Please give me a monthly ticket and a recommendation ticket!

“We have reached an agreement with the New York City Hall.”

In a conference room in the Warner Studios office building, Aziva Gossman stood at the front of the conference table and said, "We will shoot live scenes in New York, including most of the outdoor scenes in Washington Square and the Brooklyn Bridge."

Matthew sat leaning on a chair, listening to Aziva Gosman's words, while flipping through the script in his hand. Several parts of the script he had obtained had been marked out with a red pen.

In fact, there were not many people in the conference room. To be precise, he was the only one, David Heyman, Aziva Gossman and Gilmod Del Toro.

The four of them also form the top floor of this crew.

Matthew's eyes left the script and happened to see Guilmo del Toro opposite him. Guilmo del Toro was also looking at him. The two met and nodded at the same time.

This is not the first time Matthew and Gilmo del Toro met. After Gilmo del Toro signed the directorial contract, Aziva Gosman specially invited Matthew and introduced Gilmo del Toro to him.

Aziva Gossman uses Gilmore Del Toro mainly because of the director's style considerations. Another small reason is that Gilmore Del Toro comes from Helen Herman's recommendation.

Gilmo del Toro is not tall and has a pair of round eyes, and looks nothing extraordinary.

But Matthew heard Helen Hermann introduce him. Gilmore Del Toro is not a client of the Angel Brokerage Company, and the agent is Helen Hermann's friend. He originally had the idea of ​​competing for the director of "I Am Legend", but Aziva Gossman chose Francis Lawrence and could only run another project with regrets.

After Francis Lawrence was eliminated, Guilmo del Toro signed a directorial contract with the crew and postponed the film being prepared.

When Matthew met Guilmo del Toro before, he heard that the project script had already been drafted, called "The Maze of Pan".

During his limited contact, Gilmo del Toro left a deep impression on him. This Mexican director has a bizarre inner world, a chaotic mind, and a strong emotional heart.

In a bit of aphrodisiac, this is a film director with extraordinary dark art tastes.

Aziva Gossman's words continue, "The shooting plan has been adjusted, the latest plan will continue from October to February next year, and the outdoor shooting may be a bit long."

This is also impossible. The impact of changing the director is not great. The most important thing is that the crew's outdoor shooting must be in line with the situation of New York City. It is impossible that the international metropolis of New York will cooperate with the crew in turn.

"If nothing unexpected happens," David Heyman interrupted, "This video will be released in December next year's holiday."

Matthew didn't say much, and it was basically useless to express his opinions on these things, just listen.

Aziva Gosman looked at him and Guilmo del Toro and asked, "Where are you?"

Gilmo del Toro shook his head slowly and signaled that he had nothing to say.

Matthew opened the script and said, "Aziva, is this the final draft of the script?"

"No." Aziva Gossman looked at the script in Matthew's hand. "I've been writing this script a few years ago, and recently it has incorporated some new ideas."

He is not the kind of very, very strong producer, otherwise he would not have waited until Francis Lawrence spoke up and then changed the director.

Aziva Gosman said again, "Everyone has read the original work. If you have any ideas, you can also mention it to me."

Matthew was not polite and said, "In the script, the male protagonist Robert killed his only partner Sam with helplessness. Will there be any problem?"

Gilmo del Toro looked here in confusion.

"We asked the male protagonist to openly kill a dog in the movie scene. Although it was helpless,..." Matthew couldn't find the right word for a while, and then continued, "Sometimes, some people don't reason with us. They love dogs more than anything else. If there is a protest at that time, it will be a problem."

Gilmo del Toro nodded slightly and said, "It makes sense."

"It's not that there's no such possibility." David Heyman also agreed with Matthew's words.

None of us are newcomers who have just entered Hollywood. We may have ignored it before, but after Matthew's reminder, we immediately woke up.

Aziva Gosman accepted Matthew's advice, "It really needs to be adjusted here." He continued, "Matthew, what do you think?"

Matthew shook his head, "I just think this may cause protests from dog lovers and animal protectors. How should I adjust it specifically? I am an outsider."

