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> Chapter 461 Jack Su with Love Triangle (Subscribe) Catalog Set Bookmark Comments Chapter 461 Jack Su with Love Triangle (Subscribe)

Fiction: Best Movie Star Author: White Thirteen Words: 4928

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The $18.5 million box office in advance also confirmed Matthew's speculation that with "The Curse of the Black Pearl" as the basis, coupled with targeted large-scale publicity by Disney Pictures, the box office of "Coffin of Souls" is not a problem , and nemasore has also adjusted its estimate based on the early box office and audience response, and believes that the first weekend box office of "Gallery" in North America will be around 150 million US dollars.

Of course, Matthew is happy to see it succeed. In this era, films with a box office of over 100 million in the first weekend in North America can be described as extremely rare. In the past, none of the movies he starred in has achieved the feat of breaking through 100 million US dollars in the first weekend in North America.

"'Coffin of Souls' is a sequel."

In the office of the Angel Agency, Helen Herman said to Matthew, "It's too difficult for a non-adapted film, a non-sequel film, to make over 100 million at the North American box office."

Matthew fully agreed with Helen Herman, saying, "In the past two years, the original film situation has not been very good."

Helen-Hellman pointed to the core, "Too few original movies can really sell well at the box office. In the current market situation, even for a production of a medium to low scale, the film company has to spend tens of millions of dollars. The risk is many times greater when money is spent on original films.”

Although this is not good for the long-term development of the film industry, studios are all commercial companies. Investing in films is not for the pursuit of art. Even if it is replaced by Matthew’s investment, it is impossible for him to put aside projects with lower risks and higher returns. Invest in riskier films.

"It's normal," said Helen Herman, an agent and businessman, and film art is also not her pursuit, she said, "If you have an original script and a script based on a well-known work in front of you , which would you choose?"

Of course, choose the more famous one in his impression! But such words can't be said to Helen Herman, Matthew shrugged and said vaguely, "Does this kind of question still need an answer?"

In fact, when a star chooses a project, just like a movie company chooses a project, the script is only one of the factors, such as who the director and producer are, and the sequence must be ranked before the script. Flash Dance Novel Network

Up to now, Matthew has a deep understanding of Hollywood. For example, in the filming and production of American dramas, the script is the key, and the screenwriter has a lot of power. There have even been leading actors who offended the screenwriter, and the role was directly written to death by the screenwriter, resulting in A situation where the main character has to be out.

But in film production, the importance of directors and producers is far greater than that of screenwriters, who are often in a relatively awkward position.

It is very interesting that the rigid sharing agreement signed by the Producers Union and the major Hollywood unions has the same duration, that is, when the agreement between the Writers Union and the Producers Union expires, the agreement between the Actors Union and the Directors Union will also arrive. Expect.

Every time the agreement expires, it is the most turbulent moment in Hollywood. The major trade unions want to strive for more profits, and the Producers Alliance, which represents the interests of the management, will of course not agree.

As a result, the union began to prepare for a strike, but the strikes of the actors' union and the directors' union would not break out, because the management would show sufficient sincerity before the strike broke out.

It is often the writers' union that actually strikes. The writers' demands are not always taken seriously by the management, and the negotiations are always deadlocked.

It is obviously impossible for screenwriters to want a similar agreement between actors and directors. In the eyes of employers, they are far less important than the latter two.

Matthew is not very clear about how the independent film circle is, but the production of mainstream commercial films often starts with producers and projects, and then recruits screenwriters to write scripts. In the case of "Mr. and Mrs. Smith", if there is no Akiva Gauss Man, the first-line producer, will Summit Entertainment ignore Simon Kinberg?

Matthew saw the scripts of James Cameron's "Titanic" and "Terminator 2" last year. If you just read the script, it's really ordinary. "Terminator 2" is slightly better, "Terminator 2" "Titanic" is simply a **** love between a poor boy and a rich girl.

Movie screenwriters are always clamoring to surpass the actors and get the same power and status as the director, but in today's Hollywood, their demands are too unrealistic, and Hollywood doesn't need screenwriters to let their minds fly and create surprises. Eyeball's creativity, mainstream commercial films in Hollywood, and even most of the award-winning films in the awards season must conform to the traditional three-stage structure like an assembly line.

Screenwriters who want to break these have to invest in themselves or pack up and leave.

Having said that, the films that are really accepted by the audience every year, the box office or the awards season are often a typical three-stage structure.

Hollywood is a business world, and the market determines supply.

