The Greatest Showman

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In the Hollywood film production industry, the script is the most basic and simplest link. It only requires a typewriter and a creator. It is almost a zero-cost creative link, which also attracts a large number of creatives. By.

According to statistics, Hollywood can produce 50,000 scripts every year, and this does not include the works of unregistered students, enthusiasts, and amateur screenwriters. However, among these scripts, less than 2,000 works can be produced every year. After the project was approved, only less than 300 works could actually be put into filming. As for the final screening in theaters, the proportion was less than 0.3%.

On the other hand, for film companies, they have to screen scripts and select scripts that are suitable for filming and can make money. This is an extremely difficult process that can only be done manually, so every film company has A film and television pre-development manager has been set up, and their daily job is to select projects worth investing in from a large number of scripts, and they need to read dozens or even hundreds of scripts a day.

In addition to the fierce competition, those unrepresented new screenwriters and film companies will also stay away. Because they have no official channels to confirm whether these scripts involve plagiarism or plagiarism. As a result, this also makes the channels for film and television pre-development managers to obtain fresh scripts to become old and outdated, making it difficult to break through and innovate.

On the one hand, Hollywood studios have trouble finding great scripts; on the other hand, talented screenwriters suffer from not being appreciated for their work.

"Script Blacklist" was born under this background. In 2005, a film and television pre-development manager, Franklin-rd, finally could no longer bear the low work efficiency. They not only needed a lot of reading , but also repeated reading. Many scripts are circulated among major production companies. After coming and going, repeated reading of scripts is a high probability event, which not only consumes a lot of energy, but also has little effect. It is simply looking for a needle in a haystack. This Christmas, Franklin definitely took the initiative.

At the time, Franklin sent emails to eighty of his colleagues, hoping that they could list the best scripts they had seen that year but had not put into filming for the time being. In exchange, he would also provide these colleagues with lists submitted by others. Among these lists, Franklin made a "black list" based on everyone's recommendations. A few days later, the list was spreading around Hollywood as the industry's trendiest Christmas gift.

After years of development, the "blacklist" has gradually formed a system, and more and more people participated in the selection. In this year's blacklist, the number of industry insiders participating in the selection reached 500, which is enough to represent the aesthetics of the entire Hollywood. grade. These 500 people will provide Franklin with the best scripts he has read this year before Christmas. Franklin will select 70 to 100 scripts according to the number of votes, and organize the author's contact information and affiliation. Brokerage companies and other information to form a so-called blacklist document.

This blacklist is very popular with industry insiders. First of all, it is selected by professionals in the industry, and the quality is guaranteed; secondly, the entire list does not involve commercial interests, and it does not care about the fame and status of screenwriters. The only requirement for the list is to be recommended by at least six industry insiders.

So far, the excellent scripts that have been picked up on the blacklist include "Queen", "Juno", "Love of Inflatable Dolls", "The King's Speech", "Slumdog Millionaire", "The Social Network", " "Little Miss Sunshine", "In the Clouds", "The Fighter"; and in the near future, "Escape from Tehran", "Pi's Fantasy Drifting", "Boom Drummer", "Nebraska", "Fox Hunter", "American Sniper", etc.

It is worth mentioning that the "Django Unchained" that Andy submitted to Renly last time was also a work on the blacklist.

From this, we can see the value of the blacklisted works. Although the quality of the finished product is still up for debate, it is undeniable that the basic script has been guaranteed enough, especially for the Oscar series who pay attention to the script. Even more so for art films.

If you carefully browse the blacklist, you can find that most of the scripts above are not large-scale movies, but scripts with the inner emotions of the characters as the core. In other words, small cost, small investment, small production, and small pattern The script takes up most of it.

The main reason is that the script of a commercial movie has a fixed routine, a three-stage structure, a beginning, a transition, a climax/tide foreshadowing, and even the brewing of a small climax/tide, all of which have templates.

The Marvel series of movies headed by "The Avengers" is a typical representative. It is even strict to shake a burden in three minutes, promote a plot in five minutes, and turn a turning point in fifteen minutes. There are traces to follow. Their script is the most representative business template.

Taking a closer look, Marvel movies prefer to use anonymous directors, rookie directors, and second-tier directors. It is even more common to change directors for each sequel, because what they need is not a "creative and stylized" director, but He is a well-behaved, step-by-step director who completes tasks and completes the shooting in strict accordance with the frame structure of the script.

