Chapter 855 script frame

Doing our best to win the two projects of “Iron Man” and “Invincible Hulk” and building a Marvel Universe that belongs to Chaos Films and Lance is definitely the ultimate goal that cannot be doubted.

Although Universal Pictures has not made a clear statement at present, Lon Meyer has called Lance four times before and after, and asked Lance for his opinions on the two projects of “Wanted Warrant” and “Invincible Hulk”. It can be seen that , Universal Pictures is full of sincerity. However, they need to make a choice. Compared with the “Invincible Hulk” that is still in the conception stage, the “Wanted Warrant” project that has been confirmed and has already taken shape is undoubtedly more advantageous. Universal Pictures does not want to give up easily.

Lance has finished reading the script summary of “Wanted Warrant”. Objectively speaking, the story is like being sieved, with loopholes everywhere. It is not easy to make up for it one by one. scrutiny. Of course, the whole plot shows a trend of fighting monsters and upgrading. As long as it is matched with precise rhythm control and brilliant martial arts design, it does have the potential to become a masterpiece of summer action.

However, relatively speaking, Lance is still more inclined to concentrate on creating the Marvel Universe.

Writing the scripts of “Iron Man” and “The Incredible Hulk” are two completely different things, not because the style and content of the two films are far from each other, but because of the obvious difference in the quality of the story outlines of the two works, which is It also means that the energy that Lance needs to put in must be different.

“Iron Man” achieved success in the last life, and was hailed as the leader of all works in the first phase of Marvel, and its media reputation even surpassed that of “Avengers”—the latter was so sought after mainly because There are many heroes and characters, and the fans are huge. From the point of view of the work, “Iron Man” is undoubtedly a well-produced genre film.

In other words, the script of “Iron Man” is a successful example of a commercial work. It follows the three-stage structure of cause, process, and result, and inserts a combination of small climaxes/climaxes and small ups and downs in each part. The implantation of humor is precise enough, and the director can spend more energy on key scenes such as rhythm control, camera movement, special effects coordination, and climax/tide scenes during the shooting process.

The real problem of the “Iron Man” series is actually the last two. The cumbersome and procrastinated plot seriously affects the rhythm, and the bloated and weak characters lead to a sharp decline in the sense of humor. The quality decline is very obvious. The first and second parts It was directed by one director, but there were such obvious differences, which also meant that the sequel script needed to be drastically changed.

In contrast, the first script of “Iron Man” is even more rare. If it was written by Lance, who doesn’t think he needs a big, bone-crushing synopsis, he won’t be as good as Mark-Fergus and Hawk-Ostby. outstanding.

There is only one thing that needs to be revised in the script of “Iron Man”, that is, the villain role is slightly weak, which leads to the suspicion of premature/ejaculation in the final decisive battle. In fact, this is also a common problem of all superhero works-the proportion of content is seriously tilted toward the hero, and the villain lacks pen and ink descriptions, so that he lacks a sense of confrontation, let alone the depth of content excavation. The reason why “Batman: The Dark Knight” can become The classic is that it takes enough space to build the clown, the insane villain.

The “pen and ink” mentioned here does not refer to describing from psychological shadow to emotional life like the hero, but to give the villain a source of motivation, and then increase the proportion of the plot around this core motivation, so that the motivation and behavior of the villain are full. rise up, and then strengthen the contradiction between justice and evil, making the plot more full.

Of course, if this source of power can trigger Batman’s thinking about justice, evil, and responsibility like the Joker, then the depth of the movie will be guaranteed. And if you can’t, that’s okay, since there’s a difference between summer popcorn and awards season art.

In addition, Lance also considered making the role of Tony Stark more three-dimensional, not only for the sake of the sequel, but also for the Marvel Universe.

The idea was inspired by Tom Cruise. Tony Stark, as a weapon manufacturer, whether it is his intention or not, he can be said to be one of the behind-the-scenes forces behind the war. The collateral damage caused by him could not affect his life at all. It can be said that he is a transcendent existence, and he feels a little out of it; In the end, even the company’s arms business gradually began to develop in the direction of sustainable energy. This transformation is undoubtedly interesting, and it is also complicated.

In the Marvel Universe of the previous life, this point was not explained in detail, let alone discussed in depth.

