Chapter 931: Different Attempts

"No, I don't think it's a good script." Ernst just read the first five pages and said it directly, which surprised Hugo, he thought Ernst at least had to read more judged.

"Why?" Hugo naturally asked his own question.

Although Ernst said he didn't like the script, he still held the script and didn't put it down. He rubbed the script paper with his right hand, and his eyes wandered back and forth between the lines. Just this detail, Hugo can see that Ernst still likes the work of the screenwriter, and it can even be said that he loves it. away.

"You know, an excellent script either tells the story or the characters. It's not an easy task to take into account both the story and the characters." Ernst looked at the script in his hand and said softly, that The hoarse and old voice seemed to bring time back to distant memories, "Do you know why Steven worked for Schindler's script for ten years? Because he wanted to tell the story well, and he wanted to tell the characters. it is good."

Ernst raised his head, straightened his back, and looked at the bookcase on the whole side of the wall, with a look of nostalgia in his eyes. This was the first time Hugo saw that kind of concentration on Ernst's face. And the light of excitement seemed to bring him back to his youth in an instant, "Schindler's story is too huge and too deep, how to tell this story well, in addition to following the timeline, also The story line must be followed. In those long years, what kind of stories should be extracted? First, you need to choose according to the core of the story you want to show, and then choose according to your own conception of the characters, and so on. After the story is selected, connect it according to the time, and finally fill in the details according to the needs of the theme and thinking, and the whole story can be completed.”

Having said this, Ernst stood up with great interest, put the script in his hand on the coffee table, walked to the bookshelf, searched for it, and then took out a script, stood beside him and read it with a smile on his face. With a smile, he said, "But in the process of writing the script, screenwriters often have confusion in their thinking, or they are too ambitious, or they are not thoughtful enough, resulting in an incomplete story. Therefore, Schindler The script has been revised for ten years."

Ernst took the script and came over again and put it on the coffee table in front of Hugo, "This script is a work I have always admired, it can be said that it embodies all the fantasies of a screenwriter about the story. The passage of time, the changes in the growth of characters, the traces of social changes, and the elaboration of cultural phenomena, the whole story is like a gurgling water, and the characters in the story complement each other with the events. Independent individuals, each character has an inevitable connection with the occurrence of the event, and the shaping of the character's character after the event has a long aftertaste."

Hugo looked down at the script, it was actually "Once Upon a Time in America"! It's actually "Once Upon a Time in America" ​​that was ignored by the Oscars, criticized by film critics, and despised by the mainstream media! It took many years to be rehabilitated, and it is widely regarded as the greatest failed "American Past" in Hollywood history!

"Look, this kind of script is worth savoring and studying again." Ernst picked up the "Apollo 13" script and turned to the last part, and started reading again, but his mouth was He muttered intermittently, "Strictly speaking, Schindler's story still lacks a spark, the whole story's origins and transitions, the changes in characters, and the changes in the background of the war are still not closely related to each other. These regrets are covered up by the excellent performances of the actors and actresses."

From an objective point of view, Hugo must also agree that the script of "Once Upon a Time in America" ​​is more rounded and more delicate than the script of "Schindler's List". Of course, these two scripts are outstanding classics, and their art is incomparable. Points, just some exclamations for the script.

After speaking, Ernst was silent for a while, apparently studying the ending part of the "Apollo 13" script, and Hugo didn't bother him, just sat quietly.

Ernst sat there as if he had forgotten about Hugo, immersed in his own world, and then muttered to himself, "This script, as a whole, seems to be climaxing, soul-stirring, and also pays great attention to the foreshadowing of emotions, but The problem is that the whole story is straightforward, without skills or tricks, and the carving of emotions is all focused on the depiction of patriotism, and the personalities of several characters are obviously lacking in brush and ink, such a story..."

As Ernst spoke, the voice disappeared again, and after flipping through two pages again, he looked up, and then he noticed Hugo sitting next to him, and began to say again, "Such a script can be called If it's good, the academy should like it very much. Maybe it's not a problem to get a nomination, but the main credit is the story itself. I can't see the skill of the screenwriter. The story is told smoothly, and more than 80% of the screenwriters in Hollywood can do this. degree; and the lack of character sculpture makes the film lose the possibility of further improvement.”