It is okay to ask him to make suggestions based on the actual situation. He has never done a job of writing scripts, which is extremely professional. Then again, for non-professionals, who can write the script of the video after watching a video?

In this regard, Aziva Gossman adjusted it himself.

Aziva Gossman couldn't find a suitable adjustment in a short time, so he simply said, "I'll think about it more here."

It is indeed difficult to make Sam's death shocking, but not touching the fragile psychology of dog lovers.

Anyway, Matthew couldn't think of it.

Of course, the plots in the original script may not cause trouble, but few of them here want to take risks, because the Hollywood film industry has developed to the present, like dogs, cats and various protection organizations, which has brought too much trouble to filming the film.

Nowadays, there has been an unwritten tacit understanding and rules in the mainstream commercial productions in Hollywood. In the first-line productions, there are basically no scenes of directly killing pets such as dogs or cats, in order to avoid unnecessary risks.

Even in many large productions, there will be plots like sacrificing oneself to save a dog when danger comes.

Matthew vaguely remembers that in a Superman movie shot by Zach Schneider, Superman's father on Earth gave his life to the dog.

This does not mean that dogs cannot die in movies, just like children. Many mainstream big-scale movies have plots of dead children, but they will never directly see the process of death in the picture. They have to arrange a tragic scene where a dog is cut by a knife or a child is dismembered by five horses. Then public opinion will definitely not spare this film.

This is not a principle. As long as the director who did not deliberately hope that his movie would be attacked would not shoot like this.

For example, in "This Killer Not Too Cold", the heroine's four-year-old brother ran out of her hiding place, and the villain shot (no child was shot), and the child's body would not appear. Later, the audience was told that he was dead. The dead father, mother and sister who were also dead appeared.

"And." Matthew turned the script to the end and asked tentatively, "Is it a little bit miserable if the hero dies so much at the end?"

"I think it's okay," said Gilmo del Toro first. "Loneliness, sadness and shock, and death as the ending is perfect."

Aziva Gosman continued, "Actually, I have another version of the ending, which is not written in the script." He thought about it briefly and said, "It's better to do this. We will shoot the endings of two versions at that time, and make a choice based on the preview situation. Another version can be placed in DVD."

David Heyman nodded and agreed, "This is a good idea."

Matthew and Guilmo del Toro have no objection to this, and one more version ending will be added to the next choice.

In fact, Matthew said this because he had watched two endings of this film. One is that the hero finally developed a serum that can kill the virus, but in order to protect the serum and those infected with the virus died together, it was a relatively heroic type. The serum was finally sent to the survivors to save humans.

This is the ending of the theater release version, which is in line with the usual routine of Hollywood movies, and caters to the needs of the public by the way heroes become legends to save all mankind.

The second ending is that the male protagonist releases the captured Night Demon, treating the other party as another intelligent creature, everyone goes back to their own homes and finds their own mothers...

Relatively speaking, the second ending left a deeper impression.

He didn't see the second ending in the script, so he mentioned it specifically today, but he didn't expect that Aziva Gosman had already considered it.

It's normal to think about it. There may be five or six screenwriters who actually wrote this script, but only two signed it. The main plot of the script is actually following the ideas of Aziva Gossman. Aziva Gossman won the Oscar for Best Screenwriter and is also a very thoughtful producer and screenwriter.

Of course, Matthew just looked at the script and suggested that he would not point fingers at how Aziva Gossman did it. He had learned a lot in recent years, but most of it was related to actors and had not been involved in the screenwriter.

He never thought about involving this industry. He had a low level of education. After a long period of practice, there was no problem with normal English reading and writing, but professional writing should not be joked.

In addition, the popular movies he has watched are just about having an impression and writing scripts based on their impressions? He doesn't have the ability to bring Google or other things.

The four-person meeting ended soon. After Aziva Gossman and David Heyman left, Matthew and Gilmore Del Toro had a while on the filming of the filming of the film.

"I Am a Legend" is still being prepared. Warner Bros., as the producer and distributor, has also begun to release some news outside one after another. As early promotion, "Pirates of the Caribbean 2" is still being screened, and Matthew's news can easily attract popularity.
Chapter completed!