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Gal Gadot was first a little dissatisfied with Murphy's question, then thought of the environment in which Murphy grew up, and then relieved. Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 ｉｎｆｏ

She knows very well that in Murphy's eyes, no matter what kind of people they are, white, Asian, African, Jewish, Latinos, etc., they are all the same people, there is no difference, he will not give any special treatment to black actors and characters because of the so-called political correctness of Hollywood, and he will not look at Jews differently because of the history of suffering.

At the beginning, she still had some opinions about Murphy's attitude, but as the time spent with them increased, she found that Murphy did not mean to discriminate against anyone, but just treated everyone as ordinary people.

Gal Gadot is also very clear that perhaps it is really because of his education that his boyfriend knows very little about Western history.

Like the next project that will involve an important piece of history, the plot is basically based on thought, and has nothing to do with the history of the past.

After thinking about it for a moment, Gal Gadot felt that he should popularize the history he knew for Murphy.

"Here's how it happened," she said to Murphy earnestly, "at first it was thought that Poland would not lose the war; Then, when the Germans came in, people thought they could go on living; Then they passed decrees forbidding Jews to sit on public benches, or to go to parks and other places; Next, they say that Jews must wear the armband of the Star of David; Then they said that all Jews must be concentrated in one district; Then they fenced off the area, and there was not a single moment of truth, and there was not much chance of reacting and organizing......"

Gal Gadot shook his head and continued, "Why didn't the French immediately resist when the Germans arrived in France in 1940? The situation is the same. At every stage of this intricacy of the situation, people will say, 'This will pass, it will pass, it can't get worse...... and then it's wrong, it's worse, worse, worse! In the end, most of them were killed. ”

Hearing Gal Gadot's words, Murphy thought about it for a rare and extremely serious moment, and then nodded slightly.

He has limited knowledge of the history of the West, but he is familiar with some of the historical events on the other side of the Pacific.

"I'm sorry, dear." Murphy took the initiative to say.

Gal Gadot leaned over and kissed him lightly on the cheek, "It's okay, I know you don't have a heart." ”

The two naturally changed the subject and discussed the preparation and filming plans for "Inglourious Basterds", a project in which Gal Gadot would continue his learning path as an assistant producer.

Murphy, however, thought of the cinematic aspect of the history of the Jews that Gal Gadot talked about.

Of course, he has no interest in subjects such as the Holocaust, but he thinks of the way the Germans treat Jews, which can be applied to films, and this gradual feeling of ring after ring is also quite important for a film, when this feeling accumulates to a certain height, the final outbreak will undoubtedly be more enjoyable.

In this film, after the foreshadowing of many small climaxes, the final climax scene not only kills Hitler, but also flogs him wildly, so that the audience can vent freely.

If it were to be replaced by a different role, it would undoubtedly be extremely risky, but Hitler's words were not problematic at all, anti-Nazi and anti-Hitler were completely politically correct, a hundred times more correct than the so-called black political correctness.

In the context of social and political opinion that has been built up over the decades, it would be foolish to whitewash Adolf Hitler.

In recent times, Murphy has been further polishing the script of Inglourious Basterds, and each director has his own way of thinking, and Quentin Tarantino's way of telling stories is certainly not for him.

For example, in many of the film's transition scenes, Quentin Tarantino likes to use a lot of dialogue that deviates from the theme of the film, while Murphy has never liked to be verbose in the film, and will use every minute and second to create an unbreathable tense rhythm for the film as much as possible.

This is not to say that Quentin Tarantino's filming and production methods are bad, but every director will have his own style, but every famous director will form some of his own styles, even Steven Spielberg, who is recognized as the most patterned in filming and production.

In the script that has been completed, Murphy did not use Hollywood's usual tricks to create a tense atmosphere, but considering the audience's physiological reactions, he will still try some small routines appropriately.

For example, creating a tense atmosphere in the script is to put pressure on the audience of the film, and the only thing that can make the audience suffer both mentally and physically is time, so Murphy needs some strategy to determine the duration of the whole scene, and how to show the tense rhythm freely throughout the scene.

In other words, in the filming of the film, the drama, atmosphere and rhythmic tension should be skillfully grasped, and the tension should be moderate, and it is difficult for the audience to predict which second there will be a climax.