Hearing Ernst's comments, Hugo couldn't help laughing, because such a script and Ron Howard's directing style are the perfect combination. Simply put, it is a traditional academic style without too many surprises.

In fact, there are many works of this type in Oscar history, the most famous after the twenty-first century is "The King's Speech (The. King's. Speech)." With the skills of the screenwriter and director, the wonderful performance of the actor Colin Firth deserves a golden statue, but the best picture and the best director are definitely not worthy of the name.

Therefore, the Oscars only represent a type of aesthetic point of view, and there are countless classic works in history that have not won an Oscar statuette or even an Oscar nomination.

Ernst's comments on "Apollo 13" couldn't be more accurate. The two screenwriters of this work, William. Broyles. Jr. and Al. Reinert ) won an Oscar nomination without much of a standout performance, but William Jr. appeared in "Cast. Away," "Unfaithful," and "Flags. Of. Our." Fathers)" and other works of the screenwriter list, but he is not the main writer.

"Don't tell me you want to appear in such a work." Ernst still didn't put down the script of "Apollo 13", and was still flipping through it reluctantly, "You are not at the stage of constantly breaking through yourself. Does it sound really bad for such a conservative and lifeless work."

Hugo chuckled, "I originally wanted to ask your opinion to see if I could add some details and give more room to the main characters, but..." Hugo shrugged, "I miss you The answer has already been given to me."

Ernst seemed to have not heard the last half of Hugo's words, with a disgusting expression on his face, "If such a conservative script needs to be revised, it is better to rewrite it, otherwise it will only become a nondescript monster. It's a good script, but it will be ruined in the end." Speaking of which, Ernst pouted, "In this way, at least the screenwriter of this script is self-aware and not too greedy, which is also worthy of commendation."

Seeing Ernst sitting there talking and talking, Hugo thought it was amazing. He and Ernst had actually chatted several times, but they had never seen Ernst so focused, so devoted... so enthusiastic The most important thing is that Ernst never got angry, and even brought some excited expressions.

Just when Hugo was thinking, Ernst took the initiative to say, "Maybe you can go and see the script of 'Forrest Gump', which is also the script with the main theme of this academic school, the script of 'Forrest Gump'. The story is told more fluently than 'Apollo 13', and although the character descriptions are also a little monotonous, at least the images are vivid and delicate enough."

Facing Ernst's active conversation, Hugo laughed dumbly, "Hey, Ernst, I have no plans to write the script, I just want to see if there is room for improvement in the script you have in hand."

"Why can't you write a script!" It was an interrogative sentence, but Ernst turned it into a questioning sentence, "A screenwriter is like an actor, this is a profession with no threshold, as long as you are willing to tell a story, you can You can become a screenwriter." Speaking of which, Ernst showed a look of contempt on his face, "Of course, not everyone can succeed, and it's not that easy to be a good screenwriter. How to say a good one? Story, how to tell a story more vividly, this is a science.”

Looking at the helpless smile on Hugo's face, Ernst was clearly dealing with himself, and his anger jumped up, "Why do you want to modify the script? Why do you want to make the character more full? This is It shows that you also realize that there are commonalities between actors and screenwriters. Some changes in the script are helpful for the actors to shape the characters, and the three-dimensional interpretation of the characters by the actors can also inspire the screenwriters. Of course, this It's not that an actor can be a screenwriter, but at least an actor should be a good script reader, you can't deny that!"

Ernst's words caught Hugo's attention and aroused Hugo's thinking, and Ernst went on to say, "You can feel the lack of character description in the script, and you can also realize some small details. Changes can make the story more complete, and in that sense, you have the gift of being a screenwriter.”

After Ernst finished speaking, he glared at Hugo angrily, but then realized that he seemed to have overreacted, because Hugo didn't say anything at all, Hugo was completely innocent, which made Ernst a little embarrassed. , hesitated for a while, and after his voice murmured in his throat, "Of course, first of all you are an excellent actor, maybe your keen sense of acting has given you a certain ability in storytelling. I mean, maybe you've got that talent, and there's nothing wrong with trying something new."

Ernst tried to find a reasonable explanation for his actions just now, but in Hugo's ears, a different meaning emerged.