[US Entertainment] Best Director

The heat that "Approaching Iraq" won 12 Otis became more and more intense. In the end, netizens clamored and clamored to focus on whether "Approaching Iraq" could afford [-] Otis, and whether Prairius Unspoken rules were carried out, according to Heizi's words, "Why did Weinstein show his good brother Quentin's new work without public relations, why did he give you a newcomer with nothing to do public relations, there must be a shady scene", while they ignored Quentin's original work The fact that it doesn't meet Oscar's taste, on the other hand, forcibly eliminates the advantages of "Approaching Iraq", and portrays Prairis as a female star who relies on "body".

Eddie and Jerry think that this is because the hostile public relations company can't find the black spot of Prairie, so they can create a situation for her. Most of them are ordinary people who are ignorant and easily influenced by public opinion.

After some discussion, Eddie, Jerry, and Weinstein, who was hanging high on the side, decided to deal with this matter coldly and let the fans stir it up. If there is too much speculation, the topic will naturally fade away. Like the attitude of netizens towards Lindsay Ronan, all Pryris has to do is to post a statement on the Internet, saying that the clearer will be clear, and after the Oscar awards are announced, it will be clear what is right and what is wrong.

Prairis fans have two attitudes towards Heizi, one is like Joanna, who spoke out for Prairis in the media, "My family Prairis won the best picture Oscar for his first Olympic film, Rely on the body? Do you need it? Don’t think that others can’t do it because you can’t do it yourself.” The other is to watch the fire from the other side, ignore the world, and wait until the Oscars are awarded.

Prairie himself didn't care about the comments on the Internet. After persuading Joanna to delete the post, he completely indulged himself in the script changes of "Green Lantern" and kept his ears to the outside world.

After thinking and summarizing in the past few months, Prairis roughly listed a few points of failure in the previous life of "Green Lantern"——

The protagonist has a single character, and director Martin Campbell wanted to show the fearlessness and bravery of Green Lantern, but he filmed White Lotus when the overall plot structure was not strong.

The narrative in the early stage was long. In order to describe the complexity of the protagonist’s character, the director specially focused on describing the psychological shadow caused by the death of the protagonist’s father and so on. Later, he spent a lot of pen and ink to describe how the protagonist did not agree with him, which caused the overall film The structure is out of balance, and the proportion of martial arts is only a few tenths of the entire film.

The love lines of the hero and heroine are embarrassing. In order to cater to the mainstream superhero routines, the director in the previous life controlled the overall rhythm into four paragraphs of "don't accept-encourage the lover-accept-defeat the enemy", which makes the heroine seem like It became the switch to make Green Lantern a hero. The screenwriter of "Wolverine" still knew how to be euphemistic after a long time in the early stage, so that the death of the heroine became the switch to turn on Wolverine, while the screenwriter of "Green Lantern" in the previous life directly let the female lead The Lord said, "There must be a reason for the Green Lantern to choose you. Come on, you can do it." After saying that, the Green Lantern had an epiphany. People who didn't know thought the heroine was from a pyramid scheme, which was very embarrassing.

Another point is that the worldview is too narrow.The same interstellar theme, "Reunion 3" and "Doctor Who" at least know how to use various elements to enhance the interstellar atmosphere, using different planets and detailed dialogues to show a "punk" interstellar atmosphere, while "Green Lantern" It gave up the treatment, and there is only one scene for the description of Interstellar. Other than that, it starts to explain the plot of the protagonist "ah, I don't want to be the protagonist" and "ah, I can't".There is absolutely no innovation and sense of another world that interstellar themes should have.

After simply listing these points on paper, Prairius called the new screenwriter DC had found to his home.

The new screenwriter is Christopher Marcus, the screenwriter of the movie "Captain America: The First Avenger" under Marvel in his previous life. The written script will not become "Marvel style", but what the DC executives did not expect is that Prairis has some different views on the DC style that is well known to the public.

After a brief negotiation with Prairie, Christopher probably knew what type of script Prairie wanted.

"Green Lantern's life experience is completely deleted, the introduction of the world view is completely deleted, and the story of the heroine encouraging the hero is completely deleted?"

"That's right." Prairie nodded.

"You want to make a Marvel-style DC movie?" Christopher raised his eyebrows. After all, DC has always adhered to the ramblings, from the [-]th generation of superhero ancestors to the birth of the protagonist's entire personality. The most typical one is Nolan's. batman.

"I don't think this is a good idea, after all, the two styles are completely different." Christopher said.

"What is Marvel style? What is DC style?" Prairis asked Christopher the question.

"Marvel is full of characters, and there is no clear distinction between good and evil. DC emphasizes philosophy and darkness. Most of the protagonists know from the beginning that I want to eradicate evil forces." Christopher said.

