Chapter 613

On the second day after the engagement party, Murphy cooperated with 20th century fox to participate in some promotional activities about "Diego Ross". Gail gado flew directly to Boston and went to the Boston Globe with Bill rosis to negotiate the authorization. On the second day, good news came, and the Boston Globe basically agreed to publish the film and television coverage of that report The right of adaptation is granted to Stanton studio, and the rest is about the price and the rights and interests of both parties.

After the beginning of the new week, the rating of "Diego rose" passed smoothly. MPAA did not have any suspense to rate the film as R. 20th Century Fox also increased its efforts to promote the film.

However, the total investment of the film is here. In the 20th century, fox's publicity scale is not large, and it is mainly promoted by print media and Internet.

Then there are Murphy, Robert Downey Jr., and Margot Robbie, etc., who have been publishing some materials related to the film on their official social networking sites in a planned way to attract the attention of their respective fans.

Before the end of the month, Gail gado settled the negotiation with the Boston Globe, got the authorization from the other side, and then returned to Los Angeles to start formal contact with Nafi.

is like Murphy's previous research, and Nai Fei is eager to get rid of the entanglement of a lot of competitors. He has a strong desire for making independent broadcasting content. It represents Stanton's Gail Gail's relationship with Nai Fei, which is more successful than that of the Boston globe.

Even after only two days of discussion, shuangfa decided to cooperate as soon as possible with the drama adapted from Michael Dobbs's novel of the same name, with 50% investment for each, and enjoy the same proportion of copyright and revenue sharing with the investment in the first two quarters, which will not eliminate any expenses incurred by Nafi in publicity and distribution.

It can be said that this kind of sharing agreement is equivalent to that the films produced by Stanton studio are handed over to 20th Century Fox for distribution, and 20th Century Fox does publicity for the films without charging or deducting any form of publicity fees.

There is no doubt that Nafi has shown great sincerity in attracting Murphy's cooperation.

The negotiation can't be completed immediately, but it's on the right track. Gail gado is responsible for the negotiation with Nafi on behalf of Stanton studio. Murphy puts the adaptation of the political novel on the agenda after less busy publicity work.

At the same time, Murphy asked Stanton studio to issue a recruitment notice to recruit an experienced political drama writing team.

The script of a TV play is much more troublesome and important than a movie. After he has determined the outline of the story, he will leave it to an assembly line team with a clear division of labor to write the specific plot content.

But like movies, fiction is just the foundation, and Murphy won't let the series follow fiction.

Film and TV series are not literature. They must draw a clear line between them. Before the adaptation of novels, they are literature. However, once they appear in the form of script and image, they will wash away their literary characteristics and become a new art form.

In addition, images have more impact than words, and the production of images should consider the current social and political environment more than novels.

For example, "Lolita" set off an uproar when it was released in the United States. In order to make the film over approved, even Stanley Kubrick, a large-scale director, had to change Lolita's age from 12 to 14. At the same time, he deleted some excessive content in the plot, and deliberately increased the proportion of moral criticism and criminal plot in the film.

Of course, Stanley Kubrick's adaptation of the novel is not all to satisfy the Filmization of the original work, but from the perspective of film creation, strictly control the content, cut or increase the content out of the consideration of artistic expression, and choose his own unique entry point of view to shoot, so as to have this adaptation film with a very personal style.

The adaptation of a novel to a film and television work is not based on the faithful reproduction of the original work. The adaptation is not a simple transformation from one work to another, but the creation of another new work with its own depth, vitality and autonomy.

In those days, Stanley Kubrick made the necessary changes for the film, and now Murphy will make certain changes according to the actual social situation - all the characters are more dark, insidious and despicable than in the novel.

According to Hollywood's traditional protagonists, the main characters in this series are all downright villains, even without any merit.

Sitting in the study, Murphy decided to have a good idea and picked up Michael Dobbs's novel again. Undoubtedly, the most obvious thing on the cover of the novel is that“ House.of.Cards ”The title of the book.

“ house.of.cards "House of cards" is a fixed expression in English. It can be translated into "house of cards" in the way across the Pacific Ocean. It can be extended to "unstable plan" and interpreted as "in danger".

Of course, as Murphy once called it, "house of cards" would be more appropriate.