Most of the time, the scripts of major Hollywood productions are not the work of one person, but are often the product of teamwork. It is the norm for several screenwriters to co-write, and there are often more subdivided screenwriters behind each main screenwriter. These people were unable to obtain attribution rights, and their names could not be found in the film's credits.

There are definitely disadvantages to this model of pipeline production of scripts, but there are also advantages.

Every screenwriter has his own strengths and weaknesses. Pirates of the Caribbean has a huge team of screenwriters. Some are responsible for writing British dialogues, some for action scenes, some for funny jokes, and some for writing. Sailing on the Caribbean Sea and more.

Every screenwriter, under a unified style and template, writes what they are good at, and may not be very professional, but at least it seems like that when they appear in the movie.

This is not particularly obvious in "Pirates of the Caribbean". It involves professional movies, such as football, medical care, anti-terrorism or lawyers. Similar to this division of labor and cooperation model, the content of the film can avoid extremely embarrassing amateurishness. and so on.

If even the most basic conditions of the profession reflected in the film are wrong, the probability of success of this kind of film can be imagined.

Of course, not all scripts are like this.

There are also some crews and screenwriters, when encountering such a professional situation, they will use an extremely lazy method to solve it - if the professional is not enough, they will make up for the emotional drama.

Therefore, in some movies or dramas, there will be very surprising plots. A film and television drama about the workplace or business wars, whenever the content of the workplace and business wars is involved, it will always be taken over, using mv and Michael -Bei-style super-fast editing, after this episode, I can't wait to end it in a minute, but film and television works always have content, and it is impossible for the whole to be MV-style short-cut editing.

so what should I do now? For some screenwriters, this is simply too easy, just have a dog-blood love triangle, and Mary Sue or Jack Sue will solve it smoothly.

As for the so-called workplace and business battles, the screenwriter has never experienced or understood it, so how can he write relevant bridges and how to unfold the plot in detail? Therefore, the only professional movies or drama series that the audience can see are meaningless dog-blood love triangles.

When a professional career is written by someone who does not understand the profession, how to make up for the emptiness of what it says? The opportunistic screenwriter is so smart that he chose a theme-love.

Matthew can even imagine that he could write a "Coffin of Souls" in this way.

For example, let Will Turner be the Jack Sue, he fell in love with Elizabeth Swan smoothly, and was about to have a wedding, but got the news that Jack Sparrow was captured by the cannibal tribe, for his own good Friends, Will Turner, on the eve of the wedding, told Elizabeth Swan to temporarily postpone the wedding and went to rescue Jack Sparrow, and then had a verbal conflict with Elizabeth Swan.

The confrontation, based on the lines and lyrical footage alone, is enough to survive the first thirty minutes of the film, when Will Turner tells Elizabeth Swan how much he loves her, and Elizabeth Swan bursts into tears, accusing Will - Turner's true love is Jack Sparrow.

In the end, Will Turner chose to rescue Jack Sparrow, and the two characters could survive for another 30 minutes.

The group scene on the island can be changed to Elizabeth Swan and Jack Sparrow arguing with each other for jealousy, and dissatisfied with each other and Will Turner at the same time.

At the end of the scene, Jack Sparrow was tricked by Elizabeth Swan and swallowed by the Nordic Kraken. Will Turner jumped into the Nordic Kraken for the sake of ... no, it was friendship without hesitation. inside the mouth.

Elizabeth Swan swore that even if she chased the world of the dead, she would not let the two be together, so she searched for someone to go to the end of the world...

This is absolutely the perfect Jack Sue and dog blood love triangle.

Matthew can imagine that if the film is really shot like this, in the name of pirates, and all the plots serve the dog-blood love triangle, it is estimated that most of the audience will vomit blood and die in the theater.

After staying at Angel Agency for half a morning, Matthew left Helen Herman's office before noon. Before leaving, Helen Herman specifically told Helen Herman to contact the agents of Johnny Depp and Keira Knightley, Now that "Coffin of Souls" is a foregone conclusion, the three must strive for greater profits in the next "End of the World".

After leaving the Angel Agency, Matthew ignored the paparazzi behind him and drove directly to Amanda's apartment in Westwood. Alexandra Daddario, who was wearing a tight T-shirt and leggings, was already waiting. in front of the apartment building.

Alexandra Daddario got into Matthew's car and asked, "Where are we going?"

Matthew could see the flashing lights coming on nearby, but he didn't mind, saying, "I made a reservation at an ocean-view restaurant in Santa Monica."

Alexandra Daddario nodded and said, "Come on, I'm a little hungry."

The white Mercedes-Benz off-road vehicle drove forward, followed by the vehicle driven by the bodyguard, and then followed by many paparazzi.

