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Although growing up in an environment that ignored the individual and his motivations, Murphy knew that the film should never be made like this, especially if the protagonist did not have a convincing motive, and the final film would not become a classic, let alone achieve his purpose of highlighting style. Pen × fun × Pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

Even though Hollywood movies have created so many righteous characters, few movies can explore the three-dimensional side of the protagonist, and commercial films are even more so.

Good people, then write a little flawed subline, such as carelessness, impulsiveness; Bad guys, then write a little bit of merit subline, such as elegance, heavy feelings...... The so-called three-dimensional characters of many commercial films are portrayed in this way.

In fact, in Murphy's view, this kind of destruction of the rhythm of the story is a bit sacrificing, which is of course more advanced than the main theme movie simply portraying tall and complete characters, but it is not much smarter.

A truly first-class character is not afraid of being written high, because the screenwriter does not simply organize the story to write about his strengths and weaknesses, but puts him in an equally truly first-class story, subjecting him to the antecedents of the story and making him bear the consequences of the story.

Two words in a word: "motivation" and "cost".

This rule is common in all popular genre movies in Hollywood, why "Superman Returns" has been repeatedly criticized, because Superman is not constrained in the story, does not bear, and does not pay the price, he just does what he should do, so this kind of old-school movie remake is still not innovative, it seems bland and boring.

"Spider-Man 1" was scolded for being stupid and naïve, because the little spider just bears the price of losing his uncle in order to reflect "the greater the ability, the greater the responsibility", in fact, the plot of the uncle's death has nothing to do with the main storyline.

On the other hand, the reputation of "Spider-Man 2" has risen, that is, because the little spider took on the role after losing his ability in the sequel, and took this as the emotional thread of the story.

"Iron Man" created such a big surprise for the audience, and it was also because the screenwriter let Tony Stark's character determine the fate of the story, instead of using superfluous stories to show Tony Stark's character, and the reason why Tony's crooked person is so likable is because he paid a terrible price at the beginning, and the motive of revenge drove the audience to help Tony himself.

Motives and costs are the three magic weapons for the film to conquer the audience and critics.

So, Murphy will find a motivation for the protagonist that is sufficient and can be integrated into the story of the film almost perfectly, and will show the price that the motivation needs to pay after that.

Yes, the motives and costs serve the whole story.

After entering Hollywood for so many years, Murphy summed up a golden rule: a bad movie must start with a bad story.

How to tell the story in a way that makes it addictive is the most fascinating part of the movie.

Telling a good story is very simple to say, and it doesn't seem difficult to do, but there are not many Hollywood movies that can really tell a good story, and Murphy intends to abandon the traditional genre film narrative model that Hollywood has tried and tested for decades, and boldly borrow the narrative rhythm of American dramas.

What should Hollywood's traditional narrative look like?

In fact, people who have studied the suspense setting of Hollywood movies basically know the routines of Hollywood movies.

To put it simply, Sid-Field, an American screenwriter and producer, in a number of books, most of which have become required reading for film screenwriting majors, summarized the basic structure of a mature commercial script in the Hollywood system: the first act construction, the second act confrontation, and the third act ending; In the part that is about to end the construction scene, there is plot point i; In the part where the confrontation scene is coming to an end, there is plot point II; Plot point I and plot point II are the two most critical plot points in the narrative process of the script, respectively, and their task is to turn the plot to the next act, in the form of "an event that 'hooks' the action and turns it in the other direction".

This is indeed the simplest and most effective model that Murphy has ever seen, Hollywood is essentially a production line, a successful model is summed up after countless successful or failed market cases, and once it works, Hollywood has never been taboo to repeat and repeat it.

Murphy doesn't dare to say that all Hollywood scripts are written according to Sid Field's textbooks, but the huge role of this model can be seen in most commercial films and even literary films, and the vast majority of fans have been enjoying the pleasure brought by this model.

For example, "Iron Man", the film that put Robert Downey Jr. on the throne of superstardom, is a typical example of this.

The first act of the film is the construction, which is to show Tony Stark's genius career and luxurious life; Plot point I is Tony Stark being caught by terrorists; The second act is confrontation, he successfully escaped with the help of the Iron Man 1 equipment, and after returning to the United States, he changed his ways, withstood the pressure to close the military factory, and devoted himself to researching, testing, and upgrading the Iron Man 2 and 3; Plot point II is to discover that the long-term partner turned out to be the real mastermind behind the scenes, and he was gouged out; The third act is the finale, in which Tony defeats the evil Iron Monster and also defeats himself.

