Hollywood Road

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What is the most important thing about such a film? Just like for the film, the most important ability of Deadpool is talking, it will never be a story, logic or philosophical thinking, but the charm of the character!

In other words, the character of Deadpool who will appear on the big screen at that time must show a very different and extraordinary charm!

Therefore, in the script prepared by Murphy, the three elements of a movie story are: character, character, and character!

Other structures, rhythms, and plots are all secondary. Only when the character of Deadpool is standing up, will the audience follow this journey willingly and without complaint or regret. If the character does not stand up, then this seemingly In particular, there is no way to tell a clichéd story. The audience will constantly compete whether the logic is reasonable, and will continue to find various loopholes in the plot, so things will be difficult to handle. ( ?［{[Bayi Chinese{ 〕\u003e\u003e\u003e\u003e?]\u003e\u003e〕]〉

Murphy starts by thinking about how the story will affect the main character—not the audience, not the studio, not himself—regardless of genre questions like "what makes a good superhero movie?"

On the contrary, Murphy thinks more about what kind of disputes Deadpool should be involved in, and then come up with a feasible story, based on the characters, to create a strong and clear story.

Murphy paid special attention to the fact that the story idea must be active, and the story must be carried out by the protagonist Deadpool. It is Deadpool's actions and behaviors that define the entire story.

Inspiration comes in many forms when it comes to writing a screenplay: it can be a specific scene involving a character, it can be an exciting emotional charge, or it can be an abstract idea of ​​a story concept, such as "You thought you were Powers that can fight dictatorships, but those forces will win in the end,” the concept of the Star Wars prequel trilogy.

Regardless of the form of story inspiration, as long as Deadpool gets the germ of the story, Murphy can use it to create a solid, viable story.

Deadpool is perverted like a non-human, but Murphy will not build a story around a non-human, that is not what a screenwriter should do. All good stories are constructed around people and conflicts, not to mention that Deadpool is just a transformation People, including "Finding Nemo", "Bambi" and "Shrek", which use other biological forms to hide their human nature, should think clearly about the protagonist's flaws when imagining the protagonist.

Yes, flaws are very important to a movie character these days.

Maybe others haven't seen this yet, but Murphy is very clear that the kind of omnipotent characters who can easily solve their own troubles are no longer suitable for the needs of movies of this era.

Therefore, human movies are the most difficult superhero movies to shoot, and Batman has to fall from the altar to complete his redemption.

Similar character flaws are called "fatal flaws" by Murphy. They are very important human characteristics that a character lacks.

This "flaw" may be an obsession, or it may be a wrong goal, such as the wealth and power in "The Wolf of Wall Street" are always good; the hope in "Mediocre Hal" is popular and so on.

As the initiator and real implementer of the project, when Murphy constructed the character of Deadpool, he had to "discuss" such deep-seated issues face-to-face with the protagonist Deadpool, which will eventually bring a very important conclusion to the end of the story. Variety.

What is Deadpool's flaw? Talkative, lustful, greedy for money, irresponsible...

Talking needs a certain design, and you can't talk nonsense without limit. It will only disgust the audience. In this regard, Murphy called Robert Downey Jr. and asked him to come over for a day. Robert Downey Jr. is a Talkative talker, after communicating with Murphy, he took away a lot of comics about Deadpool and Murphy's outline template to design a mouthful line for Deadpool.

Deadpool is very lustful, no matter which manga works, as long as the woman who appeared as the protagonist has kissed and made out with him in the end, especially because he couldn't die, he once fell in love with the female death god, and later he was also in love with the female The curse of the god of death, Thanos, became immortal and could not be with her.

Therefore, a glamorous and sexy heroine is a must, and two people need to be equally lustful, so you can set up an emotional scene. The two people hide together for a year, lingering and having sex in different ways.

Character flaws can bring Deadpool closer to the audience, making him more attractive and resonating with the audience, but to create such a character, it is not enough just to have character flaws, Deadpool must also have a way to pass through The path to fulfillment, that is, the character's plan.

In the script and film, Murphy must let Deadpool embark on his own journey and make the character feel pain in his heart.

Correspondingly, because of love and cancer, Wade Wilson decided to carry out dangerous human experiments and turned into a ghost and ghost. Also because of love, he wanted to regain his original appearance,

There will definitely be a lot of pain in the middle, but it is necessary.

