Chapter 1920： Screenwriting Center vs. Production Center

The TV series "The Defendant" invites Ji Cheng to play Park Jung Woo, who is the protagonist of the series. Park Jung Woo, who is trapped on suspicion of murder, is South Korea's best criminal prosecutor.

A series of emergencies made him detained in a prison detention center, and to make matters worse, his memory was temporarily lost after a series of incidents, which added a lot of difficulty for him to clear his grievances.

Then the whole drama revolved around him to remove suspicion for himself, a typical Korean drama routine.

The biggest highlight of this drama may be Chi Sung, this story is still very high in the Korean TV circle, especially when he married a beautiful actress Lee Bo Young as his wife, this natural beauty has a look no less than Kim Tae Hee , Their love story is praised by many people.

Korean dramas are screenwriter-centric, just like American dramas, and the core of this drama is Choi Soo-jin's screenwriter. Her masterpiece should be "City Hunter". Lee Min-ho's long legs have taken Asia by virtue of this drama.

The screenwriter-centered system is the guarantee of the foundation of a drama, which is also one of the important reasons why Korean and American dramas are highly praised.

In country Z, big-name actors are often the focus of attention. Even producers, directors, and associate directors have a higher status in the crew than screenwriters. In their eyes, screenwriters are instrumentalists, and they can follow their rules at will. The idea of ​​reshaping the script, even many big-name actors have their own screenwriters, just to ensure the quality of the script they choose.

It should be understood that in South Korea and the United States, screenwriters' salaries can sometimes reach the level of first-class actors, or even higher.

In the Korean drama "Embrace the Moon" that year, the actor and actress Kim Soo Hyun and Han Jiaren were both first-line big-name actors, but in the crew, even if the screenwriter fart, whoever lets the screenwriter speak more than 70% in a drama , It is entirely possible to determine the life and death of directors and actors, and even some domineering, from the protagonist to the small supporting role, from the location, to the sponsor, the screenwriter can all have the final say.

In South Korea and the United States, the authority of the screenwriter is so great that the director cannot modify the script of the screenwriter without authorization, and the actors who modify the lines are also disrespectful to the screenwriter.

There used to be a plot in the American drama "Friends": When the actor Joey was interviewed, he casually said that he often changed the script during filming. The day after the report was published, his role was written to death by the screenwriter, and he was therefore written to death. unemployment.

The reason why Kim Soo-hyun is able to emerge in the fiercely competitive Korean entertainment industry is also because of the screenwriter’s appreciation. When he appeared in the TV series "DreamHigh", he was not the protagonist, because the screenwriter Park Hye-ryeon liked his performance and added a lot of drama to him in the second half. , And finally "counterattack" became the male number one.

In terms of salary, South Korea's top screenwriters can get 100 million won for one episode, which is about 600,000 soft sister coins. The average signature screenwriter is worth 20 million won, almost 110,000 soft sister coins, which is basically the same as the big Korean star's film salary.

Well-known screenwriters such as the Hong sisters, the two who wrote "The Lord's Sun" and "So Beautiful Men", and Kim Eun-sook, the screenwriter of "Heirs", have a greater appeal than any other actor. The actors also squeeze their heads and want to participate in their new drama.

In contrast, domestic screenwriters are relatively "weak." Although news such as "heavy money to reward good scripts" is endless, compared with big-name actors and directors, screenwriters do not have much say.

In China, many TV dramas are "who is famous and willful". The names of big-name actors are placed at the beginning of the film, followed by the director. Only a few top screenwriters will appear in the eye-catching position of the film.

There is no way. This is the choice of the audience. Big-name actors are often guaranteed ratings of domestic dramas. In recent years, many actors have been working as producers on a part-time basis, and it has become commonplace to change scripts at will.

"The Beautiful Contract" screenwriter Song Yuanjin once bombarded the heroine Aunt Bai Yun for tampering with the script, and also caused a dispute, but in the end it was nothing.

In a certain urban drama, because the male and female protagonists each brought a screenwriter into the group, and disputes over the distribution of the lines of the drama, it seriously affected the shooting schedule and the quality of the drama.

In short, in the production crew of Country Z, if the big-name actors have conflicts with the screenwriters and directors, it is probably the screenwriters who leave, because investors value the appeal of the big names.

Anyway, the rich is the uncle. The investor or sponsor has paid for it and wants to add a role or change some lines. Who is embarrassed to refuse? This is all commonplace.

In the first episode of "Why Sheng Xiaomo", there was a passerby character. Not only did the frontal features, but the lines almost caught up with the protagonist. Even the boyfriend had a first name and a surname, which was far beyond the role of an ordinary actor. Almighty netizens broke the news that this role was a cameo by a relative of the sponsor.

Haven't the screenwriters who have been oppressed for many years think of resisting?

Of course, I have thought that in the long waiting process, some screenwriters have already started to act.

For example, the famous screenwriter Liu Heping's "No War in Peking" has achieved great success. One of the reasons is that he himself is both a screenwriter and a chief producer. From looking for investors to choosing actors, he can participate and has the final say.

Yu Big Mouth and Zheng, although he was condemned by hundreds of screenwriters for plagiarizing Aunt Qiong Yao, he established the "studio" model very early. He was a screenwriter and producer himself, and he was able to take the initiative in investment, distribution, and publicity. Control the right to speak, but screenwriters like this who hold multiple roles are currently counted with one hand in China.

The Six or Sixth Sisters, who are called "gold screenwriters" with "Snail House" and "Mind Skills", think that any central system ignores that TV dramas are the sum of all powers, each work It is a collective production. It should not be emphasized who is the biggest and who has the right to speak. If you rush for the work, you will listen to whoever has the right opinions.

Is there a problem with this? At first it sounds okay, the capable ones are superior to the mediocre ones, but how many capable ones can achieve his level these years? Most screenwriters are still out of food? Yeahahahah wrote a script for an episode, and his hair turned white. In the end, wasn’t it because the actor’s words were deleted or deleted?

Her six eldest sisters are eating, but where is the next person? Are all gods? Starving?

The first thing that said this was that he didn't put himself in the right position. He wanted to lick the father of the gold master, but didn't want to be high and widowed. Both wanted to occupy and didn't want to offend, but in fact they still trampled the disadvantaged group under their feet.

Of course, it cannot be said that disadvantaged groups must be treated specially, but fairness is the minimum, right?

Besides, if the pattern is bigger, if the screenwriter-centered system can make domestic dramas the pride of the Z people, and fans don’t need to keep an alarm clock to chase dramas. This is good for the entire industry and even the country, so why not do it? What?

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