The screenwriter recruited by Stanton Studios had participated in the adaptation of the "Lord of the Rings" trilogy, although he did not receive a signature in the end, but he was also recognized by the industry, and Murphy specially invited him to value the successful work experience in the "Lord of the Rings" trilogy. Pen | fun | pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

In any case, George Martin has been away from Hollywood for many years, and he is not a successful screenwriter, and it is up to him to control the direction of the plot and the fate of the main characters, but some of the details of the script need to be presided over by more professional screenwriters.

Over the past nearly a year, the screenwriter has assisted George Martin in completing the script outline and the first draft of the script, and has gradually taken the lead in the entire screenwriting team led by him and George Martin.

But with Murphy completing the production of "Gone Girl", the hottest stage of the film passed, and his energy turned to the planning of "A Song of Ice and Fire: Game of Thrones", the screenwriter naturally lost the dominance of the past, and Murphy asked to change many of the plots of the script he presided over and wrote, especially the setting of the little demon Tyrion Lannister.

I don't know how this screenwriter moved George Martin to change the little devil Tyrion Lannister into a complete bastard, in keeping with the Hollywood tradition that deformed people must have deformed thoughts.

Adapting such a charismatic character into this, Murphy would certainly not agree to it, and asked for a change, but met with the screenwriter's resistance, which of course was just a mantis arm, but the relationship between the two sides inevitably deteriorated.

The screenwriter thought that he had the qualifications for the success of the "Lord of the Rings" trilogy, with the partial support of the original author, George Martin, plus Twentieth Century Fox getting half of the investment rights and copyrights, and thought that with his qualifications and Hollywood TV series production tradition, he could impress Twentieth Century Fox and set off a game of thrones within the project.

But he was apparently too distracted by Hollywood's tradition of television series production to simply ignore who Cara Firth was in charge of the project at Twentieth Century Fox.

There was no suspense in the ending, and he was fired by Murphy and Carla Firth.

The liquidated damages stipulated in the contract were not high, and the screenwriter naturally refused to leave with more than 100,000 dollars, and also asked Stanton Studios and Twentieth Century Fox to pay the copyright fees for his adapted script, which was also rejected by Murphy and Carla Firth.

There is a remark clause in the contract between the two parties that states that the copyright of anything related to A Song of Ice and Fire: Game of Thrones created by the other party during the employment period automatically belongs to the employer.

This is also a Hollywood convention, and the screenwriter is more unwilling.

Murphy knows that like the industrial assembly line of the film industry, Hollywood's TV series production also has a mature system.

Hollywood recognizes that TV drama is the art of screenwriting, and a screenwriter with sufficient qualifications will often expand his authority in the TV series he creates and adapts, becoming the operator of the entire TV show and supervising the work of other departments, and his focus is not only on the script, but on all aspects from acting to editing to TV production.

They can even become the CEO of a TV series production and also serve as a producer, and their name is usually signed as Executive Producer, which appears at the top of the TV series byline!

Unlike the film industry, the production process of a TV series requires the constant involvement of screenwriters.

As a result, the negotiated content of the TV script agreement includes not only the remuneration for the creation of the pilot script, but also other additional terms that are set according to the high position of the screenwriter in the production of the episode and the TV series project.

But in this project, it can only be Murphy who will be in the driver's seat, and he will respect George Martin's opinion and the sound advice of other writers, but will definitely not let anyone else take the lead.

In some ways, this is also the difference between the film industry and the television industry, in the film industry, even the gold medal screenwriter can not really compete with the director, but the television industry is different, the screenwriter's position is equally important, even more important than the director.

In order to avoid trouble, Murphy simply put George Martin in charge of the entire screenwriting team, and let the remaining newcomer screenwriters become the execution tools of his own and George Martin's will.

Similar to the production of commercial blockbusters, the production of TV series also employs a group of screenwriters to assist in script writing and TV drama production under the direction of TV drama producers.

Subsequently, Studio Stanton and Twentieth Century Fox jointly registered a production company called Ice and Fire Studios, and all business related to "A Song of Ice and Fire: Game of Thrones" was affiliated with this studio, including contracts with other newcomers to the writing crew.

Ice & Fire Studios has signed a brand new contract with the writers except George Martin to improve the treatment of these people, but it's a typical screenwriter package deal.

