Before Hollywood screenwriters actually take up their posts, they will undergo professional training, because writing a script is not something that can be written at will. The script is not just a story, but also a container that uses a limited time to express wonderful things. Therefore, rhythm, framework, lines, and thoughts are indispensable components of the script.

Taking the most classic three-paragraph pattern in the script structure as an example, an excellent script will be divided into three parts: construction, confrontation, ending, and through rhythm control and ** settings, a ninety-minute story is told intriguingly, which is all of which are particular.

Therefore, it is very difficult to write a script casually in the manner of Hugo as an outsider. Although Hugo has the advantage of time travel and he knows what the story is like, the missed rhythm of the script's top points, turning point settings, and the lack of classic lines, will ruin a successful script.

The 2013 "Anti-world (up private de.down)" is a typical example. The movie tells a magical story. Two worlds that are inverted can only communicate with each other with a giant tower. This is a very easy-to-excite creative idea, but it was messed up by the screenwriter. The dragging and pale plot main line and lack of exploration sublimation, which completely ruined a brilliant idea.

In short, screenwriters are not something that anyone can be, and it is even more easy to be an excellent screenwriter and a successful screenwriter.

Action movies are a type of film that Hollywood has an excellent heritage. This type of film is the most outstanding in three-section style, establishing a framework, forming confrontation, and pushing it to the top. This rhythm routine is considered a classic among classics. "Real Lies" is the most recommended representative work, and it can be called the pinnacle of action movies.

It is not easy for action movies to break this routine and form innovation. This is also an important reason why this type of movie gradually declined after entering the 21st century, because the entire routine has been fully known to people, and there will naturally be no surprises without novelty. Action movies after the 21st century have no breakthrough in the story. They can only rely on large scenes created by computer special effects to attract attention, but instead lose their sense of reality.

"Speed ​​of Life and Death" is such a classic three-part script. The beginning lays the groundwork and sets the cause of the accident; the accident then broke out and the entire confrontation formed, and the danger was imminent; then the protagonist turned the tide and finally solved the problem.

In addition to the structure, the "speed of life and death" controls the rhythm, dangerous settings, problem solving and endings, all show new ideas. The bus that explodes when it speeds below fifty miles per hour is obviously a very outstanding innovation point, and the setting of action fighting scenes is also people-oriented. Although it is trapped by funding restrictions and there is no large-scale explosion and magnificent scene, the whole movie is constantly with a tense atmosphere, and it still has great success.

"Real Lies", also released in 1994, invested $115 million, and was starred by Arnold Schwarzenegger, who was in the glorious period of his actor career. The heroine is also a top celebrity Jamie Lee Curtis. This work has achieved great success in box office and reputation and is known as a classic masterpiece in action movies.

However, compared with the "true lie", the "speed of life and death" that only invested less than 30 million yuan was also called the top action movie in 1994. Even in the long history of Hollywood genre films, it is still a member of the world. It is generally considered to be the most representative work of the top ten action movies in the 1990s.

This shows the excellent script of "Speed ​​of Life and Death".

Therefore, even if Hugo travels through time, it is not so easy for him to make modifications to the script of "Speed ​​of Life and Death". After all, the reason why classics are considered classics is that they have been recognized by everyone because of their original appearance; but after Hugo reads the script of "Speed ​​of Life and Death", he did have a very strange idea: this script must be adjusted, which reminds Hugo of the "Soul of Shawshank".

The script "Shawshank's Redemption" is adapted from a novel, so it is even more difficult for Hugo to modify the script, but Hugo has his own ideas about the setting and psychological changes of the male protagonist, so he put forward his own opinions.

This time the same is true.

Hugo had different ideas about the setting of Jack, the male lead of "life and death speed", which is the conclusion he came to after examining the script from the perspective of an actor.

The original setting of "Speed ​​of Life and Death" is relatively close to the combination of "Die Hard" and funny comedy, so the male protagonist Jack is portrayed as a pretentious and slick character, but in fact it is very inconsistent and seems a bit out of place with the story setting of the entire script.

