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If his friend is in difficulty, Murphy will definitely not hesitate to help, but a person who has only worked together once, it is a different matter, even if the other party is a Hollywood star he once liked very much. Pen | fun | pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

No matter how you look at it, Murphy is not a person with universal feelings, let alone a lofty ideal of helping the world.

There must be a reward for paying, which is a very simple code of conduct for people of his class.

So, at the same time as the loan to Nicolas Cage, Stanton Studios also signed a formal contract with him.

The contract stipulates that the $20 million is the salary paid by Stanton Studios to Nicolas Cage in advance, and Nicolas Cage will need to appear in three films invested by Stanton Studios in the future, and play important roles in them.

With an average cost of less than $7 million per film, it is still very cost-effective to invite a star like Nicolas Cage, especially if he has not completely become the king of bad movies.

Subsequently, Murphy thought about his upcoming project and decided not to use Nicolas Cage in Inglourious Basterds.

The script and project plan for "Inglourious Basterds" are also the focus of Murphy's next work.

He went to the hospital again to visit Quentin Tarantino and had some brief exchanges about the project, which was the first meeting between Murphy and Quentin Tarantino after the negotiation, and the riffraff director also reminded Murphy of many precautions.

Leaving California Medical School, Murphy first asked Twentieth Century Fox to deal with these potential troubles.

Quentin Tarantino originally wanted to make the film an "Italian macaroni western", and he was also going to title the film Once Upon a Time in France at the Time of the Fall, but then gave up and decided to go with Inglourious Basterds.

This title is a bit problematic, and the English translation of the Italian film "Guilty and Meritorious" released in North America in 1978 is called "Inglourious Basterds".

In order to minimize the possibility of copyright disputes, after Murphy's communication, the people of Twentieth Century Fox approached the director of the film that year, and Enzo Castillari, the director of "Guilty and Meritorious", agreed to Murphy's use of the name "Inglourious Basterds" in exchange for him to show a small face in the film.

This condition was nothing at all, and Murphy and Twentieth Century Fox readily agreed.

In terms of script writing, Murphy will certainly use the outline provided by Quentin Tarantino as the main line, but this project has already been directed by him, and of course it is impossible to shoot and produce it in Quentin's way, and the styles of the two are only somewhat similar, not similar.

So, Murphy hired a team of five writers to help him complete the script for Inglourious Basterds as quickly as possible.

As long as he can control the team well, he can also provide more creativity for script writing when there are many people.

Creativity is a combination of self-expression and problem-solving, and in both cases, Murphy needs to gather a lot of ideas, but good ideas don't come out of nowhere, which takes a lot of time and energy.

In order to get a good idea and a good story, the most common and arguably most common thing for screenwriters is "brainstorming", where the team gets together to discuss ways to solve a problem.

But this so-called brainstorming cannot spread indefinitely, it must be suitable for the film, and Murphy must be appropriately limited and guided.

Murphy first asked the entire team of writers to clarify what to do with the first step, and the first step was to clarify the idea, theme and situation of the script, and confusion and anxiety were often caused by the unclear theme.

Seeing the theme, the screenwriters naturally have their own ideas, and they have to record these ideas, the screenwriters are never short of ideas, but there is a lack of good ideas that are suitable for making a movie, and everyone in Murphy's team has a lot of new ideas every day, especially at night.

So he asked every screenwriter to carry a pen and notebook with him, and when he went to bed, he wrote it down whenever they had an idea.

Everybody's ideas are different, which can lead to conflicts and conflicts, and after recording enough ideas, Murphy brings all the writers together for the smoothest face-to-face communication, which is what Hollywood team writers call brainstorming when creating.

Brainstorming is a good opportunity for ideas to exchange and collide, when Murphy discusses a problem with his friends, he will use a tape recorder to record the discussion process, no matter what the idea is, write it down on paper and nail it to the wall, every 15 minutes, the team takes turns to share a solution, in the last 15 minutes, look at all the discussions and problem lists, you will find a lot of problems.

After brainstorming, it takes someone who can really make a decision to make a decision, and this work is definitely in charge of Murphy, which is also a personal brainstorming, and he has to think about what the team brainstorms and then thinks.

