Chapter 242

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What's the most important thing about such a film? Just as for the film, the most important ability of death attendants is the ability of mouth gun. It is not the story, logic or philosophical thinking, but the charm of the role!

In other words, the role of death attendant on the big screen should show a very different and extraordinary charm!

Therefore, in the script prepared by Murphy, the three elements of the film story are: role, role, or role!

Other structures, rhythms and plots are secondary. Only when the role of the dead waiter is established, the audience will go on the journey with no regrets. If the role is not established, it will be impossible to tell a story that looks special but is in fact conventional. The audience will constantly struggle to see whether the logic is reasonable and find loopholes in various plots It's hard to do that.

Murphy first has to think about how the story will affect the protagonist - not the audience, not the production company, not himself - regardless of the category of the film, such as "what makes a good superhero movie?"

On the contrary, Murphy thinks more about what kind of dispute the dead waiter should fall into, and then comes up with a feasible story, based on the role, to create a strong and clear story.

What Murphy pays special attention to is that the creativity of the story must be active, and the story must be carried out by the protagonist of the dead waiter, whose actions and behaviors define the whole story.

For creating a screenplay, there are many forms of inspiration: it can be a specific scene containing characters, it can be an exciting emotional impulse, it can also be an abstract idea about the concept of the story, such as the concept of the Star Wars prequel trilogy that "you thought you could fight against authoritarian forces, but these forces will eventually win.".

Whatever the form of story inspiration, Murphy can use it to create a stable and feasible story as long as the germ of the story is obtained by the dead man.

It's just like a non-human, but Murphy doesn't build stories around non-human. That's not what a screenwriter should do. All good stories are constructed around human and conflict, not to mention that death attendants are just transforming people, including movies like "Nemo", "Bambi" and "Shrek", which hide their human nature in other biological forms Zi, when imagining the protagonist, we should also think clearly about the defects of the protagonist.

Yes, defects are very important for a movie character today.

Maybe other people haven't seen this yet, but Murphy is very clear that the characters who are omnipotent and can easily solve their own problems are no longer suitable for the needs of movies of this era. Therefore, Superman movies are the most difficult superhero movies to shoot, and Batman has to fall from the altar to complete his salvation.

Similar character defects are called "fatal defects" by Murphy, which are very important human characteristics that a character lacks. This is not something that the character needs or naturally carries in the film, but something that the director or screenwriter needs to give the character.

This kind of "defect" may be addiction, or it may be the wrong goal, for example, the wealth and power in Wall Street wolf is always good; the hope in Hal the mediocre is popular, and so on.

As the initiator and real implementer of the project, Murphy must "discuss" this deep-seated problem face to face with the protagonist when constructing the role of dead waiter, which will eventually bring a very important change to the end of the story.

What is the defect of the dead waiter? Nagging, lustful, greedy, irresponsible

Chattering needs a certain design, not unlimited nonsense, which will only arouse the audience's disgust. In this regard, Murphy called Robert Downey Jr. and asked him to stay for a day. Robert Downey Jr. is a mouth type chatter. After communicating with Murphy, he took away a lot of comic books and outline templates about death attendants to design a mouth for death attendants The lines.

Dead attendants are very erotic. No matter which cartoon works, as long as the female protagonist comes on stage, she has ever had a kiss and intimacy with him. Especially because she can't die, she once fell in love with the goddess of death. Later, she was cursed by mieba, who also fell in love with the goddess of death. She became immortal and couldn't be with her.

Therefore, a beautiful and sexy heroine is a must, and two people to the same lust, you can set up a love scene, the two people a year time, hiding together lingering, changing the pattern of sex.

Role defects can make the dead waiter closer to the audience, make him more attractive, and arouse the audience's resonance. However, it is not enough to create such a character only with role defects. The dead waiter also has a path to satisfaction, that is, the role plan.

In the script and film, Murphy must let the dead man set foot on his own journey and let the character feel pain in his heart.

Correspondingly, because of love and cancer, Wade Wilson decided to carry out a dangerous human experiment and become a human ghost. Similarly, because love wants to get back his original appearance,

there must be a lot of pain in the process.