In “Man of Steel,” the script sets the scene: Tony is kidnapped by terrorists, dying, and at the same time he sees the damage done by the terrorists, so much so that he has to be transplanted with a nuclear-powered artificial heart to sustain his life. life. It was through life and death that Tony resolutely stood on the opposite side of the terrorists. This is undoubtedly convincing, and it is also an important reason for the success of the first work.

However, this is not enough to be the driving force for Tony to save the world. The entire Marvel Universe has not given an answer to the change in his inner nature. Just because Robert Downey Jr. won super popularity in real life, the film company increased the weight of Tony’s role, there was no transition, no psychological changes, as if everything happened naturally. The result of this is that the role of Iron Man lost its charm, and later it was just eating its old roots – humor, complaints, cuteness, and obscenity. It was basically reduced to a funny character, with no novelty and no depth, which directly affected the follow-up works. Script creation, which is also a major problem faced by the later works of the Marvel Universe.

Disney has never figured it out: Why do audiences suddenly get bored of the same set of things? Not just Iron Man, but other heroes as well. The puzzling result is that they decided to dig out more of the remaining value of the character before the audience completely refused to buy it, even if it was over-developed.

In fact, in Lance’s view, the core of the problem is not complicated. Take Iron Man as an example, if you can describe Tony’s change of mentality in the script, you don’t need to dig deep like “The Dark Knight”, you only need to give a reason like “Iron Man”, and then string a line around the reason. The branch line can even add the role of Pepper to help Tony complete the change of mentality. In this way, it can not only enrich the plot and make the story convincing; it can also enrich the characters, making Iron Man three-dimensional and complex. In turn, the change of characters can drive the plot and generate more meaningful Drama branch.

For example, in the “American Civil War”, Iron Man will be more convincing when he stands on the opposite side of Captain America, and at the same time, the exciting index of the plot is bound to rise in a straight line.

The Marvel Universe intends to take a relaxed and humorous route, which Lance agrees with. Not all works are suitable for filming like Christopher Nolan; but increasing the psychological changes of the characters does not mean saying goodbye to the relaxed and humorous. In the movie, you only need to give the characters a convincing source of emotional depth—love, friendship, and family affection are all applicable, and you can tap the depth of the characters on a shallow level to complete the establishment and deepening of the core idea of ​​the story.

In fact, “Spider-Man 3” has made a similar attempt, but the script written by Sam Remy is a bit too strong, and the character of Venom is derived, which makes the story a bit out of place; The psychological level of Venom provides enough support, and even the character description of Venom is very superficial. The direct result is that the audience is full of question marks and even shouts absurdity.

Even so, Lance feels that this attempt is correct and necessary, but it cannot become the main story line like the venom of “Spider-Man 3”, it can only exist in the form of a branch line like “The Dark Knight”, but It plays the role of sublimating the work-the main line is naturally the justice of the popcorn movie against evil.

Lance thinks it’s the right thing to do with Tony Stark, but not in the “Iron Man” script, but in the “Iron Man 2” and “Iron Man 3” scripts. The script for the sequel. Lance clearly knows ~www.readmtl.com~The script of “Iron Man” is full enough, and adding more content is superfluous, and it is easy to be self-defeating, but it can add a few detailed pictures to lay the groundwork. Other real changes are still Put it on the villain.

The story of “Iron Man” has references from the previous life in Lance’s mind, so creating it is naturally more effective. Of course, Lance only remembers the story frame, and he has to overthrow the content of the lines and the characterization. Easy, but the workload is not to be underestimated. However, compared with “Invincible Hulk”, the story framework of “Iron Man” can be called simple and easy.

“Invincible Hulk”, this is definitely a big trouble. In the last life, the Hulk appeared on the big screen three times, and without exception, he suffered a fiasco. Even Lee/Ann was not able to turn the tide. Now, when Lance creates the script framework of “Invincible Hulk”, he must first completely overthrow the “Invincible Hulk” in his previous life and start from scratch; secondly, he must reorganize the Hulk’s role and story development context; You also have to take into account the Hulk’s place in the MCU, which means Lance has to dig through a lot of comics for inspiration.

The creative committee was a ready-made reference consultant, but Lance didn’t intend to hand over the initiative so early, so he went back to the very beginning, and everything had to be done by himself. This brings Lance back to when he first conceived “Superman Returns.” (To be continued.) Enable new URL