Chapter 932： Budding ideas

\"&　　 What Ernst said is reasonable. Hugo doesn’t know what other actors are like. As far as he is concerned, he hopes to inject his own ideas into the character and understand the character in his own way, so in During the filming process, he will have countless roles for him. While helping himself to perform, he is actually a supplement and extension to the script.

"" was the most obvious at the beginning. Although Hugo passed the script, he did put forward a lot of ideas about the script and had a unique exchange with Frank De Labon. Later, during the filming of "" and "", Hugo had his own communication with the script during the performance.

Prior to this, Hugo did not actually have much thoughts about the work of screenwriting, but today after Ernst's reminder, Hugo found that he was still bound by preconceived notions.

Originally, Hugo thought that screenwriting was not an easy task. He had countless movies in his mind. To give the simplest example, he had seen several movies of the 86th Oscars in 2014. 12 .Years.a.slave)”, “gravity()”, “(dallas.buyers.club)”, “(.hustle)” and so on, but the problem is that he has seen the movie doesn’t mean he can These movies are recorded, which is the same as musical swordsmanship.

A movie script is composed of a story frame, ideological connotation, characters, dialogues and other aspects. Hugo can remember the frame of the story, even the characters, but the ideological connotation is a part that cannot be copied. The dialogues are even more important. The soul of many scripts.

For example, "", this script condenses Quentin Tarantino's thoughts on American folklore, art, music, streets, gangs and other cultural aspects. Many dialogues that seem to have no meaning at all constitute this An important element of classic scripts.

Hugo is impossible to copy, even if he has seen "" many times.

In addition, in Hugo’s view, the script, like music, is not only a story or a melody, but also a sword writer’s thoughts on life, society, and precipitation, personal experience, outlook on life and values. Will be projected in the work.

In fact, all arts are like this, including paintings, architecture, novels, etc. This is why many psychology works analyze the psychological state of sword authors at that time through works of art.

Maybe Hugo can plagiarize, maybe the most brilliant imitators in the world can use fakes to make things happen, but it's hard to paint a tiger and a skin. The true value core of art is the soul of the sword author. This is never possible to copy.

Therefore, Hugo has always insisted on making music with his own sword, creating glory to death; similarly, Hugo has never "plagiarized" the script, even though he had thought about it, he had no way to memorize so many lines of dialogue.

But now being inspired by Ernst, Hugo finds that he has forgotten. He can make his own script like a sword making music. He has ten years of experience in underground rock and roll. He has a journey through The incredible experience of time and space, he has the experience of bravely fighting from the trough to the peak, he is professional...Although he is less than thirty years old, he has experiences that many people can't realize in a lifetime.

Hugo has many brilliant ideas in his mind. Maybe he doesn't need to copy the way of others, he can make his own script. This is a brand new exploration, full of unknown pleasures, just like when he starred in "", his Amon Goss was branded as "Hugo Lancaster", and he succeeded; So if he were to write the "Schindler's List" script, what would it look like? Is it a copy of the classic, or is it ruined, or is it beyond the classic?

This is the same challenge full of sword making power as music sword making and acting research.

But the question is, is Hugo interested in writing scripts? Hugo can't help but feel a little bit funny.

Recently, he has read a lot of scripts and is dazzled. The script that is closest to the performance is "Interview with the Vampire", but in fact, the script of "Interview with the Vampire" actually has many regrets. The most direct one is that the storyline is slightly fragmented. , The whole story explores the theme of immortality and loneliness without further excavation, and the role of Lester has not been able to give more detailed outlines.

Except for "Interview with the Vampire", other scripts that Hugo has read recently are still lacking, and there is no work that makes Hugo shine. But in fact, there are still many masterpieces coming out in 1995, although not as star-studded in 1994, it is still a very luxurious vintage. Hugo has not yet come into contact with a script worthy of his heart, which is indeed quite regrettable.

So, what if Hugo made a script by himself? Maybe there is no loss in trying to see it.

