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The box office of $18.5 million in advance also confirmed Matthew's speculation, based on "The Curse of the Black Pearl", coupled with Disney Studios' targeted large-scale publicity, the box office of "Gathering Souls" is not a problem, and Cinema Score has also adjusted its estimates based on the advance box office and audience response, believing that the North American box office of "Gathering Souls" will be around $150 million in the first weekend.

Matthew is of course happy to see it, the film that grossed more than 100 million in the first weekend in North America in this era can be described as extremely rare, and none of the movies he starred in in the past can achieve the feat of exceeding 100 million US dollars at the box office in the first weekend of North America.

"Gathering Souls Coffin is a sequel. ”

In the office of the angel agency, Helen Herman said to Matthew, "Non-adapted films, non-sequel films, it is too difficult to exceed 100 million at the North American box office." ”

Matthew fully agreed with Helen Herman's words, saying, "In the past two years, the situation for original films has not been very good. ”

Helen Herman goes straight to the core, "There are too few original films that can really sell at the box office, and the current market situation, even if it is a lower-to-medium production, the film company has to spend tens of millions of dollars, and this money is used on original type films, which is several times riskier." ”

Although this is not conducive to the long-term development of the film industry, studios are commercial companies, and investing in films is not for the pursuit of art, even if it is changed to Matthew's investment, it is impossible for him to invest in more risky films with less risk and higher returns.

"This is normal. Helen Herman is an agent and a businessman, and the art of cinema is not her pursuit, she says, "If you had an original script and a script based on a well-known work, which would you choose?"

Of course, the more famous one in his impression! But that couldn't be said to Helen Herman, Matthew shrugged his shoulders and said vaguely, "Do you still need to answer such a question?"

In fact, when a star chooses a project, it is the same as a film company chooses a project, and the script is only one of the factors, such as who the director and producer are, and the consideration sequence must be ranked in front of the script.

For example, in the filming and production of American dramas, the script is the key, and the screenwriter has considerable power, and there have even been cases where the leading actor offended the screenwriter and the character was directly written to death by the screenwriter, resulting in the leading actor having to be out.

But in filmmaking, directors and producers are far more important than screenwriters, and screenwriters are often in a relatively awkward position.

One thing that is very interesting is that the hard sharing agreements signed by the Producers Union and the major Hollywood unions are all for the same period of time, that is, when the agreement between the Writers Guild and the Producers Union expires, the agreement between the Actors Guild and the Directors Guild will also expire.

Every time the deal expires, it is the most turbulent time for Hollywood, and the major unions want to fight for more revenue, and the producers' alliance representing the interests of the management will certainly not agree.

As a result, the union began to brew a strike, but the strike of the actors' union and the director's union would not break out, because the management would show enough sincerity before the strike broke out.

It is often the screenwriters' union that really goes on strike, and the demands of the screenwriters are always not taken seriously by the management, and the negotiations will always reach an impasse.

Screenwriters want similar agreements between actors and directors, which is obviously impossible, and they are far less important than the latter two in the eyes of management.

Matthew doesn't know exactly what the independent film industry is like, but the production of mainstream commercial films often has producers and projects first, and then recruits screenwriters to write scripts, like "Mr. and Mrs. Smith", if there is no Aziwa Gosman, a first-line producer, Summit Entertainment will ignore Simon Kinberg?

Matthew read the scripts of James Cameron's "Titanic" and "Terminator 2" last year, if you only read the script, it is really ordinary, "Terminator 2" is slightly better, "Titanic" is simply the bloody love between a poor boy and a rich girl.

Film screenwriters are always clamoring to surpass the actors and get the same power and status as the director, but in today's Hollywood, their requirements are too unrealistic, Hollywood does not need screenwriters to let their minds fly and come up with ideas that surprise the eyeballs, Hollywood's mainstream commercial films, and even most of the award-winning films in the awards season, must conform to the traditional assembly-line three-stage structure.

Screenwriters who want to break these will either invest in themselves or pack up and leave.

Having said that, films that are really accepted by the audience every year, box office hits, or awards season hits, are often typical three-stage films.

Hollywood is a business circle, and the market determines supply.

Most of the time, the scripts of mainstream Hollywood productions are not the work of one person, they are often the product of teamwork, it is the norm for several screenwriters to write together, and there are often more subdivided screenwriters behind each main screenwriter, but these people cannot get the right to authorship, and their names cannot be found from the film's cast and crew.

