's personality. In Ernst's heart, he was lonely, the kind of loneliness that no one could understand, which closed him in this sea of ​​books.

Hugo somewhat sympathized with Ernst, but more admired him. He admired this old man who dedicated his life to the screenwriter. When he was old, he was abandoned by this circle of liking the new and hating the old. Hugo held injustice for him.

Hugo found a place on the sofa by himself, looked up at Ernst, and raised the script in his hand, "Yes, my singing job is not worth mentioning, so let's talk about what you are most proud of. Let’s work, I have a script here, you can take a look and make some comments.”

"The script? You're crazy! I haven't touched that thing for a long time!" Ernst said furiously, but he walked across to Hugo, sat down, and snatched the script over and took it. I had to look at it from a distance, but I couldn't see it clearly. I took out my reading glasses from my shirt pocket, put them on, and read, "'Apollo 13'! Who wrote this, I haven't heard of it at all. The guy with the name."

Hugo chuckled lightly, "It's been more than fifteen years since you left this industry, haven't you? So it's normal to have a few new faces you don't know."

Ernst sneered, but did not speak again after all, but read quietly.

The afternoon sun was slowly flowing in Zhi Li's cry, the heat in the air seemed to settle down, and the lazy and bright dust drifted, making time slow down like this.