For example, in midnight cowboy, Joe buck decided to become the most successful male PR in New York. Is that really a bad idea? In fact, he learned more on this road than ever before.Similarly, the 18-year-old and pregnant heroine in "La Vienne Maria" gives up her job and has to make money quickly, so she decides to become a drug dealer.

For movies and scripts, the role of such a very bad idea is absolutely right!

The two protagonists thought they could control the ending, but they didn't. their failure made the film a success.

Therefore, Murphy will work hard here, and must let the dead waiter take a painful road. It will be cruel and rude, but it will also be compassionate. If the dead waiter embarks on this tortuous journey, it will cause some radical change or recognition.

The road that makes the dead waiter meet but fail is the plot he needs, and also the map of the dead waiter and the audience to the new world.

And these will also reflect the values a movie character must have.

You can see familiar values in the movie, such as "love will find a way out", "be yourself", "connect with others", "money is not everything", "family can save you" and so on.

In the past, Hollywood called this "information", which is the basic truth that the public tries to believe in in life.

However, the values of the movie characters should not be preached or written by the priest, which can not be forcefully passed on to the audience. Instead, they should be expressed in dramatic ways such as activities, behaviors and discourses.

And the value of the dead waiter is very special, which is part of the charm of the character.

After setting up the defect, action journey and value orientation of the dead waiter, Murphy makes the action structure table for him.

Through this table, Murphy combines the various settings of the dead waiter into a coherent story, which can be used as an extended version of the "promotion".

In fact, once Murphy has completed the form, he can keep it in mind and give it to bill rosis and Carla Firth for a preliminary look.

The action structure table is a collection of all the elements that form the basis of a script story. By doing so, Murphy can make people see the whole story immediately, such as "incitement", "call to action", "* *" and "determination" commonly used in Hollywood.

He would refine his ideas into six to ten short paragraphs, no more than two pages of a normal play.

It won't be a list of events. Murphy doesn't have to list the specific, actual scenes in the story.

Action structure is a way to define main arcs and values. It doesn't need to fill in all the details. For example, in the second act of the script, he can set "something bad happened" as a place holder, because these actions and events can be described in detail in the event table.

This work is also much easier, Hollywood has a ready-made action structure table template to use.

After that, Murphy can use it as a model to fill in the template situation and start to fill in the story content of the script. Moreover, the filling will not make unexpected content, and will develop according to the traditional three-stage structure.

Although the whole story will be flashback, the rhythm is still in the standard Hollywood mode. The dead waiter must be an ordinary little person at the beginning, and then through some unimportant little things, he will intersect with other main characters, or even conflict with them. This is also a very common way for the script to stimulate events.

As soon as the dead man inspires the event, he needs to make a decision. The decision in the script is not because of the plan of the character or the * * but the way that Murphy puts the dead man on his way.

The next step is the journey and test of the second act of the three-stage structure. The simple story of death attendants as an ordinary person will also become complicated in this process.

In this process, the reality of the combination of other characters and the bad decision of the dead waiter will bring more pain and complexity to the protagonist, force the character to struggle, push the plot forward, and make the story more complicated - if you don't do something, the protagonist can't move forward, and the protagonist has exhausted all means.

Here, the second act can be concluded, and then the crucial third act.

The third act is the protagonist's decision and the whole story.

Once an important decision is made, the leading role of the dead waiter will no longer struggle because of the main problems. The only thing Murphy needs to solve is the conflict between people and the values formed by the dead waiter.

It is, of course, that the dead man decides to change and identify with his own defects.

This is the value of the story. The characters finally understand why the original plan or "satisfaction" is a mirage, but they also gain something more important, a new understanding of themselves.

This is the end of the script, and the whole story is officially completed. Then Murphy modifies and fills in some border boxes. For example, in addition to borrowing a part of the comic book, the lines of the dead waiter's mouth cannon are also written by Robert Downey Jr., so as to be more in line with the current social situation.

The black humor in it is also helped by Seth Logan and Jonah hill, both of whom are good at making jokes.

After finishing the first draft of the script, Murphy, together with the plan, sent it to bill rosis and Carla Firth. If the project wants to go ahead, they need to fight for the copyright. (to be continued). )