PFC Chapter 2755 Star Core Rescue (41)
Chapter 2755 Star Core Rescue (41)
Chapter 2755 Star Core Rescue (Forty-one)
Eddie took a deep breath. He just didn't believe it. He admitted that the two scripts were indeed a bit ordinary, but he was an author after all. He became a director halfway through his career. It was pretty good enough for him to write like this, right?
But seeing that Schiller was still insisting and Eddie continued reading, he didn't believe that he couldn't write a story that would satisfy the client.
Then the opportunity came, because there was a documentary about Stark's wedding journey, which was about the gathering of various superheroes. This was really interesting. After all, it had been popular on the Internet before. There was no need to worry about the promotion. As long as there were no problems with the script and the shooting, it would definitely be a hit.
The key is that the script for an ensemble drama is more difficult to write, because the time is short, and it has to be divided among many main characters, and each person must have his or her own story line and emotional line, while at the same time there must be a main line that is scattered in form but not in spirit, which is a great test of the skills of the screenwriter and director.
Eddie is ready to go. After all, he was the director of a wedding documentary before and remembered a lot of details clearly. Although he can use this advantage to shoot gimmicky variety shows, he is also equally good at making movies.
Eddie thought about it, of course, the most important thing for an ensemble drama is everyone's motivation. The intrusion of people without motivation will seriously disrupt the rhythm, and all the motives must be intertwined together in the end, otherwise it will flash from the beginning to the end without any focus.
In the end, Eddie set his sights on the space station.
Stark basically provided most of the technology needed for the space station, so he was very proud of it. He even boasted about it at the party he was preparing for his wedding, and his words were full of sarcasm towards the magic side.
However, Strange, as the Sorcerer Supreme, was very dissatisfied with his behavior of belittling magic. He believed that science should not be the only one to dominate the human journey towards the interstellar ocean, and magic must also have a place. Therefore, he thought that he could talk to Stark at this time to increase the magical factors in the space station and the exploration of the solar system.
The mutants are doing well in the Andromeda Galaxy, but they believe that there should be a base similar to a space station outside their capital star. Therefore, the leader of the mutants contacted Wanda, who had just given birth, hoping that she could test Stark's attitude during this party to see what price she could pay in exchange for such technology.
Asgard is not interested in how humans explore the solar system, but they believe that the Sorcerer Supreme should indeed have a stronger say because they themselves belong to a divine civilization. To put it bluntly, they are here to support Strange.
Peter, who came as a researcher, and Captain America, who came in public, are both concerned about another issue, which is whether work like space stations can continue to provide more jobs for ordinary people and allow them to gain more benefits from such technological development.
As for Schiller, he represents SHIELD to mediate the relationships among the various parties to prevent them from fighting over disagreements. Of course, Nick also hopes to gain more say for SHIELD in the process.
Eddie checked several times and felt that everyone's motives were basically consistent with the outside world's stereotype of them. What followed was a series of confrontations and negotiations. On the surface, everything seemed harmonious, but in fact, there were undercurrents, with mutual speculation, questioning, exchanges and compromises.
Eddie is very ambitious. He thinks this film should be different from all the superhero documentaries shot before. It should not emphasize that they are superheroes, but emphasize that they are also individuals. They also have their own interests that they want to fight for. Like ordinary people, they will not give up in this regard. Superheroes have their own fame and fortune.
This new perspective is indeed very eye-catching, because in the public's impression, superheroes are all great and glorious, at least on the surface they appear to be united, helping each other, and willing to help others.
If you see them arguing, quarreling or even fighting over certain interests, biting each other's flesh like a hungry lion and refusing to let go, carefully testing, over-interpreting and fully doubting, this will undoubtedly magnify the human side of what makes up them.
The theme of "real superhero" will definitely help this movie soar to fame, and it's only a matter of time before it becomes a global hit.
To be honest, this is a bit beyond the ability of Eddie, a mid-career director. He thinks he can find some well-known big-name directors to collaborate with, and he believes that they will be interested in this kind of superhero insider script.
But Schiller still disagreed.
In the end, Eddie had to focus on the space station crash. If a disaster film is not made well, the film will suffer the same disaster as the director and investors. Especially if it is adapted from real events, it is tantamount to suicide.
This type of film is often invested in by government departments of various countries. Generally speaking, it has certain commemorative and warning significance, so it must be taken seriously and fully express the deep condolences. There must be no entertainment interpretation.
For the director, this was like going to a new level of difficulty, requiring him to dance with shackles. Eddie was not completely sure that he could write a good script, so he chose the most conservative approach, just like making a documentary, and only presenting facts.