The style of Marvel and DC in the early stage is indeed like this. This is because DC released Nolan. Wei has continued the style since "X-Men".

But Pryris knows that these two distinctive styles can coexist, and everything in the fixed style will change, and DC and Marvel will also have a certain "style blend" in later generations.

The so-called "Green Lantern" lost the DC style in the previous life, but it imitated Marvel but did not imitate the image, and inherited DC but not inherited.

The philosophy of DC and the huge system of Marvel's world view can be integrated to a certain extent, just like Einstein developed "Special Relativity" after writing "General Relativity", the philosophical thinking between the individual and the world is always There is no conflict, as long as the director can shoot.

Prairie took out the script of "Wolverine" sent to her from the drawer, and put it directly in front of Christopher.

The part drawn with a highlighter is very conspicuous under the light.

Christopher picked up the script and read it twice.

"What do you want to say?"

"Have you seen the movie version of Wolverine?" She folded her hands and asked,

"Of course." Christopher raised his eyebrows.

"So what do you think of the plot of "Wolverine"? Is it very DC to some extent?"

"On the contrary, I don't think "Wolverine" has a DC taste."

"That's right." Prairis raised the corners of his lips.

Christopher looked at Prairis puzzled, he thought she would say that the Marvel movie script was DCized to show that she could also make the DC movie script Marvelized.

Under Christopher's suspicious eyes, Prairis took out another script from the drawer. Unlike the one with a good skin just now, the skin of this one was rubbed to pieces, and the paper was full of traces of sketches.

Prairius also handed the script to Christopher.

"Let's see," she said.

Christopher hesitated, but took it and read it.

The handwriting is somewhat familiar.

But what is more familiar than the handwriting is the style of the script - DC, so DC!

If it weren't for the name of the protagonist with Wolverine, he might think that this is the script of a new movie made by DC.

There are a lot of dark elements, although the characters are not the usual flat style of DC, but you can still see a strong DC flavor.

.......

Christopher stroked the word "Wolverine" on the title page.

"I was going to take on Wolverine." Prairis casually sipped his coffee and added, "Before my salary negotiations with Marvel fell through."

"...script?" Christopher asked hesitantly.

"I changed it, and Gavin Hood, the new director of Wolverine, did the same."

"But his shots are not DC at all." Christopher frowned.

"The DC of the script can only show that the core of the story has added DC elements, and it does not mean that the final presentation of the movie will be DC. My dear, you are too underestimating the director's role in the language of the camera." Prairis raised his eyebrows.

Christopher was still hesitating.

Pryreth posed a second question to Christopher.

"What do you think is the biggest difference between Marvel movies and DC movies in terms of lens language?"

Screenwriter Christopher didn't care at all. Although he has been immersed in the film and television industry for more than ten years, he still only thinks about the difference between DC and Marvel in the script. As for other lighting and camera structures, he didn't care at all. The biggest difference between directors and screenwriters and other professions in the industry is that directors can do everything, and they turn the script into shots, lighting positions, camera positions, recording matters in their heads...while screenwriters Just know the script.

Christopher couldn't answer.

Pryris went on to say: "The biggest difference between Marvel and DC in terms of lens language is that DC follows the European philosophical narrative method with an objective lens throughout the entire line, while Marvel uses the favorite method of Hollywood blockbusters. The "Hollywood Three-Camera Rule", as long as the characters communicate, there will inevitably be objective shots, subjective shots, and semi-subjective shots alternating with each other, lingering a feeling of a blockbuster, the use of this technique can almost pull the audience into the situation in an instant among."

"So?" Christopher frowned.

"So your worries don't exist at all."

"Even if your script is very Marvelous, I can make it DC through film elements and camera use."

"That's what directors do, Chris."

"A new style of film, a new form of film."

"You don't want to start a new style of cinema with me?"

"This will go down in the history books, Chris."

Prairis curled his lips when he said this, but his tone was sincere and convincing.

"recorded in history"........

Who doesn't want it?

But even he himself can't guarantee that this new movie style will be successful.

Good movies are so hard.The new style is too difficult.

Will this film format of fire and ice win audiences' love?

He doesn't know.I can't guess.

But her words seemed to have magical powers, unconsciously making him indulge in the vicious cycle of "creating a new movie style".

Film is a new art based on technology. In just over 100 years, it has achieved such a splendid and prosperous scene because it has been innovating, experimental films, new technologies, new techniques... .Countless nouns with the word "new" make movies truly become things that are engraved in history.

Let me ask all filmmakers, who doesn't want to be associated with "new"?

Christopher naturally thought too.

I looked at Prairis repeatedly, thought for a long time, and finally agreed to try to use Marvel's narrative structure and camera performance coupled with DC's dark elements and philosophical thinking to tell the story of Green Lantern.

As for the final result........

How do you know if you don't try?