Therefore, it is inherently difficult to find a script that meets the standards of commercial blockbusters on the blacklist that pays attention to the structure of the script, the emotions of the characters, and the innovation of ideas. Most commercial scripts are tailor-made. Although "Django Unchained" invested a full $100 million, it cannot be called a commercial script. The reason why Weinstein Pictures is willing to spend so much is entirely because of Quentin Tarantino's face.

In my impression, even in 2017, there are only a handful of commercial movie scripts on the blacklist.

Now, "Edge of Tomorrow" has not only been blacklisted, but also ranked third on the list. It has been unanimously recognized by professionals in the industry, and its quality is guaranteed; moreover, this is a sci-fi script that meets the standards of commercial blockbusters. Andy is naturally Overjoyed, such a script is not only a rare occurrence, it can even be said to be a once-in-a-lifetime. For Renly, everything was perfect.

However, for a top company like Warner Bros., they don't like such a script. They have always believed that the scripts of commercial movies need templates, and those scripts that are unpredictable and win by quality, like those in the blacklist, will cause them more worries. Everyone in the industry knows that for commercial movies, a good script is important, but not necessary-

Rhythm control, style positioning, climax/tide setting, visual effects, narrative techniques, etc., are the decisive links.

Don't say Warner Bros. Even Andy himself is full of uncertainty. Commercial films and art films are, after all, different.

An excellent art film is half-successful when it has an excellent artistic script; an excellent commercial film is only just getting started when it has an excellent commercial script.

After the script is on the blacklist, it is only the first draft. Before the official shooting, the script will be revised layer by layer, and it will be determined as the final shooting version. After the script is finalized, the appearance of the script, the plot, and even the characters and themes will happen. huge change.

Take "The Fantastic Drift of Pi" as an example. In the blacklist, the writers of this script are Jean-Pierre-Jean and Guillaume-Laurent, both of whom are French A well-known filmmaker, but when "Pi's Fantasy Drifting" actually came out, the screenwriter was David Margo (david-ee), who wrote "Finding Neverland".

This involves the authorship of Hollywood screenwriters. According to the official regulations of the Screenwriters Guild, a screenwriter needs to contribute more than 30% to the final script to be eligible to sign. more than three.

Under such circumstances, the earliest versions of Jean-Pierre and Guillaume's scripts were rewritten and revised extensively by David, and it can even be considered that David re-created a script based on the original, which also made Jean-Pierre Ernest and Guillaume did not appear on the final credits.

At the very beginning, 20th Century Fox was going to hand over "The Fantastic Drifting of Pi" to Jean-Pierre Genet, who had already drawn the storyboard for the film at that time, but he proposed a cost of 80 million US dollars Budget, but scared off Twentieth Century Fox.

Later, after readjustment, 20th Century Fox handed it over to Li/An-although the production cost proposed by Li/An was 120 million yuan, which was even higher, but Li/An's appeal was significantly higher than Jean-Pierre.

As mentioned before, 20th Century Fox is a company that blindly trusts big-name directors. In the end, "The Fantastic Drift of the Young Pi" was handed over to Li/An.

Andy also mentioned just now that the script in hand is only the first draft. At present, Warner Bros. has not yet determined the producer or director. Naturally, the final version of the script cannot be determined. It is enough to use the current version. Is it necessary to rewrite the script according to the style of the director; or to match the style of visual effects, leave the story framework and completely overturn the script?

The same script, Johnny Depp's version, Brad Pitt's version, Tom Cruise's version, is going to come out very differently, even in a popcorn commercial movie. The box office results brought by the version are bound to be very different.

The script of the blacklist is famous, but there are too many uncertain factors after all, even old fritters like Andy and Warner Bros. are inevitably hesitant.

This is the second time Renly has come into contact with the blacklist script - "Django Unchained" is the first time, and he can't help but wonder: what is the sacredness of this blacklisted commercial film? Compared with the works of "Alien Battlefield", "Super Battleship", and "Small Shadow", what are the advantages? Are these advantages enough to translate into a good work?

After opening the script, Renly read it carefully, and never imagined that it was actually this script. Could it be that the butterfly effect has begun to work? 2.

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