"Yes, yes... why not?" The chaotic thoughts in Hugo's mind flashed by, he clicked his chin slightly, and said with a long tail, and then he looked at Ernst, which was shining with excitement. The look in Ernst's eyes made Ernst a little uneasy, and he involuntarily avoided his sight, which made Hugo laugh, "So, Ernst, tell me, do you really think I can try a sword script?"

Ernst was stunned and looked up, "Why, are you interested?" A smile appeared in his eyes.

Hugo shrugged, "I won't say that, but I think that if it can be helpful for acting breakthroughs, or if it can be used to make a script that suits my heart, it may be worth trying." Hugo did have this. With a clear idea, even if he wants to try, the screenwriter can only be regarded as an amateur job. His current main business of actor and singer is already busy enough, and he will not toss himself.

But Ernst didn’t care. He immediately said enthusiastically, “If you’re just starting to try, maybe writing a sketch is a good choice.” Ernst even looked a little excited, and the whole person was completely renewed. The joy radiating from the depths opened Hugo's eyes.

In fact, even if Hugo does not write the script, it is a good attempt to enable Ernst to find his life goal again.

"I told you that in fact, the scripting of the sword is not as difficult as you think. You set a goal for yourself, do you want to tell a good story, or tell the experience of a character, grasp this core and start thinking. "Ernst didn't wait for Hugo's response at all, so he gushed out, "It's like'speed of life', you want to tell a story about... well, such as a bank robbery, then you take the whole The beginning, succession, and transition of the story are well conceived, and then the story is divided into the beginning, the process, the sex, and the ending. After the plot is conceived one by one, a script is completed."

Hugo understands all these things. He has watched thousands of movies at any rate, and the basic knowledge is naturally not lacking. However, he did not interrupt Ernst, and he still listened with relish.

"Or you can talk about a theme, such as growth, then the core roles are several people, what image they were in the beginning, what kind of things they have gone through, which promoted the inner change, and how intense this change is." Ernst said freely, "Maybe you can go and see the script of'Srand.by, I remember it was in my bookcase."

Ernst stood up again, walked briskly to the bookshelf, rummaged for a while, then found a script and handed it to Hugo. Hugo took the script of "Walk with Me", smiled and nodded, "Maybe I started from a one-act play with a sword script, which is also a good choice."

"Are you talking about focusing on one person?" Ernst asked happily. Inadvertently, he sat down on the front part of the sofa, leaning forward slightly, looking at Hugo excitedly. .

Hugo originally had only a vague idea. He knew that he was not from a major, and could be said to be a complete layman for script writing. That's why he felt that the simplest scene of a one-act play might be a good start, but now he looks at it. He couldn't help thinking about this look, and then he said, "No, I mean, telling a theme, such as love, maybe the camera will focus on two people, telling the two people from the encounter to the budding of love. , To progress..."

"You mean something like'When Harry meets Sally'?" Ernst interrupted Hugo.

But Hugo shook his head, and his thinking gradually became clear, "That's not a one-act drama anymore, it's about the evolution of a love story I mean, maybe time is limited... …Uh, one night? You know, two people met unexpectedly. They were originally strangers, but they went to a bar or a coffee shop to chat. The eye touch and the collision of thoughts burst out sparks, and then fell in love. Love has developed, but by daybreak, uh, maybe... maybe they will be separated. This passing by has become the most gorgeous moment in memory, such a story."

What came to Hugo’s mind was the first date he and Charlize were on, so clear, but after the words were finished, the story of "before sunrise (. quietly emerged, making Hugo smile at the corner of his mouth. A little more helpless.

Ernst did not notice this detail. All his attention was focused on the story told by Hugo. He couldn't help but be surprised. "This is a wonderful idea, but it is not an easy work. You see. , What you envision is a one-act play, maybe there are only two actors, then their dialogue, their communication, and their sparks will all become the key to determining the level of the work. This is also a concept to maximize the charm of the script. This is really true. That's great!"

After speaking, Ernst looked at Hugo excitedly, "How about, do you plan to make this script sword?" (To be continued. If you like this work, you are welcome to read it. Voting a monthly ticket for recommendation. Your support is the biggest motivation for me to continue to create!).