Thinking will find problems, and then he will solve them, study the problems as deeply as possible, look at the problems from all angles, and calm down to find the problems and differences.

Work can't ignore rest, when Murphy has a rough plot and scene design, you can stop and take a break and do something completely different, inspiration always flashes inadvertently, such as when taking a shower or Superman vs. Wonder Woman.

While resting, Murphy also paid attention to keeping moving, and the right exercise can make the blood burn, Aristotle is known as the "philosopher of the free school" for his rampage in teaching and brainstorming.

Murphy captures every thought related to Inglourious Basterds, whether it is useful at the moment or not, and records it in a notebook or recording device.

During this period, he had some crazy ideas, but he didn't casually abandon or limit his thinking to the rules, because of the relationship between the theme and content of the film, he let his mind go crazy! Regardless of whether these ideas are silly or impossible, just follow the footsteps of your mind and fly freely.

Many questions are not unanswered, but because they dare not think about it.

Thinking too much, doubts arise in his mind, and when necessary, Murphy will ignore the doubts in his heart.

When he has a problem, there is always a voice deep inside that tells him "this idea is not good, this thing is not going to work".

It is this voice that hinders the pace of work, it will never stop, you have to know that this is not "its" work, its job is to question and criticize.

A successful director must learn to discern and listen to the good voice in his heart, the young, energetic, daring to think and do, and more creative voice.

In the end, Murphy is going to reinvent the story of Quentin Tarantino

For every movie he watches or every book he reads, he can rethink it from three different aspects, for example, it doesn't start like this, or the story takes place somewhere else, and then at the end of the film or story, he can also imagine three different endings, tragedy, comedy or open-ended ending.

In this way, Murphy led the screenwriting team to get the first draft of the script of "Inglourious Basterds" as quickly as possible, and the first draft was like walking barefoot through the grass, keeping it romantic, mischievous and absurd, and making up an ending for it.

Next, there are more detailed revisions.

Murphy was involved in the writing of the script from beginning to end, but not by himself, as he had done in the past, and as a director and screenwriter, he wanted to try a new model.

In some ways, there are two types of directors in Hollywood: those who write their own scripts and those who don't.

It's rare to have both, and to be able to alternate between a movie you wrote and a movie you didn't.

This is not to say that one type of director is more worthy of praise than another, they are just different, write their own script, you get a film with personal characteristics, there is a style that emerges quickly, and certain points of interest often reappear.

Therefore, in the face of the works of this kind of director, the audience is more in contact with a personality.

And if a director adapts a script written by someone else every time, he may do it very well - if the script is good - and it may make a great film, but he will never have the personal qualities that an author has.

Similarly, if you write a script and make a film with personal characteristics, but you can't say anything interesting or new about the film, then such a film will never be as good as a film adapted by a director with a good script.

"Once that distinction is made, I think all directors should make films for themselves, and their responsibility is to make sure that, no matter what obstacles they face, the film is their own from start to finish."

At Santa Monica's home, Murphy sat next to Gal Gadot, who was flipping through the first draft of the script, and said, "The director has to be the master of the film all the time, and once he becomes a slave, he becomes numb." ”

Gal Gadot looked up and said curiously, "You mean you don't care about the audience?" ”

"It's not!" Murphy shook his head without hesitation, "I mean that you must first satisfy yourself when you make a movie, and I don't mean that you should despise the audience. My personal feeling is that if you make a film that you like and it does well, then the audience will like it, or at least a part of the audience. ”

"Uh-huh...... Gal Gadot nodded repeatedly, his eyes fell back to the script, and he couldn't help but laugh when he saw the end, "What a feast of revenge for the Jews." ”

She turned to look at Murphy, "Thank you, honey. ”

Murphy shrugged his shoulders, but did not answer her words, this so-called Jewish feast of revenge, just for the needs of the film, has nothing to do with Gal Gadot's ethnicity.

Gal Gadot went to see the finale, and Murphy shook his head and casually said, "Why didn't the Jews resist at that time?" ”

"What?" Gal Gadot immediately looked at Murphy. (To be continued.) )