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What is the most important thing about such a film? Just like for the film, Deadpool's most important ability is the mouth cannon, it will never be the story, logic or philosophical thinking, but the charm of the character!

In other words, the character of Deadpool, who will appear on the big screen at that time, must show a very alternative and transcendent charm!

Therefore, in the script prepared by Murphy, the three elements of the movie story are: character, character, or role!

Other structures, rhythms, and plots are all secondary, only by standing up the role of Deadpool, the audience will follow the journey without regrets and willingly, if the characters don't stand up, then this story that looks special, but in fact is still cliché, can't be told, the audience will continue to compete whether the logic is reasonable, and will continue to find various plot loopholes, so things will be difficult to do.

Murphy starts by thinking about how the story will affect the protagonist – not the audience, not the production company, not himself – and ignore the genre of the film, such as "What makes a good superhero movie?" ”

Instead, Murphy thinks more about what kind of strife Deadpool should get into, and then comes up with a viable story that builds on the characters to create a strong, clear story.

Murphy's special attention is that the story idea must be active, the story must be carried out by the protagonist Deadpool, and it is Deadpool's actions and behaviors that define the whole story.

Inspiration for writing a movie script can take many forms: it can be a specific scene with a character, an exciting emotional impulse, or an abstract idea about the concept of a story, such as the concept of a Star Wars prequel trilogy where you thought you could fight the forces of the dictatorship, but those forces will eventually win.

Regardless of the form of story inspiration, as long as Deadpool gets the germ of the story, Murphy can use it to create solid, workable stories.

Deadpool is perverted like a non-human, but Murphy will not build a story around non-human, that is not a story that a screenwriter should do, all good stories are structured around people and conflicts, not to mention that Deadpool is just a modified person, including "Finding Nemo", "Bambi" and "Shrek" and other films that use other biological forms to hide their human nature, and when imagining the protagonist, you must also think clearly about what the protagonist's flaws are.

Yes, flaws are very important for a movie character these days.

Maybe others haven't seen this yet, but Murphy knows very well that the kind of character who can do everything and can easily solve his own troubles is no longer suitable for the needs of movies in this era, so Superman movies are the most difficult superhero movies to shoot, and Batman has to fall from the altar to complete redemption.

A similar character flaw, which Murphy calls a "fatal flaw", is a very important human trait that a character lacks, which is not something that the character needs or naturally carries in the film, but something that the director or screenwriter needs to give the character.

This "flaw" can be an addiction or a wrong target, such as the wealth and power in "The Wolf of Wall Street" are always good; Hope in "Hal the Philistine" is popular, and so on.

As the initiator and actual implementer of the project, Murphy must "discuss" this deep problem with the protagonist Deadpool face-to-face when constructing the character of Deadpool, which will ultimately bring a very important change to the end of the story.

What are Deadpool's flaws? Chattering, lustful, greedy for money, irresponsible......

Chatter requires a certain design, can't be unlimited nonsense, that will only cause the audience to resent it, in this regard, Murphy called Robert Downey Jr., specifically asked him to come over for a day, Robert Downey Jr. himself is a mouth cannon type of chatter, after communicating with Murphy, take away a lot of comics about Deadpool and Murphy's outline template, to design mouth cannon lines for Deadpool.

Deadpool is very lustful, no matter which comic work, as long as the woman who appears as the protagonist has kissed and made love to him in the end, especially because he can't die, he once fell in love with the female Grim Reaper, and then was cursed by Thanos, who also fell in love with the female Grim Reaper, and became an immortal body, unable to be with her.

Therefore, a glamorous and sexy heroine is a must, and two people should be equally lustful, you can set up an emotional scene, these two people have been hiding together for a year, changing their tricks.

Character flaws can bring Deadpool closer to the audience, make him appear more attractive, and resonate with the audience, but to create such a character, it is not enough to have character flaws, Deadpool also needs to have a path to satisfaction, that is, the character's plan.

In the script and in the film, Murphy has to make Deadpool embark on his own journey and make the characters feel pain in their hearts.

Correspondingly, Wade Wilson decided to conduct dangerous human experiments because of love and cancer, and became a person who was not a ghost or a ghost, and also wanted to regain his original appearance because of love.

There will definitely be a lot of pain in between, but it is necessary.