Like in Midnight Cowboy, Joe Barker decides to be the most successful male publicist in New York, is that really a bad idea? In fact, he has learned more along the way than ever before.

Likewise, in "Hail Maria," the 18-year-old pregnant heroine gives up her job and has to make money quickly, so she decides to become a drug dealer.

Characters are such a bad idea for a movie and a screenplay, but they are so right!

The two protagonists thought they could control the ending, but they didn't, and their failure made the film a success.

Therefore, Murphy will try his best here to let Deadpool go on a painful road. This will be cruel and rough, but it will also be compassionate. Letting Deadpool embark on this tortuous journey will cause some kind of pain. Overhaul or endorsement.

This section of Deadpool's path to satisfaction but ultimately failure is the plot he needs, and it is also a map for Deadpool and the audience to a new world.

And these will also reflect the necessary values ​​of a movie character.

Familiar values ​​can be seen in movies, such as "love will find a way", "be yourself", "connect with people", "money is not everything", "family can save you" and so on.

In the past, Hollywood called these "messages," those basic truths that the public strives to believe in as they go about their lives.

However, the values ​​​​of movie characters should not be pastors' sermons or essays, which cannot be forced to the audience, but should be expressed through dramatic methods such as activities, behaviors, and words.

And Deadpool's values ​​are very special, which is part of the character's charm.

After setting the defects, action journey and value orientation of Deadpool, Murphy will then formulate the action structure table in the script for him.

Through this table, Murphy combined the various settings of Deadpool into a coherent story, which can be used as a "recommendation" for the extended version.

In fact, once Murphy completes the form, he can take it to heart and give it to Bill Rossis and Kara Firth for an initial look.

The action structure table is a collection of all the elements that form the basis of the story of the screenplay. Murphy does this so that people can see the whole story at once, such as Hollywood's usual "incitement incident", "call to action", "**" and "determination" .

He'd distill his ideas into six to ten very short paragraphs, no more than two pages of an average screenplay.

It won't be a list of events, and Murphy won't have to list specific, actual scenes from the story.

Action structure is a way to define the main arc and values ​​without having to fill in all the details, for example in the second act of the script, he can set "something bad happened" as a placeholder, because it can be used in the event These actions and events are detailed in the tables.

It is also much easier to work in this area, and Hollywood has ready-made action structure sheet templates that can be used.

Once this is done, Murphy can use this as a template to start filling in the story content of the script in the form of filling the template, and the filling will not include any unexpected content, and will follow the traditional three-stage structure.

Although the whole story will use flashbacks, the rhythm is still in the standard Hollywood mode. Deadpool must start with a relatively ordinary little character, and then through some inconspicuous little things, he will intersect and even conflict with other main characters. The way the ordinary script provokes events.

Once Deadpool triggers an incident, he needs to make a decision. The decision in the script is not because of the ** or the character's plan, but the way Murphy pushes Deadpool on the path he should go.

Next is the journey and test of the second act of the three-stage structure. The simple story of Deadpool when he was an ordinary person will also become complicated in the process.

Along the way, the combined reality of other characters and Deadpool's poor decisions creates more pain and complexity for the protagonist, forcing the character to struggle, pushing the plot forward and complicating the story further. ——If you don't do something, the protagonist can't move forward, and the protagonist has exhausted all methods.

At this point, the second act can also be declared over, and then the crucial third act.

The third act is the decision of the protagonist and the climax of the whole story.

Once the important decision is made, Deadpool as the protagonist no longer struggles with the main problem. The only thing Murphy needs to solve is the conflict between people and the final values ​​of Deadpool.

That, of course, is Deadpool's decision to change, to recognize his flaws.

This is the value of the story, the characters finally understand why the original plan or "satisfaction" was a mirage, but also gain something more important, a new understanding of themselves.

The script also ends here, and the whole story is officially completed, and then Murphy will modify and fill in some borders. It is more in line with the current social situation.

The black humor scene in it also recruited Seth Rogen and Jonah Hill, who ended their vacation, to help. These two fat guys are funny experts.

After completing the first draft of the script, Murphy and the draft plan were passed on to Bill Rossis and Kara Firth respectively. If the project is to take place, they need to fight for the copyright. (To be continued.)