This model of assembly line production of scripts definitely has drawbacks, but it also has benefits.

Any screenwriter has his own good and bad aspects, "Pirates of the Caribbean" has a huge team of screenwriters, some people are responsible for writing British dialogue, some people are dedicated to writing action scenes, some people provide funny jokes, and some people write about Caribbean sea sailing and so on.

Every screenwriter, under the unified style and template, writes what he is good at, and may not be very professional, but when it appears in the movie, at least it seems like that.

This is not particularly obvious in "Pirates of the Caribbean", which involves specialized films, such as rugby, medical, anti-terrorism or lawyers, etc., similar to this mode of division of labor and cooperation, which can avoid extremely awkward amateurism and other situations in the content of the film.

If even the most basic information about the profession reflected in the film is wrong, the probability of success of such a film can be imagined.

Of course, not all scripts will be like this.

There are also some crews and screenwriters, when they encounter this kind of professional situation, they will use an extremely lazy way to solve it - not professional enough, emotional drama to make up.

As a result, in some movies or dramas, there will be a very surprising plot, a film and television drama that plays the workplace or business war, whenever it involves the content of the workplace and business war, it will always be brushed aside, with MV and Michael Bay-style ultra-fast editing, go through this plot, and I can't wait to end it in one minute, but film and television works always have content, and it is impossible to be MV-style short-shot editing throughout.

For some screenwriters, it's just too easy, and a bloody love triangle is just a matter of Mary Sue or Jack Sue.

As for the so-called workplace and business wars, the screenwriter has never experienced it, nor has he understood it, so how can he write relevant bridges and how to develop the plot in detail?

When a professional profession is written by people who don't know the profession, how to make up for the emptiness of what it says, the opportunistic screenwriter is very clever enough to choose a theme - love.

Matthew can even imagine that he can write a "Soul Coffin" in this way.

For example, let Will Turner be the Jack Sue, he fell in love with Elizabeth Swan smoothly, and the wedding was about to be held, but he got the news that Jack Sparrow was captured by the cannibal tribe, for the sake of his good friend, Will Turner told Elizabeth Swan on the eve of the wedding that Elizabeth Swan was temporarily postponed and went to rescue Jack Sparrow, and then broke out a verbal conflict with Elizabeth Swan.

The lines and lyricism alone are enough to last the first thirty minutes of the film, with Will Turner telling Elizabeth Swan how much he loves her, and Elizabeth Swann weeps and accuses Will Turner of being Jack Sparrow's true love.

In the end, Will Turner chose to rescue Jack Sparrow, and the two characters could survive another thirty minutes.

That group scene on the island can be changed to Elizabeth Swan and Jack Sparrow being jealous, and at the same time dissatisfied with each other and Will Turner, fighting on the island, and holding out for another half an hour without any problem.

In the ending scene, Jack Sparrow is calculated by Elizabeth Swan and swallowed by the Nordic sea monster, and Will Turner is the ...... No, it was friendship, and without hesitation, he jumped into the big mouth of the Norse sea monster.

Elizabeth Swan swears that even if she chases the world of the dead, she will not let the two of them together, so she looks for people to go to the end of the world......

This is definitely the perfect Jack Sue plot with a bloody love triangle.

Matthew can imagine that if the film were really to be filmed like this, in the name of pirates, so that all the plots served the bloody love triangle, it is estimated that most of the audience would vomit blood and die in the theater.

stayed in the angel agency for half the morning, Matthew left Helen Herman's office before noon, and before leaving, he specially told Helen Herman to contact Johnny Depp and Keira Knightley's agent, and now that the big sale of "Gathering Soul Coffin" has become a foregone conclusion, the three must strive for greater profits in the next "End of the World".

Out of the angel agency, Matthew didn't care about the paparazzi following behind, and drove directly to Amanda's apartment in the Westwood district, where Alexandra Daddario, wearing a tight T-shirt and leggings cropped pants, was already waiting in front of the apartment building.

Alexandra Daddario got into Matthew's car and asked, "Where are we going?"

Matthew could see a flashing light coming on nearby, but he didn't mind and said, "I booked a spot at an ocean-view restaurant in Santa Monica. ”

Alexandra D'Addario nodded and said, "Let's go, I'm a little hungry." ”

The white Mercedes-Benz SUV drove forward, followed by the car driven by the bodyguard, and then many paparazzi drove behind.