For example, in "Midnight Cowherd", Joe Buck decided to become the most successful male publicist in New York, is that really a bad idea? In fact, he learned more along the way than ever before.

Similarly, in Maria, the 18-year-old pregnant heroine gives up her job and has to earn money quickly, so she decides to become a drug dealer.

For movies and scripts, such a very bad idea as a character is perfectly correct!

The two protagonists thought they could control the ending, but they didn't, and their failures made the film a success.

So, Murphy will be here to exert his strength, and he will have to put Deadpool on a painful path, which will be cruel and rude, but it will also be compassionate, and letting Deadpool embark on this tortuous journey will instead cause some kind of radical change or recognition.

This path to contentment and ultimately failure is the plot he needs, and it is also a map for Deadpool and the audience to a new world.

And these will also reflect the values that a movie character must have.

In the movie, you can see very familiar values, such as "love will find a way", "be yourself", "connect with people", "money is not everything", "family can save you" and so on.

In the past, Hollywood referred to these as "messages," the basic truths that the public struggled to believe in life.

However, the values of the characters in the film should not be sermons or essays by priests, not forcefully stuffed with the audience, but should be expressed through theatrical means such as activities, actions and words.

And Deadpool's values are very special, which is also part of the charm of the character.

After setting up Deadpool's flaws, action journey, and value orientation, Murphy then developed a list of actions in the script for him.

Through this table, Murphy combined the various settings of Deadpool into a coherent story that could be used as an expanded version of the "pitch".

In fact, once Murphy completes the form, it can be taken to heart and given to Bill Rothes and Carla Firth for a preliminary look.

The action structure is a collection of all the elements that form the basis of a screenplay's story, and in doing so, Murphy is able to see the whole story at once, such as the usual "sedition," "call to action," "climax," and "determination" in Hollywood.

He would distill his ideas into six to ten very short paragraphs, no more than two pages of a normal script.

It's not going to be a table of events, and Murphy doesn't have to list specific, actual scenes in the story.

Action structure is a way to define the main arcs and values without having to fill in all the details, for example, in the second act of the script, he can set "something bad happened" as a placeholder, because these actions and events can be detailed in the event table.

It's also much easier to work in this area, and Hollywood has ready-made action structure sheet templates to use.

With these done, Murphy can use this as a model to fill in the situation of the template, and start filling the content of the script story, and the filling will not do anything unexpected, and will develop according to the traditional three-stage structure.

Although the whole story will be flashbacked, the rhythm still follows the standard Hollywood model, Deadpool must start with a relatively ordinary little character, and then through some inconspicuous little things, intersect with other main characters, and even clash, which is also a very common way of writing to inspire events.

Once Deadpool triggers an event, he needs to make a decision, and the decision in the script is not because of desire or the character's plan, but Murphy's way of pushing Deadpool the way he should go.

Then comes the journey and trials of the second act of the three-part structure, and the simple story of Deadpool when he was an ordinary person will be complicated in the process.

In the process, the reality of the other characters and Deadpool's bad decisions creates more pain and complication for the protagonist, forcing the characters to struggle, pushing the plot forward, and complicating the story even more - the protagonist can't move forward without doing something, and the protagonist has exhausted all avenues.

At this point, the second act can also be declared closed, followed by the crucial third act.

The third act is the protagonist's decision and the climax of the whole story.

Once an important decision is made, Deadpool as the protagonist no longer struggles with the main problem, and the only thing Murphy needs to solve is the conflict between people, and the values that Deadpool eventually develops.

That, of course, is Deadpool's decision to change and recognize his flaws.

This is the value of the story, where the characters finally understand why the initial plan or "satisfaction" is a mirage, but also gains something more important, a new understanding of themselves.

This is the end of the script, the whole story is officially completed, and then Murphy modifies and fills in some of the border boxes, such as Deadpool's mouth cannon lines, in addition to borrowing part of the comics, and also giving it to Robert Downey Jr. to write to be more in line with the current social situation.

The black humor scene in it also enlisted the help of Seth Rogen and Jonah Hill, who ended their vacation, and the two fat men are both good at funny.

After completing the first draft of the script, Murphy passed it to Bill Rothes and Carla Firth respectively, along with the proposed proposal, and they needed to fight for the rights to the project to make it happen. (To be continued.) )