Hollywood Road

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If it were his friend who was in trouble, Murphy would definitely help without hesitation, but it was a different matter for someone who had only worked with him once, even if the other party was a Hollywood star he liked very much.

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

For people of his class, there must be rewards for giving. This is a very simple code of conduct.

So, while providing a loan to Nicolas Cage, Stanton Studios also signed a formal contract with him.

According to the contract, the 20 million US dollars is the remuneration paid to Nicolas Cage in advance by Stanton Studio. Role.

With an average price 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.

Murphy then considered his upcoming project and decided not to use Nicolas Cage in Inglourious Basterds.

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

He went to the hospital to visit Quentin Tarantino again, and had some simple exchanges on the project. This was the first meeting between Murphy and Quentin Tarantino after the negotiation, and the ruffian director also reminded Much attention has been given to Murphy.

Leaving CalMed, Murphy first asked 20th Century Fox to address these potential troubles.

Quentin Tarantino originally wanted to make the film a "spaghetti western," and he was going to title it "Once Upon a Time in Fallen France," but dropped it in favor of "Inglourious Basterds." ".

There is something wrong with the title of the film. The English translation of an Italian film "Die Gui Gong" released in North America in 1978 is called "Inglourious Basterds".

In order to minimize the possibility of copyright disputes, after Murphy communicated, people from 20th Century Fox found the director of the film that year, and Enzo Castellari, the director of "Die Guilty", agreed to Murphy's use of The price of the name "Inglourious Basterds" is that he has to show a small face in the film.

This condition was nothing at all, and both Murphy and 20th Century Fox readily agreed.

In terms of script writing, Murphy will definitely use the outline provided by Quentin Tarantino as the main line, but this project has already been directed by him. Of course, it is impossible to shoot and produce in Quentin's way. The styles of the two are just some Similar, not identical.

So, Murphy hired a five-person screenwriter team to help him complete the script of "Inglourious Basterds" as soon as possible.

As long as he can control the team well, even with a large number of people, he can provide more creativity for script writing.

Creativity is the ability to combine self-expression and problem-solving. In both aspects, Murphy needs to gather a lot of whimsical ideas, but good ideas don’t come out of thin air, it takes a lot of Time and energy, as the saying goes, when the book is used, you will hate it.

In order to get good ideas and good stories, the most common and arguably the most commonly used method for screenwriters is "brainstorming", where the team gathers to discuss solutions to problems.

But this so-called brainstorm cannot spread without limit, it must be suitable for the film, and Murphy must be properly restricted and guided.

Murphy must first let the entire screenwriting team know how to take the first step. The first step is to clarify the idea, theme and situation of the script. Confusion and anxiety are often caused by unclear themes.

Seeing the theme, the screenwriters will naturally have their own ideas. To record these ideas, the screenwriters are never short of ideas, but they lack good ideas that are suitable for filming. Everyone in Murphy's team has a lot of novelties every day thoughts, especially at night.

So he asked every screenwriter to carry pens and notebooks with him,

Sleeping is no exception, and whenever an idea pops into their head, they write it down.

Everyone has different ideas, which will cause contradictions and collisions. After recording enough ideas, Murphy called all the screenwriters together for the smoothest face-to-face communication. The so-called brainstorming.

Brainstorming is a good opportunity for ideas exchange and collision. When Murphy discusses issues with his friends, he will use a tape recorder to record the discussion process. No matter what the idea is, write it on paper and nail it to the wall. For 15 minutes, the team takes turns sharing a solution, and in the last 15 minutes, looking at all the discussions and question lists, you will find many problems.

After brainstorming, someone who can really make a decision needs to make a decision. Murphy must be in charge of the work in this area. This is also a personal brainstorming. He has to think about the results of the team brainstorming.

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

Rest cannot be ignored at work. When Murphy has a general plot and scene design, he can stop and take a break to do something completely different. Inspiration always flashes inadvertently, such as taking a bath or Superman vs. Wonder Woman When you are a hero.

While resting, Murphy will also pay attention to maintaining exercise. Proper exercise can make the blood burn. Aristotle is known as the "peripatetic philosopher" because of his rampage during teaching and brainstorming.

Murphy would capture every thought about Inglourious Basterds, whether it was useful at the moment or not, and record it in a notebook or recording device in time.

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

Many questions are not without answers, but because they dare not think about them.

If you think too much, you will have doubts in your heart. When necessary, Murphy will ignore the doubts in your heart.

When he encounters a problem, there will always be a voice deep in his heart telling himself "this idea is not good, this thing will not work".

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

A successful director must learn to distinguish and listen to the good voice deep in his heart, that young, energetic voice that dares to think and do, and is more creative.

In the end, Murphy is all about remaking the Quentin Tarantino story

For every movie he watches or every book he reads, he can rethink it in three different ways, like it didn't start like this, or somewhere else in the story, and then in the movie or story At the end of the book, you can also imagine three different endings, tragedy, comedy or an open ending.

In this way, Murphy led the screenwriting team to finish the first draft of the script of "Inglourious Basterds" as quickly as possible. Writing the first draft is like walking barefoot on the grass, keeping it romantic, naughty and absurd, and writing an ending for it.

Next, is the finer revision work.

Murphy participated in the writing of the script throughout, but he did not basically complete it by himself as in the past. As a director and screenwriter, he also 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 films I wrote and films I didn't write.

It's not that one type of director is more admired than another, they're just different, you write your own script, you get a film with your own idiosyncrasies, a style emerges quickly, and Certain points of interest often reappear.

Therefore, in the face of the works of such directors, the audience is more in contact with a personality.

And if a director adapts a screenplay written by someone else every time, he may direct extremely well and may produce a great movie if the script is good, but he will never have the personal personality that an author does. idiosyncratic.

Similarly, if you write your own 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 director’s adaptation with a good script. Film.

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

At home in Santa Monica, Murphy sat next to Gal Gadot, who was flipping through the first draft of the script, and said, "The director must always be the master of the film. Once he becomes a slave, he is numb."

Gal Gadot raised his head and said curiously, "You mean you don't care about the audience?"

"No!" Murphy shook his head without hesitation, "I mean that you should first satisfy yourself when you make a movie. I don't mean that you should despise the audience. My personal feeling is that if you make a movie that suits you If the film is done well, then the audience will like it, or at least a part of the audience will like it."

"Hmm..." Gal Gadot nodded again and again, his eyes fell back to the script, and he couldn't help laughing at the end, "What a feast of revenge for the Jews."

She turned to look at Murphy, "Thank you, dear."

Murphy shrugged, but didn't answer her words. This so-called feast of Jewish revenge was just for the needs of the film and had nothing to do with Gal Gadot's ethnicity.

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

"What?" Gal Gadot immediately looked at Murphy.