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Chapter 461: Jack Su and Love Triangle (Subscribe) - Best Movie Star

Ask for monthly tickets and recommended tickets!

The $18.5 million box office in advance also confirmed Matthew's speculation that with "The Curse of the Black Pearl" as the basis, coupled with targeted large-scale publicity by Disney Pictures, the box office of "Coffin of Souls" is not a problem , and nemasore has also adjusted its estimate based on the early box office and audience response, and believes that the first weekend box office of "Gallery" in North America will be around 150 million US dollars.

Of course, Matthew is happy to see it succeed. In this era, films with a box office of over 100 million in the first weekend in North America can be described as extremely rare. In the past, none of the movies he starred in has achieved the feat of breaking through 100 million US dollars in the first weekend in North America.

"'Coffin of Souls' is a sequel."

In the office of the Angel Agency, Helen Herman said to Matthew, "It's too difficult for a non-adapted film, a non-sequel film, to make over 100 million at the North American box office."

Matthew fully agreed with Helen Herman, saying, "In the past two years, the original film situation has not been very good."

Helen-Hellman pointed to the core, "Too few original movies can really sell well at the box office. In the current market situation, even for a production of a medium to low scale, the film company has to spend tens of millions of dollars. The risk is many times greater when money is spent on original films.”

Although this is not good for the long-term development of the film industry, studios are all commercial companies. Investing in films is not for the pursuit of art. Even if it is replaced by Matthew’s investment, it is impossible for him to put aside projects with lower risks and higher returns. Invest in riskier films.

"It's normal," said Helen Herman, an agent and businessman, and film art is also not her pursuit, she said, "If you have an original script and a script based on a well-known work in front of you , which would you choose?"

Of course, choose the more famous one in his impression! But such words can't be said to Helen Herman, Matthew shrugged and said vaguely, "Does this kind of question still need an answer?"

In fact, when a star chooses a project, just like a movie company chooses a project, the script is only one of the factors, such as who the director and producer are, and the sequence must be ranked before the script. Flash Dance Novel Network

Up to now, Matthew has a deep understanding of Hollywood. For example, in the filming and production of American dramas, the script is the key, and the screenwriter has a lot of power. There have even been leading actors who offended the screenwriter, and the role was directly written to death by the screenwriter, resulting in A situation where the main character has to be out.

But in film production, the importance of directors and producers is far greater than that of screenwriters, who are often in a relatively awkward position.

It is very interesting that the rigid sharing agreement signed by the Producers Union and the major Hollywood unions has the same duration, that is, when the agreement between the Writers Union and the Producers Union expires, the agreement between the Actors Union and the Directors Union will also arrive. Expect.

Every time the agreement expires, it is the most turbulent moment in Hollywood. The major trade unions want to strive for more profits, and the Producers Alliance, which represents the interests of the management, will of course not agree.

As a result, the union began to prepare for a strike, but the strikes of the actors' union and the directors' union would not break out, because the management would show sufficient sincerity before the strike broke out.

It is often the writers' union that actually strikes. The writers' demands are not always taken seriously by the management, and the negotiations are always deadlocked.

It is obviously impossible for screenwriters to want a similar agreement between actors and directors. In the eyes of employers, they are far less important than the latter two.

Matthew is not very clear about how the independent film circle is, but the production of mainstream commercial films often starts with producers and projects, and then recruits screenwriters to write scripts. In the case of "Mr. and Mrs. Smith", if there is no Akiva Gauss Man, the first-line producer, will Summit Entertainment ignore Simon Kinberg?

Matthew saw the scripts of James Cameron's "Titanic" and "Terminator 2" last year. If you just read the script, it's really ordinary. "Terminator 2" is slightly better, "Terminator 2" "Titanic" is simply a **** love between a poor boy and a rich girl.

Movie screenwriters are always clamoring to surpass the actors and get the same power and status as the director, but in today's Hollywood, their demands are too unrealistic, and Hollywood doesn't need screenwriters to let their minds fly and create surprises. Eyeball's creativity, mainstream commercial films in Hollywood, and even most of the award-winning films in the awards season must conform to the traditional three-stage structure like an assembly line.

Screenwriters who want to break these have to invest in themselves or pack up and leave.

Having said that, the films that are really accepted by the audience every year, the box office or the awards season are often a typical three-stage structure.

Hollywood is a business world, and the market determines supply.

Most of the time, the scripts of major Hollywood productions are not the work of one person, but are often the product of teamwork. It is the norm for several screenwriters to co-write, and there are often more subdivided screenwriters behind each main screenwriter. These people were unable to obtain attribution rights, and their names could not be found in the film's credits.

