Superstar

Hugo listened to Charlize's words and recalled it carefully. It was indeed what he said to Charlize. That was after Allen handed him the project of "Beautiful Mind". At that time, he had not yet investigated the life of John Nash. All he knew was only the "Vanity Fair" interview and the story of the movie in his memory. The plot, therefore, Hugo was relatively relaxed at the time. He watched several biographical films with Charlize, and the two exchanged many opinions.

"You said at the time that movies are simple, and life is too complicated. It is impossible to include a true and complicated life in a movie, even the greatest artist. Because the movie is only two hours, but there are countless'two hours' in life."

Charlize’s words awakened Hugo’s own memories little by little. These memories were originally due to the busyness of the last few weeks and the ups and downs of John Nash’s life, which gradually became blurred, and even made it rain. Guo suspected: Did you really say this yourself?

"So, you must first determine a main line, and then cut off the details that have nothing to do with the main line, or weaken it, or metaphorically, focus on the main line, so that the adaptation of the script may be easier."

After speaking, Charlize looked at Hugo without confidence. Charlize is not sure whether his statement is feasible, because a person's life is intricate, and the impact of any event in life may not be able to form the current complete personality; and in a biographical film, the important things in life are ignored. The event makes the story seem missing, and then has an impact on the structure of the entire script.

Charlize seemed lacking in confidence.

However, Hugo fell into his own thinking again because of Charlize’s words. John Nash’s life was indeed magnificent. After he was born in 1928, he himself lived in a turbulent environment, his achievements and life. The environment has an inseparable connection; and he was judged as a "lunatic", so that he didn't receive the Nobel Prize in Economics until 1994. These are also closely related to the overall social environment.

However, if you want to include all these stories, it is absolutely impossible. "Greedy" is the most taboo thing in adapting a biography. Hugo knows this better than anyone, but when it is really his turn to complete the work, he still inevitably makes the same mistake. I want to say too much, but often in the end it is not clear.

John's life is very complicated, maybe everything he experienced will be entangled with each other, but the focus of each main thread is different.

If you want to write about the cruelty and **** of real life, then you should take this weird and long love between John and Alicia as the main line, including the separation and recombination of the two, including John's wind. Unruly, including the support and estrangement of two people in their illnesses, are all written. Really show the essence of love.

If you want to focus on the mainstream society’s oppression of independent individuals and totalitarianism’s persecution of individualism, then you should take John’s process of losing his mind, the impact of the details of his surrounding life on him, and his experience in Europe. The main line truly shows the chaos and depression under the background of that era.

However, these are not the content that Hugo wants to write. He and Allen discussed the script from the beginning, focusing on the mentally ill itself. Hugo wants to show the struggle and confusion of mental patients, wants people to have a different understanding of mental illness through John's story, and wants people to truly feel the pain of John, the suffering of all mental patients... Then, Hugo should focus on showing the process of John's schizophrenia.

Of course, the contents of love life and social environment are inseparable from John's illness. Without these parts, a biography is not a biography. But what a successful biography needs is to grasp a bright spot or a main line, and show the core idea of ​​the screenwriter.

Then, Hugo should write John’s process from the onset of the illness to the gradual aggravation and finally to the cure as the main line, and then hide other important ideas as metaphors in the story. Perhaps John’s predictions about the Cold War period can be used as John’s. One of the important factors of the illness is integrated into the story; besides that, what is the real reason for John's recovery? Or in other words, what is most needed for the mentally ill? As John said, "relying on one's own reason" to recover from illness is obviously unrealistic, not to mention that this view has not been recognized by the psychology academic community, and the difficulty of writing a script will obviously be too great.

Hugo has always believed that the most important thing for mental patients is the support of family, love and friendship, as well as the less-specialized sight of others. This is a disease that is no different from other diseases.

When Allen came to find Hugo with an interview with Vanity Fair, they hoped to show it through this movie: Tell people that mental patients are not scourges, they are just ordinary people, they need the support and help of others, not only Only relatives, lovers and friends, as well as ordinary people around them-even strangers. Maybe just a warm smile will make the situation better.

This reminded Hugo of seeing John at Princeton University.

Although game theory has been used in almost every field of social sciences, "John Nash" has been mentioned for a long time as a representative scholar of game theory. But in fact, John was so ordinary at Princeton University, and no one even noticed his existence-Hugo didn't mean the kind of superstar crowding, but the respect for John.

In universities like Princeton, academically accomplished professors are highly respected, coming from students, colleagues, and scholars. Even professional professors in many departments are highly respected, let alone researchers who have achieved great breakthroughs. However, as the winner of the Nobel Prize in Economics, John was coldly treated or even ignored.

When Hugo and John met for the first time in Princeton, the two met in a small courtyard inside the campus. The open space made John less restrained. The conversation between the two people was stumbling and stumbling. In the process, Hugo could gradually feel the strange eyes next to him-he knew that those eyes were caused by the commotion caused by his "Hollywood star", but Hugo Still try to ignore the restlessness and focus on John.

Hugo originally thought that in an environment like Princeton University, people did not pay much attention to celebrities. What they valued is academics, achievements, and professions. The "Hollywood halo" has no practical significance to them, and even many people look down on practitioners in the entertainment industry. But the facts proved that Hugo's idea was wrong.

After the conversation between Hugo and John was over, many students surrounded Hugo and John. There were at least fifty or sixty people, and many people even asked for photos. . But few people said hello to John, as if John was just an old man at the door—it didn't matter.

This actually made Hugo a little embarrassed, because the people sitting in front of him were people who changed the context of the world's economic development, but these students ignored John's existence and only enthusiastically asked him for autographs and photographs. Hugo even felt a little embarrassed.

Looking back now, Hugo couldn't help being a little bit choked. He didn't think people needed to worship John, but at least, people should show respect for John. Hugo couldn't help but began to think: If in the early stage of John's illness, people could be more tolerant, kinder, and kinder to him, and reduce some strange eyes, then John's condition would not be so bad?

Just like the situation that Hugo himself experienced during the filming of "Death Row", the last thing he needs is the cynicism of the media. What he needs is a relaxed environment around him and the support from his friends. Relatives and friends helped Hugo step out of the quagmire, and the relaxed atmosphere of the "Death Row" crew under the strict control of Steven Spielberg and Tim Robbins also contributed. No.

Therefore, in John's life, people's indifference is a harm, so who made John pass the simplest years?

It's Alicia~www.wuxiaspot.com~ Except Alicia, Hugo can't think of anyone else. Because it was when John needed friends most, Alicia chose to stay. Just as Alicia chose to divorce, Alicia also chose to stay. No one can blame her for her choice, because even though her choice seems selfish, it is a choice that a normal person would make. This is exactly what Hugo hopes to tell people: Mental patients are not monsters and ghosts. Alicia's stay helped John through the difficulties and eventually healed from his illness.

At this moment, the thoughts in Hugo's mind finally became clear. He should tell the story with John's illness as the main line, and the love between Alicia and John as the key point to tell, and the cold eyes and rejection around him In sharp contrast. Even if it is somewhat different from the facts, the reason why movies are called art is because movies are completely different from real life.

Any biography—even if it is an objective biography, is that the director and screenwriter interpret a life from their perspective, but in fact, no one except the person involved knows whether the interpretation of the film is correct, and it is a positive interpretation. Still a negative interpretation. This is also one of the greatest charms of biographical films, and it is also one of the charms of movies being made art: just like novels and dramas, people let their own thoughts fly in the art world and sublimate their own thoughts.

All the complicated thoughts finally got rid of the detailed tips, letting the script adaptation work fall into a clue.