The name of this political novel directly reflects the actual content. "House of cards" in house of cards refers to the house of Representatives, while "card" refers to the chips playing cards. Just look at the title of this pun, you can guess that the hero plays the game of power on the complicated and treacherous political table."Are you sure there's no problem with such a protagonist?" Gail gado came over and picked up the novel on the table. "What he did is disgusting. Will the audience hate the whole play because they hate the protagonist?"

Murphy has determined the names of several main characters and some personas. She has also seen them, but she has no good impression.

"No Murphy seems to be confident, "Frank Underwood is no worse than the protagonist, especially the heroine, of the lost lover. Think about it, honey, how many fans did Charlize Theron win after the movie?"

He thought about it and said, "the times have changed. Black movies will be popular, and black series will be popular. Now the audience has long been tired of watching the leading roles like good people, and some bad and distinctive characters will also be sought after."

Gail gado goes back to his desk and sits down to open the novel. He is quite helpless. The protagonist in Murphy's works has no good man in the traditional sense of Hollywood. Even Superman Clark Kent is endowed with a dark side by him.

Murphy dug out a pile of information from the cupboard and said, "good people are compared with bad people. Frank Underwood is no worse than any other character. He just dares to admit that he is a bad person."

"Just like you?" Gail gado couldn't help saying.

"Dear..." Murphy showed a face of innocence, "do you think I'm a bad guy?"

Gail gado said rudely, "it's not a good man anyway."

"Ah..." Murphy sighed. "I hated bad guys when I was a kid."

"So you're going to be a bad guy?" Gail gado opened the book without looking at Murphy. "Is that so?"

Instead of answering her, Murphy asked, "honey, do you know what the scariest thing is?"

Gail gado looked up at Murphy in surprise. "What else do you think is horrible?"

"Of course, everyone has." Murphy rummaged through the information he needed and said, "the most terrible thing in life is to grow up and gradually become the person he hated when he was a child."

"Well, you're busy."

Today, there is no need to negotiate. Gail gado is also going to take a break to see the novel that neffei likes.

Murphy nodded, stopped talking, and went to read the materials attentively. These are all the basic explanations about American politics and system that he just came up with. House of cards has been written for a long time, and it has been a mini play by BBC before. If many things are copied from the novel, it's really funny.

The new series must be in line with the current political environment in the United States. This is the most basic point. Although Murphy has seen the series, he has only seen it. If he doesn't understand the most basic political system in the United States, he wants to write a qualified story outline

He's not that stupid.

So, before writing, Murphy asked CAA to send a lot of relevant materials, which are the basis of adaptation.

The political environment between the East and the west is very different. He doesn't even know the system on the other side of the Pacific, let alone the United States.

For example, Murphy was confused about Frank Underwood's position as the whip of the party. It's easy to understand after reading relevant materials. He is the third leader of his party (the first leader is the speaker, and the second leader is the leader of the majority party), which is equivalent to the Commission for discipline inspection to safeguard the interests of the party.

Frank Underwood is the whip set by the Democratic Party in the house of Representatives, which means that his power is second only to the speaker and majority leader, and he is a real big man.

After reading more materials, Murphy learned that the word "whip in the fellow" comes from English. It is a role of managing hounds when hunting foxes in England. Its main job is to persuade party members to vote according to party rules.

Also, it is necessary to understand the political position of the Democratic Party.

Of course, Murphy will also borrow some plots from many novels. After all, Michael Dobbs, the author of the original novel house of cards, was once the vice chairman of the British Conservative Party. Writing such a political struggle plot is reasonable and realistic.

Any screenwriter in Hollywood knows that if he wants to write about politics, if he doesn't understand the most basic system, he will show his shyness everywhere.

Therefore, for a long time, Murphy did not start to write the story and script outline, and was still in the preparation stage of reading the relevant materials.

At the same time, he set the tone for more of the show.

For example, we can't let the drama fall into the "left or right" position choice, or indulge in the facial satire of politicians. Instead, we should boldly show politicians' transactions in an almost straightforward way, and talk openly about political skills. Maybe the real American political picture will not be so condensed, but the details of the drama should make the audience see the shadow of reality.

This kind of shadow does not need to be completely real. (to be continued). )