There are also scenes that reflect characters or other backgrounds.

Anyone who has seen Quentin Tarantino's films will have the impression that when the plot of the film needs to explain the background of a person or an important prop, the ruffian director often uses some simple and crude methods, the most typical is to insert a narration and corresponding images directly into the film.

But Murphy had never used this technique before, and he didn't plan to use it in the future.

Of course, this is just a matter of personal interest, and no one can deny the rational use of this method.

In many cases, the backstory is so complex that it would take too long to tell it in a real-life setting.

As a result, narration is often used in the first act to tell the backstory and keep the audience up to speed, and some screenwriters don't like to use narration as a lazy way to tell a story.

This idea is usually correct, as the use of narration on some illustrative images has almost become the standard mode for the first act of comedy, and is a rather formulaic opening.

Still, it's a mistake to think that this approach negates the value of the script as a whole, and when used correctly, narration to bring out the backstory not only guides the audience, but also engages the audience into the story in a lively and stylized way.

The finished script, including the introduction of the flammable and explosive film made of nitrocellulose, will be hidden by Murphy in the story of the whole movie, rather than being specifically explained.

The backstory reveals important information about the character's identity, and also provides the basic elements of conflict in the story, and how the director and screenwriter express the backstory in the film will determine the structure of the entire script to some extent.

Whether or not Murphy chooses to tell all the backstory in the first act, or weave it into the story's development, the relationship between a character's backstory and identity development should always be intimately linked.

In many cases, it is useful to keep some important backstory information so that the revelation of this little information can be consistent with the development of the story, or the self-development of the characters.

In addition, in the introduction of Hugo, a member of the bastard squad, Murphy uses the technique of identity diffusion.

Hugo has basically no lines, his actions are the characters, and every plot and story about him has been deliberately designed to add another side to the character told in the movie.

These are all due to the differences between Murphy and Quentin Tarantino's different styles and personal interests.

Leaving him to shoot and make the film exactly the way Quentin Tarantino did, Murphy determined that the odds of him screwing up were far higher than the odds of success.

In mid-December, Murphy almost finalized the script, and there was good news from Twentieth Century Fox and Weinstein Pictures, which together would invest up to $80 million in the project.

Since the project is now completely dominated by Murphy, Twentieth Century Fox also occupies an absolute dominant position in this cooperation with Weinstein Pictures, not only as the North American and overseas distributor of "Inglourious Basterds", but also received a 51% investment share of the film.

In other cases, Weinstein Pictures may have given up on the project, but Quentin Tarantino found the candidate Murphy, and the Weinstein brothers clearly remember what kind of terrible profits Murphy had created for them, even if they were chasing Oscars as their main mode of operation, it was impossible for them to refuse the temptation of profits.

At the same time, Bill Rothes also completed the salary negotiations with the two companies on behalf of Murphy, and the success of "Man of Steel" undoubtedly made Murphy firmly stand in the position of a first-line director in Hollywood, and compared with other first-line directors, the investment profit ratio of the films directed by Murphy is undoubtedly higher, and without spending too much effort, Bill Rosis got Murphy a treatment that matches his current status and appeal.

It's still a pay contract with an upfront payment and revenue share.

According to the terms of the contract, Murphy will receive an upfront payment of $12 million in three installments, and when "Inglourious Basterds" is removed from North America and overseas markets, as long as the global box office can exceed three times the production cost of $80 million, he will automatically receive a 20% box office share, and if the film's North American box office can exceed $500 million, the share ratio will rise to 25 percent......

Of course, Twentieth Century Fox and Weinstein Pictures relied heavily on successful directors like Murphy, but they weren't fools, and Murphy's dividends didn't involve the DVD and television broadcasts that Hollywood companies earn most of today's revenue.

However, Murphy has previously confessed that Bill Rothes has negotiated for him a dividend of 15% of all future paid on-demand, download, and rental revenue from "Inglourious Basterds".

This part of the income may not be particularly high now, but the contract period is as high as 10 years, and the future potential is unlimited.

With this in mind, Murphy began to build the crew, his filming and production team was ready-made, as long as a call order was issued, and the actors were the ones he considered the most, especially the SS Colonel Hans. (To be continued.) )