There are definitely disadvantages to this model of pipeline production of scripts, but there are also advantages.

Every screenwriter has his own strengths and weaknesses. Pirates of the Caribbean has a huge team of screenwriters. Some are responsible for writing British dialogues, some for action scenes, some for funny jokes, and some for writing. Sailing on the Caribbean Sea and more.

Every screenwriter, under a unified style and template, writes what they are good at, and may not be very professional, but at least it seems like that when they appear in the movie.

This is not particularly obvious in "Pirates of the Caribbean". It involves professional movies, such as football, medical care, anti-terrorism or lawyers. Similar to this division of labor and cooperation model, the content of the film can avoid extremely embarrassing amateurishness. and so on.

If even the most basic conditions of the profession reflected in the film are wrong, the probability of success of this kind of film can be imagined.

Of course, not all scripts are like this.

There are also some crews and screenwriters, when encountering such a professional situation, they will use an extremely lazy method to solve it - if the professional is not enough, they will make up for the emotional drama.

Therefore, in some movies or dramas, there will be very surprising plots. A film and television drama about the workplace or business wars, whenever the content of the workplace and business wars is involved, it will always be taken over, using mv and Michael -Bei-style super-fast editing, after this episode, I can't wait to end it in a minute, but film and television works always have content, and it is impossible for the whole to be MV-style short-cut editing.

so what should I do now? For some screenwriters, this is simply too easy, just have a dog-blood love triangle, and Mary Sue or Jack Sue will solve it smoothly.

As for the so-called workplace and business battles, the screenwriter has never experienced or understood it, so how can he write relevant bridges and how to unfold the plot in detail? Therefore, the only professional movies or drama series that the audience can see are meaningless dog-blood love triangles.

When a professional career is written by someone who does not understand the profession, how to make up for the emptiness of what it says? The opportunistic screenwriter is so smart that he chose a theme-love.

Matthew can even imagine that he could write a "Coffin of Souls" in this way.

For example, let Will Turner be the Jack Sue, he fell in love with Elizabeth Swan smoothly, and was about to have a wedding, but got the news that Jack Sparrow was captured by the cannibal tribe, for his own good Friends, Will Turner, on the eve of the wedding, told Elizabeth Swan to temporarily postpone the wedding and went to rescue Jack Sparrow, and then had a verbal conflict with Elizabeth Swan.

The confrontation, based on the lines and lyrical footage alone, is enough to survive the first thirty minutes of the film, when Will Turner tells Elizabeth Swan how much he loves her, and Elizabeth Swan bursts into tears, accusing Will - Turner's true love is Jack Sparrow.

In the end, Will Turner chose to rescue Jack Sparrow, and the two characters could survive for another 30 minutes.

The group scene on the island can be changed to Elizabeth Swan and Jack Sparrow fighting for each other and being jealous~lightnovelpub.net~ At the same time dissatisfied with each other and Will Turner, they fought on the island and survived half a Hours are no problem.

At the end of the scene, Jack Sparrow was tricked by Elizabeth Swan and swallowed by the Nordic Kraken. Will Turner jumped into the Nordic Kraken for the sake of ... no, it was friendship without hesitation. inside the mouth.

Elizabeth Swan swore that even if she chased the world of the dead, she would not let the two be together, so she searched for someone to go to the end of the world...

This is absolutely the perfect Jack Sue and dog blood love triangle.

Matthew can imagine that if the film is really shot like this, in the name of pirates, and all the plots serve the dog-blood love triangle, it is estimated that most of the audience will vomit blood and die in the theater.

After staying at Angel Agency for half a morning, Matthew left Helen Herman's office before noon. Before leaving, Helen Herman specifically told Helen Herman to contact the agents of Johnny Depp and Keira Knightley, Now that "Coffin of Souls" is a foregone conclusion, the three must strive for greater profits in the next "End of the World".

After leaving the Angel Agency, Matthew ignored the paparazzi behind him and drove directly to Amanda's apartment in Westwood. Alexandra Daddario, who was wearing a tight T-shirt and leggings, was already waiting. in front of the apartment building.

Alexandra Daddario got into Matthew's car and asked, "Where are we going?"

Matthew could see the flashing lights coming on nearby, but he didn't mind, saying, "I made a reservation at an ocean-view restaurant in Santa Monica."

Alexandra Daddario nodded and said, "Come on, I'm a little hungry."

The white Mercedes-Benz off-road vehicle drove forward, followed by the vehicle driven by the bodyguard, and then followed by many paparazzi.