"I mean, you don't have any ideas about the passenger settings on the bus, right?" When Hugo mentioned that he thought Jack's character settings could be slightly adjusted, Jane and Graham were very interested, because few people would further explore the role settings of action movies.

To put it bluntly, the male protagonist in an action movie rolls up his sleeves and rushes forward to fight. Even if there is a part of fighting wits and courage, fighting, explosion, and pursuit are the key points. The movie does not have much space to explore the character's heart and personality. Therefore, the setting of the male protagonist in an action movie is generally very simple, righteous or upright, or humorous and elegant. Even classic characters like James Bond do not have much psychological exploration.

Now, Hugo actually started discussing the issue of character setting, which is naturally very surprising.

"I saw that there were whites, blacks, Indians, and yellow people on the bus, which can be said to be very complicated. There was always a reason for you to make such a setting, otherwise you would have no need to set it so well." Hugo's words made Graham nod slightly.

"In fact, I didn't think of any political metaphor," Graham replied. "But, Los Angeles is a multi-ethnic city, and it is impossible for all white people on a bus to be white. Moreover, the Rodney-King incident has not yet completely calmed down, so I have really conceived the roles of whites and blacks in the story, such as Mexicans, Indians, and yellow people."

In fact, the political metaphor is a kind of ideological ideology. Take Chinese as an example. It is now 1994 and the early 1990s. Americans have a thought about Chinese. Chinese people are backward, conservative, cowardly and timid. Most Chinese people are either black households or gangsters in Los Angeles, and then servants. Therefore, when Graham wrote the script, even if he had no political intentions and no intentional arrangements, the position of yellow people in the script he wrote was definitely affected by ideology.

So in the story, the Chinese women on the bus always had a helpless and numb expression, incompetent and timid, and could only wait for the vulnerable groups who were rescued.

Hugo did not intend to change the entire ideology, because it was a product of social culture for a long time. He could not rely on personal power to fight against the entire society. The reason why he mentioned this was because of the setting of the male protagonist, "So have you ever thought about why Jack had no other ideas when facing such a group of multiracial passengers?"

Hugo's rhetoric made Graham stuck, stunned for a moment, and said helplessly, "To be honest, I never thought that when I set up a role, I just thought that a funny and humorous character should be very good, and I can still make fun of it even in times of crisis and make the audience laugh."

"This is the difference between excellent and classic." Hugo's response made Graham feel embarrassed. As a newcomer who wrote a script for the first time, Graham was indeed inexperienced.

In fact, if Hugo writes the script, he probably won’t be much better, but after all, Hugo still has rich movie viewing knowledge. At the same time, as an excellent actor, he also has a unique perspective on the understanding of the role and the story, so he is very skilled when making suggestions.

"You think, if it's just a rescue issue, then the setting of the hero is very simple. A righteous hero, as for whether he is serious or humorous, it doesn't matter, but it's not the case in the story you wrote." Hugo's words silenced Graham, while Jane, who was sitting next to him, frowned and savored Hugo's words, "You wrote about the different performances of these passengers on the bus in the face of life-crisis, and they even had a dispute. As the only person who has hope to rescue them, what should Jack react in the car? "

"First of all, he can't be a racist." It was not Graham who spoke, but Jane. Although Jane was only a photographer, he had participated in the shooting of many good works and naturally had his own opinions on the movies, so someone was willing to let him serve as director.

Hugo smiled and nodded, "This is basic. But if he was a pretentious and self-righteous person, he might still be driven by a sense of justice in a critical moment to save everyone, but what would he think when facing the quarrels of ordinary citizens on the bus?"

"Tell a joke like Bond?" Samora's sudden words immediately made Jane, Graham, Ian and others stunned, while Hugo and Joseph couldn't help laughing and laughed.

Indeed, Graham's original setting for Jack was more similar to James Bond, and perhaps he could add a sense of humor. Such characters are suitable for saving the world gracefully and gentlemanly, rather than living and dying with the common people on the "speed of life and death" bus. This is too down-to-earth.
Chapter completed!