Rick is still unwilling to give up "Apollo 13". Compared with "Future Water World", this work can be said to be the most suitable choice for all the works in Rick's hands in recent times, whether in terms of script quality, investment scale, cast lineup, and character mining.

The most important thing is that "Apollo 13" not only satisfies Rick's ideas, but also meets Hugo's requirements. Although Hugo doesn't seem so satisfied, "Apollo 13" is not in a hurry to start filming, and is still in the process of seeking the cast of the actors.

So Rick hoped that Hugo could leave the script, read it a few more times, and then make a new decision. Hugo agreed.

On the one hand, because Hugo knows how to compromise and give in, Rick has made every effort to adjust, so he can read the script a few more times. Moreover, Rick's sentence "If necessary, you can put forward your own opinions, just like the "Shawshank Redemption" in the past. Even if it is not successful, at least you have tried it." He convinced Hugo.

On the other hand, Hugo believes that Tom Hanks is indeed more suitable for this script than him. Once Universal Pictures sends the invitation to Tom, Rick will understand this. Tom and Hugo are both actors under Rick, and when the palms and backs of his hands are fleshy, it is naturally a more suitable person to win. Therefore, there is no need for Hugo to refuse for a moment.

After seeing off Rick, Joseph also got busy reading the script. It was his most important job as a manager, and he was now shouldering heavy responsibilities.

Generally speaking, when an agent collects projects and recommends them to actors, he is the first check, but due to the agent's interests first and his subordinates have multiple actors to take care of, his checks are generally rough; then the manager reads and judges the scripts, and he is the second check, and he will attach all the scripts submitted by the agent to his own opinions, and then hand them over to the actors.

If the actor trusts the manager enough, or his tastes are exactly the same as the manager, then he will make a decision directly based on the manager's judgment; if the actor has his own opinion, or if he wants to make a judgment himself, then he will read the script himself and then make a decision based on the manager's opinions.

Therefore, an excellent agent and an excellent manager actually play an important role in the career of an actor.

However, Rick is very special at the moment. He attaches great importance to the cooperative relationship with Hugo. Moreover, the cooperation between the two has just begun and is still in the stage of exploring each other. He has done everything himself and negotiated in person many times. Most agents contact the actors by phone, or pass messages through the manager.

Due to the great success of "life and death speed", Hugo's next work has attracted a lot of attention. Rick and Joseph have taken it seriously, which has also led to Joseph's recent large number of scripts that need to be read carefully, which is even busier than Hugo, who is busy in the recording studio.

After seeing off Joseph and Rick, Hugo briefly read the script of "Apollo 13".

Hugo thinks that the script is actually a very wonderful thing. How did the screenwriters come up with these stories and how did they conceive these plots? Why did the same story appear differently under the writings of different screenwriters? For example, the story of "Schindler's List" has been revised for ten years. The story of "Pulp Novel" itself has no characteristics, but it has a spirit in Quentin Tarantino's writings? Then, if a real story or a comic or a novel is adapted into a movie, how to condense and connect it? The most important thing is, how is the connotation of the script reflected?

The work of a screenwriter sounds so magical and full of incredible. Of course, there is a more difficult director position than the work of a screenwriter. There is a big difference between a screenwriter and a director.

The creation of a screenwriter is the process of conceiving the plot, which is more of a flat one; while the creation of a director is the process of telling the story, which is more of a three-dimensional one, from the set, pattern to the picture, from dialogue, expression to performance. To give an incompletely correct example, the script is a book, and the director is a storyteller. The story is wonderful, but the storyteller may not be able to say it well. In addition to whether the audience loves to listen to it, in addition to the quality of the story, the skill of the storyteller is also very important. Of course, if the story itself is very bad, then even the ability of the storyteller is difficult to turn the tide even if the story goes against the will.

To a certain extent, many directors are good screenwriters, but screenwriters may not be able to succeed if they become directors at full time.

But in the final analysis, an excellent work starts with an excellent script.

