On March 20, Tang An received Xu Zheng in the studio. In more than a month, he had completed the first draft of the crew. Of course, it was only a crude first draft. You can roughly tell what the story is.
Of course, this script is not telling a story, there are no lyrical sentences, rhetorical techniques and psychological description of the characters.
Literature and scripts are completely different. A script uses words to express a series of pictures.
Let people who read the script immediately think of a picture when they see the text, bringing them into the world of animation.
Tang An spent nearly an hour reading the script and counted the pages. It was about 30,000 words.
The word count of a script is also very important. Generally, the word count of a movie script is between 20,000 and 40,000 words. If it is less, the length will be too short, and if it is too much, it will be too long.
After all, movies are not like TV series, which can slow down the pace. Later, many people watched those TV series at double speed, and some even turned it up to 1.5x without seeming inappropriate at all.
A movie script of 30,000 words does not produce as many scenes as a TV series script of 10,000 words.
In the West, a mainstream standard movie script is generally 120 pages, which is equivalent to 120 minutes in length. Whether it has a lot of dialogue or a lot of description, one minute per page is basically the same.
One page in the script is equivalent to one minute on the screen. The Hollywood film industry strictly requires an industrial system, just like an assembly line, with a complete process.
It usually takes ten pages to let people understand who your main character is, what is the premise of the story, and what is the situation of the story.
These ten minutes are for the audience to form an impression and determine their initial perception of the movie.
Then it is divided into Act One, Act Two, and Act Three. The general ratio is 1:2:1, that is, establishment, confrontation, and ending.
These are the most basic, and will be subdivided in the middle.
Just like online literature, readers like to watch the protagonist pretending to be a slap in the face. Even if some books have cliche routines, mediocre writing, lots of typos, illogical logic, and lack of common sense, they can still be read with gusto.
More books, even if they have fewer shortcomings, will still be boring to read.
The rhythm is very important in the succession and transition.
Of course, there are exceptions to everything. Some directors only have a few pieces of paper in their scripts, claiming to have no scripts or even storyboards.
Just start with your mouth, and the rest is all made up.
Xu Zheng's script is quite standard, and the history is always surprisingly familiar. Xu Zheng still chose Thailand, and the storyline in Thailand is basically the same.
Seeing Tang An put down the script, Xu Zheng quickly asked, "Mr. Tang, what do you think?"
This is the first time he has completed a script independently, except for asking Yang Qing for some advice when filming "Nightclub".
"It's a very interesting story. Some scenes are very funny when I think about them in my mind." Tang An affirmed with a smile.
Xu Zheng took a breath, but he knew what Tang An would say next.
As expected.
"However, your script is a bit empty."
Tang An leaned forward a little and told him, "The conflict in the middle is well grasped. I won't go into that. I will mainly talk about the beginning and ending."
The rhythm in the middle is pretty good. Xu Lang goes shopping with Wang Bao and helps Wang Bao realize his N travel plans → accidentally enters the underworld transaction scene → escapes from the underworld → Xu Lang scolds Wang Bao away → long shots show the rain
→Xu Lang and Wang Bao went to the village→Wang Bao poured water on Xu Lang’s computer...
The rhythm is relaxed and well controlled.
"The beginning is where the conflicts are shown, and the ending is about resolving the conflicts. The conflicts between the three male protagonists, as well as Xu Lang's internal conflicts within the family, between business and family, you are not outstanding enough."
"Only when the problem is solved can the audience feel happy. For example, Xu Lang accidentally entered the room of a man and two shemales, and was caught by the man on the spot. Conflicts arose. The solution was for the man to punch Xu Lang hard in the face.
One punch and the conflict was resolved."
"In the end, you must perfectly resolve the conflicts between Xu Lang and his wife, the conflict with Wang Bao, and the conflict with Wang Bo. These are still macro conflicts, and there are also some subtle conflicts, such as Wang Bo's toothache in the script, and his wife's success
Production, you forgot to mention..."
.......
Xu Zheng listened to Tang An's explanation very carefully and did not look down upon him because of his youth.
He has no right to look down upon him. Based on Tang An's achievements in the past few years, there are countless directors in China who would imagine asking him for advice.
Moreover, what Tang An said made sense. He also thought about the beginning and end of "People on the Road", and it was exactly what Tang An said.
"Mr. Tang, I understand. I will go back and revise the script and show it to you then."
"It doesn't matter, don't rush this, take your time, I only have one request, make the movie well and it can be released during the Spring Festival next year." Tang An said with a smile.
...
Then in the afternoon Tang An went to Huayi and talked to Wang Zhongjun about the election of the four female actors. Huayi basically did not have the new generation of actors who were qualified, so he agreed to help.
Then Tang An found Zhu Mo, director of the publicity department, and Zhang Yijun, director of the public relations department, and contacted some domestic media.
Tang An went to meet with the four major portals and some well-known media in person. This election was led by Tengxun, with hundreds of media participating, and the voting rights were all in the hands of those reporters.
It would definitely be very difficult for Tang An to recommend a third-tier star, but the two people he proposed are definitely qualified, and there will basically be no problems.
Then Tang An went to CCTV again. This time CCTV will also participate in the selection and will report on this "New Generation Entertainment Star Event of the Post-80s Generation".
At the same time, the new four major and junior students will also be selected. This is meaningless. They were just selected in 2006. If you want to select male stars born in the 1980s, you will basically not be able to find a few.
What’s even more ridiculous is that the four junior and senior students were selected four times in the past five years from 2012 to 2016. The further they go, the less useful they become.
At the end of the month, Tang An went to Hengdian again to visit Yang Mi, who was filming "Beauty's Scheming".
This time Yang Mi played the second female lead, playing three roles, but she avoided filming a rape scene.
Although there are many sexy shots, they don't reveal much more than one-piece swimsuits.
This role is quite challenging. At this time, Yang Mi's acting skills are quite acceptable. Moreover, it is a TV series, so she can handle it well.
At the beginning of April, Tang An officially started post-production. Some preliminary preparation work has been done, and he can just start editing directly.
On April 21st, the rough editing was completed in 20 days. At this time, Lu Chuan's "Nanjing Nanjing" was about to be released. Xingmei Media also sent him an invitation letter to the premiere, so Tang An went
Look at this old friend.
PS: There seem to be more Qing palace dramas recently, such as "Ruyi's Royal Love in the Palace" and "Story of Yanxi Palace". Does anyone know which emperor in the Qing Dynasty has not been filmed? They have been filmed in Kangxi, Yongzong and Qianlong, right -_-||