When a production company or television station contracts a screenwriter on a contract basis, or what can be called a packaging agreement, they pay the screenwriter a lump sum payment for the duration of the contract - the length of the contract period is usually one to two years, and sometimes the contract may be renewed for another year or more - in return, the writer's labor in writing scripts for the production company or television network company and producing the TV series is exclusive, and the writer cannot work elsewhere.

In addition, the contract stipulates that the writer adapts at least a certain number of scripts for Murphy's choice during the course of his work.

This agreement can only be used for writers who are not well-known, and Ice and Fire Studios only needs to pay a one-time fee, and they are not able to participate in the post-production as the writers who lead the production of TV series.

Maybe the agreement will change in the future, but in the early stage of the project, Murphy will not pay these people a high salary.

Over the next two weeks, Murphy brought all the writers, including George Martin, to the Beverly Hills Hilton Hotel and rented a large conference room to be used exclusively for script revisions without outside interference.

Among them, the most important change is the plot about the little devil Tyrion Lannister, in the hands of the previous writer, the little devil Tyrion Lannister has become a complete bastard, completely losing the charm of the character itself.

There's no doubt that the little devil Tyrion Lannister is not a good person, but there are also a lot of shining points in this character, as long as the character is suitable and the plot is in place, it is definitely a very popular character.

Once when Murphy quickly dragged through this TV series, he saw a conversation between Jon Snow and the little devil Tyrion Lannister, and he was very impressed, and the content of the specific dialogue has long been forgotten, but I remember that the words of the little devil Tyrion Lannister summed it up like this - if a person as frustrated as him does not read and think seriously, he will definitely have no future.

This plot can fully reflect the other side of the little demon Tyrion Lannister's ugly exterior.

In short, one of the most important tasks of this revision of the script is to get the little devil back on track and show the demeanor of a charismatic "bad guy".

It's hard to write about the bad guys you hate, and it's even harder to write about the bad guys you feel sorry for, and the little devil Tyrion Lannister isn't a heinous scumbag, but one morally or somehow blameworthy.

The revision process was entirely led by Murphy, who used Hollywood's usual playwriting technique of whitewashing tainted characters, of course, "whitewashing" refers to whitewashing scripted characters, and does not apply to life.

Human nature is complex, different positions, interests and other factors will affect a person's perception of others, in terms of story characters, because this is a TV series broadcast on a cable TV network for adults to watch, the audience has long been out of the simple aesthetics of good and evil, black and white, binary opposition flat characters are not controversial, no credibility, and can not maintain long-term vitality.

In Murphy's own words, Bai Suzhen, as the representative of the White Lotus of the Virgin, also flooded Jinshan Temple for her own ****, resulting in the destruction of life, not to mention these people who participated in the power game competition.

Not only the little devil, but the other characters can't be distinguished by a simple view of good and evil, and it's obviously too fake to write the characters tall and full, which is only suitable for the north. Han's adult audience watchs, and appropriately giving shortcomings or defects can make the characters more full and vivid, but in this way, it is easy for the audience to lose their favor, and the character will collapse if they are not careful.

In the script treatment of the little devil appearance scene in the first episode, Murphy used the technique of wanting to promote and suppress first.

The first scene of the little devil appearing alone is to fool around with a prostitute, and then taunt the characters of the North and Jon Snow's illegitimate status as a good-looking child, etc.

To put it simply, it is to write a lot of shortcomings of the little devil Tyrion Lannister first, don't be afraid that the audience will hate it, and then write the shining points of the characters, giving the audience a surprise of "he's not bad, and he's not that bad".

In fact, you don't need to go into detail to know that the audience has very low moral requirements for a character with the appearance of a little devil, so you can write about his bad side first, so that the audience can lower their expectations, and then write on the good side, which can double the audience's favorability towards it.

In addition, Murphy and George Martin had a few more secret conversations, and firmly weakened the aura of the protagonist in the series as much as possible, and when it was time to kill an important character, he must not be soft.

In Murphy's words to George Martin, "All characters are in the service of the plot, not the plot is meant to serve a certain character." ”

After modifying the plot of the little devil, it is time to polish the setting of the protagonist.

The concept in this regard is very clear, every character in the play is a contradictory and real existence, and everyone shows the dark side of human nature while fighting against fate, but it makes people hate it. (To be continued.) )