While registering the film company, Lei Weidong recruited Li Mingyu, the first employee of MSI Films.

Li Mingyu has long been tired of the job of a tour guide, but he can't find a chance to enter the film industry, he can only use this job to make a living, and now he can enter Lei Weidong's film company, even if it is a newly established film company, he can only do behind-the-scenes work, and he is very happy, because even if Lei Weidong's film company goes bankrupt, this is also a qualification.

So naturally, Li Mingyu became the first and of course the only employee of Lei Weidong's film company in the United States. And his task at the moment is only to answer the phone and clean up.

Lei Weidong's requirements for him are also very low, as long as he deals with some necessary things for the film company, such as paying water and phone bills, and what he does at other times, Lei Weidong doesn't ask at all, anyway, it is a shell company, and it is used to make a show, of course, the salary is not high, it is only enough to make a living.

Regardless, MSI Cinema America, Inc. was finally founded, albeit with only one employee.

After finishing some things, Lei Weidong took a few scripts and went to the copyright application agency of the script under the leadership of Li Mingyu.

The reason why Hollywood movies in the United States can conquer the world, in addition to those dazzling special effects, there is also a group of people who have made great efforts, and it can be said that without them, there would be no Hollywood success, and these people are talented screenwriters.

Unlike Hong Kong films, which don't pay much attention to screenwriting, the status of screenwriters in the United States is very high, and the income is also very staggering, in 2007, the average annual income of Hollywood screenwriters was $200,000, which is already high compared to the average annual income of Los Angeles County residents and most Americans.

As for the big screenwriters, they pay at least $1 million for scripts for films produced by big studios, while well-known screenwriters may get $4 million per movie. Even so, American screenwriters are still not satisfied, believing that their income is less, so much so that in 2008 a large-scale screenwriters' strike broke out, demanding that their income be comparable to that of actors and directors.

Not only that, but in order to protect their own interests, American screenwriters also became the Writers Guild of America, and at first film playwrights had their own branch, and television and radio playwrights had another branch, but in 1973, they finally merged together. The 2008 Writers' Strike was initiated by the Writers Guild of America.

It can be said that the Screenwriters Guild of America is an industry association for film and television screenwriters and creators, which is a trade union in the same industry and has independent legal personality, which can negotiate and sign contracts with the management party on behalf of members/members, and is legally binding on members/members.

The association fights for the rights and interests of its members, and all screenwriters who join the association will receive legal assistance from the association, whether in terms of remuneration or copyright disputes. The association has detailed regulations ranging from minimum wages to travel benefits. What's more, the Writers Guild of America negotiated with film and television production companies by voting for the best interests of its members.

It is the role of the Writers Guild of America that makes Hollywood movies endure,

Contrary to American films, Hong Kong films do not attach great importance to the screenwriting industry, believing that this industry is dispensable, and flying notes are the characteristics of Hong Kong films.

In Hong Kong, there are often famous screenwriters who die in poverty. Not to mention the golden decade of Hong Kong films, the film industry took this opportunity to accelerate the pace of formalization and organization - the Hong Kong Film Industry Association, the Hong Kong Film Directors Guild, the Hong Kong Performing Arts Association, and the Hong Kong Professional Cinematographers Association were established one after another, but the Film Screenwriters Guild was missing.

The Screenwriters Guild has not been established, and the reason for this has a lot to do with the low status of screenwriters in the Hong Kong film industry. The main reason for this situation is that people in the Hong Kong film industry believe that the threshold of the screenwriting industry is not high.

Under the film circle system with Hong Kong characteristics, it is very simple to be a screenwriter, that is, Zeng Zhiwei, who was born as a dragon and tiger martial artist, wrote several blockbuster scripts back then.

It is precisely because the threshold is not high that screenwriters have not been valued in the Hong Kong film circle for a long time, but in the years when Hong Kong films were booming, kung fu films were all in vogue, no matter how powerful the screenwriter was, he could only work for those kung fu stars and martial arts directors, and the screenwriter was responsible for writing the script for "Du Qiao", and the most famous of them were Cheng Long's "queen screenwriter" Deng Jinsheng and Sammo Hung's "Bridge King Military Division" Huang Bingyao.

Hong Kong screenwriters are roughly divided into two types, the most common is like the director's think tank, the director or producer comes up with an idea, and then finds a group of screenwriters to collectively write a story and write a script.

The other type is called "drama masters", which belong to the top handful of screenwriters, who enjoy almost the same power as directors, can propose complete story ideas, and have "ideological guidance" contributions to a film, such entry is also called "gold medal screenwriters".

However, most of the screenwriters who can be "gold medal screenwriters" in Hong Kong should be directors, which is also the reason why Hong Kong screenwriters have always been very scarce.

Although there is no shortage of many classics in Hong Kong movies, most of the movies are based on the lack of content, even in the glorious era of Hong Kong films in the future, it is normal for bad movies to account for the vast majority of the number.

Hong Kong's movies are deformed, and there are many reasons for their prosperity, but the most fundamental reason for the decline is that the foundation is incomplete, like the screenwriter in Hollywood, it can be said that it is an important part of a movie, without a good screenwriter, there is no good movie.

Where is like in Hong Kong, screenwriters basically want to be miscellaneous or fill in the gaps, and they don't have much status at all. If the innate foundation is not good, how can it be brilliant for a long time?

In the eyes of European and American audiences, Hong Kong movies can be said to have been non-standard in content, plots and even inconsistencies.

Of course, Hong Kong people do not attach importance to intellectual copyright is also an important reason, not to mention anything else, for example, Lei Weidong has a few scripts in his hands, in the United States, Lei Weidong can rest assured that the copyright application agency of the script can apply for copyright, as long as Lei Weidong has registered the copyright with the copyright society, there is no need to worry about other film companies or directors embezzling their own scripts.

Even if someone is greedy for Lei Weidong's creativity, he can't make a movie, because he can't pass the script application at the beginning.

To make a movie in the United States, you must first pass the script certification, proving that the content of your story is free of plagiarism and has not crashed. If someone else has not registered the content of your script, even if your script is much better than the registered script, with more explosive scenes, more plot progression, and completely different lens language, it will not pass the certification. And a script that has not been certified cannot be made into a movie.

In Hong Kong, on the other hand, many films have no scripts at all before they are made, and even if they do, they will be repeatedly revised during the filming process.

It can be said that Hong Kong filmmakers do not pay attention to the fruits of screenwriters' labor at all. If Lei Weidong takes the script to find Jiaqiao and those people, it is estimated that the script can sell for tens of thousands of Hong Kong dollars, and if it is not good, his script will be directly occupied by Jiaqiao, and it will be filmed under a different name when the time comes. And the movie made has nothing to do with Lei Weidong at all.