The reason why the story of "Iron Man", including other Marvel films that have already been made, is so fascinating is precisely because it is arranged exactly according to such a pattern.

Murphy has studied it carefully, and it is not difficult to find that Sid Field's repeated emphasis on its importance of plot points I and II do play a key role in "Iron Man": plot point I makes Tony Stark a new person, and plot point II contributes a big boss to the whole story, and they all do a good job of reversing the direction of the story.

There are only three action scenes arranged in this film, interspersed with a number of literary dramas, telling the logic of the story, clarifying the relationship between the characters, and no longer need to set up any big suspense, saving time and effort.

To be precise, almost all of Marvel's movies are products of the typical Sid-Field model.

Therefore, when you watch too many Marvel movies, you often have a feeling that Marvel movies are carved out of a mold, and they are constantly repeating the road they have already traveled.

But no one can deny Marvel's success, just as it can't deny the important role of the Sid-Field model in Hollywood films taking over the global market.

All of Marvel's films can be said to be excellent works, but none of them are recognized as super classics, perhaps this is the difference between the so-called excellent works and peerless classics.

For example, "Iron Man" is a premium product created on this production line in Hollywood, and it is still far from a super classic.

Now Murphy is already a first-line director in Hollywood, and he does not lack the support of box office results, so he naturally wants to seek more, so he ignores the consideration of this general model, but organizes contradictions and conflicts from clues, and it is not impossible to learn from the practices of some American drama screenwriters in this regard.

The screenwriters of American dramas are full of thoughts about the density of conflict creation and resolution, and they don't think much about the rhythm of the drama; Murphy intends the same, this new series from the first minute to the last minute, is to constantly create conflict, resolve conflict, create greater conflict, solve greater conflict...... Until the butterfly effect finally occurred, which evolved into a war and social storm that affected the whole of New York.

It took nearly ten days for Murphy to figure out the framework of the character, theme, and outline, and it would take time to continue to adjust, and the specific script writing would probably not be until after the Oscars.

However, he is not in a hurry, if he wants to create a classic series, where will it be so easy, repeated polishing is a necessary process, and the phrase on the other side of the Pacific Ocean 'I can't eat hot tofu in a hurry' is very suitable to describe my current work.

Progress on the script for the new project was very slow, and Murphy spent almost all of his time thinking and revising it, until Twentieth Century Fox informed him that "The Wolf of Wall Street" was about to be removed from North America, and he shifted his attention slightly.

After nearly 20 weeks of screenings, "The Wolf of Wall Street" was basically unable to produce box office from North American theaters, although for the sake of the Oscars, Twentieth Century Fox could pay a certain amount of revenue to let the film be shown in a few theaters in Los Angeles and New York until the Oscars, but Murphy and Twentieth Century Fox are well aware that the film has received enough nominations, and it is basically impossible to win a heavyweight award, and they have not made any more public relations efforts in this regard, rather than wasting resources. It is better to take off the file from North America, and follow the effect of the Oscar period, and launch a DVD and online paid version.

In March, "The Wolf of Wall Street" officially dropped from North American theaters, and the North American box office finally stopped above the figure of $241.68 million.

Although it did not break the $250 million mark, it was enough to ensure that "The Wolf of Wall Street" broke into the top 10 of the 2009 North American box office annual charts.

For such a film with a Wall Street theme, it can be said to be a very proud achievement.

Twentieth Century Fox executives also received news from Bill Rothes that Murphy was preparing for a brand new series, and immediately informed Murphy after "The Wolf of Wall Street" was removed from North America, and 20% of the North American box office belonged to him, and it would be paid in the next month.

Subsequently, Twentieth Century Fox released the DVD of "The Wolf of Wall Street", but now that the DVD is gradually declining, sales can only be said to be relatively average, and the various versions of the disc only sold less than 3.5 million units in the first week.

Compared with DVDs, the paid on-demand and online rental of the film have increased by nearly 50% compared with the previous "Inglourious Basterds", which can also be said to be a trend in the offline development of the film industry in the future.

At the Oscars that followed, Murphy and "The Wolf of Wall Street" went nowhere for nothing, with Catherine Bigelow and "Bomb Disposal Unit" emerging as the biggest winners.

On the weekend after the Oscars, North America ushered in the most heavyweight film ever released in March - "Batman v Superman". (To be continued.) )