Thinking of this, Hugo couldn't help but start to get distracted. In the works he has starred in, the importance of the script has been greatly exerted. For example, the description of the lieutenant colonel in "Smelling the fragrance and knowing the woman" is so delicate that it penetrates the soul, for example, the gentle and moving story telling an ordinary or even incredible story in "Seattle Night" is gentle and moving, the speed of life and death telling a seemingly simple story, and for example, "pulp novels" have opened up a completely different storytelling technique.

Let’s look at the “Apollo 13” in my hand. Why is this script considered stable? Because it simply states that classic historical event, but in the process of telling the story, it ignores the character’s creation and makes the character become a facial? But the question is, if you want to modify it, how should you modify it? Is it enough to add a few details? Obviously not.

When Hugo made modifications to the "Shawshank Redemption", he started from the character itself and put forward some embellishment opinions, but in fact, there were not many parts that really promoted the script to the plot; and now looking at "Apollo 13", even if Hugo wanted to modify it, he felt that he couldn't start.

Hugo became more and more interested in the role of screenwriter. He was very curious. If the screenwriter wanted to make modifications to "Apollo 13", where would he start? Thinking of this, Hugo suddenly remembered that why did he have to think about it alone? There was a ready-made wise elder around him who could give him some advice.

Hugo suddenly stood up and ran down to the second floor.

Standing at the door of the second floor, Hugo knocked politely. Ernst Lehmann came over to open the door without waiting for too long. Originally, he just opened a gap and saw through the crack of the door impatiently, but after he realized it was Hugo, he opened the door, but his mouth still complained impatiently, "What's wrong! If you apologize for the beer bottle in the corridor, then it won't be necessary. I've long been used to it. You young people are so bad, dirty, sloppy, noisy..."

"Enster, we didn't throw that beer bottle. I've been staying in the studio recently." Hugo interrupted Ernster, but Ernster turned around, frowned and stared at Hugo with a puzzled look on his face, with his face saying "I don't believe it."

Hugo was not guilty at all and looked at Ernst with a smile. It was obviously hot summer now and he was alone at home, but he was wearing a white shirt, tied all the buttons properly, and even tied a tie. His meticulous appearance made people mistakenly think that he had a dinner party to attend in the evening. The room was still full of countless books, making the air even more stuffy, and the whole room was like a steamer.

Hugo opened the door of the room, then opened the window, which made Ernst immediately start cursing, "Hey, young man! Are you crazy!"

Hugo glanced at Ernst helplessly, "Hey, old man! Don't you know it's August? Today's temperature is at least 95 degrees Fahrenheit, and you're still stuck at home, and you'll get sick sooner or later. Then you faint at home, who will know?" Looking at Ernst's angry eyes, Hugo glared back without caring at all, "Don't count on me, I can't know. I have a job, have you forgotten?"

"Whoever expects you! Tell, I don't think it's worth it just by singing. You are an actor, an actor! Don't be ungrateful!" Ernst cursed, but this situation has long been accustomed to Hugo. After living here for more than two years, Hugo has long known Ernst's personality. In fact, it is a typical hard-mouthed and soft-hearted heart, and a knife-like mouth and a tormented heart. Deep in Ernst's heart, he is lonely, the kind of loneliness that no one can understand, closed him in this sea of ​​books.

Hugo sympathized with Ernst, but he still admired him more. He admired the old man who devoted his whole life to the screenwriter. When he was old, he was abandoned by this circle that was bored with the new and tired of the old. Hugo held a frustration for him.

Hugo found a seat on the sofa, looked up at Ernst, and raised the script in his hand, "Yes, my singing job is not worth mentioning, so let's talk about your most proud work. I have a script here, come and have a look and give some comments."

"Script? You're crazy! I've stopped touching that thing!" Ernst said furiously, but walked to the opposite Hugo, sat down directly, then snatched the script and looked it away, but after all, I couldn't see it clearly. I took out reading glasses from my shirt pocket and put them on and read them, "'Apollo 13'! Who wrote this, no one who had heard of the name at all."

Hugo chuckled, "You have been away from this industry for more than fifteen years, aren't you? So it's normal for a few new faces you don't know."

Ernst sneered, but did not speak again, but read quietly.
Chapter completed!