But movies are different from documentaries. Movies need to have a main perspective. Eddie thinks the safest way is to start from the perspective of ordinary employees and present the scene of people helping each other in the air and countries on the ground communicating and cooperating during this disaster.
Just as Eddie was modifying the script bit by bit, his cell phone suddenly rang, followed by screams from his colleagues outside the door. Eddie quickly opened his phone and saw that the short video app he often watched had sent him a headline news.
The cover of the news is the big face of Mysterio.
Unsurprisingly, Jameson chose to expose Mysterio.
When you click on the video, the content is very straightforward. To put it simply, the editor of the Daily Bugle was invited by a mysterious person for an interview, only to discover that it was the hero Mysterio who saved the space station. During the interview, he discovered that this person was full of loopholes. After the details of various interviews were narrated, the image of an arrogant, inferior, unlearned and liar came to life on the paper.
The footage released immediately afterwards further proved this point. When facing the huge spider monster, Mysterio simply fled in panic. He was tripped by a rock halfway and eventually his helmet was smashed. The face that was revealed was that of Justin Balk, the only seriously injured person in the previously highly-watched space station crash incident.
Soon, a former colleague at Stark Group recognized him. This man was not Balk at all, but Quentin Beck, a madman who was wreaking havoc in the laboratory.
As more and more videos about Baker were released, people gradually pieced together a complete image of this liar. To put it simply, he got into trouble and was afraid to take responsibility, so he changed his identity to evade responsibility and sneaked into the space station, stirring up everything. In the end, he tried to play the savior but was exposed.
The image could hardly be any worse.
But when Eddie read the news, he did not just condemn Baker like other netizens. He suddenly thought, if Mysterio was the mastermind behind all this, then Oaks, who was previously accused, was actually wronged?
Eddie immediately had an inspiration. He thought he should interpret the space station crash from Oaks' perspective.
After all, he was also an insider and had heard some news before that Oaks had been receiving psychological treatment after leaving the space station, which proved that he had mental problems.
Eddie thought that perhaps he could use magical realism to present the horrifying space station from Oaks' perspective at the time, which would not only serve as a warning to people, but also help Oaks restore his social identity.
Of course, the story begins when Oaks boarded the space station. On the one hand, he had to bear the burden of the family, on the other hand, his work was not going well and he was instigated by villains. As a result, his emotions gradually got out of control, and more and more hallucinations appeared in Oaks' mind, which eventually led him to blame all the guilt on himself.
Eddie wrote more and more smoothly, and soon he had written several pages of drafts. As he wrote, he introduced his ideas to Schiller, such as how to distinguish between the real world and illusions, how to express Oakes' inner pain and struggle, and how to bring out the emergency situation of the space station at that time.
What was rare was that Schiller listened carefully this time, but as soon as he opened his mouth, Eddie wanted to bang his head against the wall. He said, "Why did you only write about the lack of oxygen in the space station in half? What about the other half?"
Eddie opened his mouth and said, "I mentioned it. Oaks, who was trapped in the room, received news that the other half of the space station had crashed..."
"What about the details of the fall?"
"This has nothing to do with the movie." Eddie said, "The main character we show is Oaks, not the people on the other half of the space station. Movies require a certain degree of artistic processing. You can't shoot everything, otherwise it will become a hodgepodge."
Just as Schiller was about to say something, Eddie interrupted him and said, "I'm not saying that the other half of the space station crew don't deserve sympathy. In addition to recording facts, movies must also be expressionistic and stylish. They must also achieve complete unity of character, scene, storyline and spirit of expression. Otherwise, it's a completely bad movie."
"It's like when you're shooting a teenage love story, you can't record every math class they take, even though they definitely go to class in real life, but these details can neither reflect their character settings nor advance the main story, so there's no need to shoot them at all."
"Like the story I wrote, the other half of the space station did encounter a disaster, but it had no impact on this half of the space station, and had nothing to do with the main story. It also had no effect on Oakes' emotional changes, and it could not better shape the spirit of everyone working together to get rid of disasters and difficulties. Then he was meaningless to the movie."
"I don't care, you have to shoot it." Schiller stared at Eddie and said, "And all the previous scripts are not good. You have to shoot it according to the facts."
"Then tell me what's wrong." Eddie was also very angry. He turned his chair around, crossed his arms and looked at Schiller.
"First of all, there is no growth story for Robbins," Schiller said. "The story after he arrives at Kamar-Taj is changed to him being defeated, imprisoned, and then escaping."
Eddie was stunned and said, "Why change it like this? I portrayed a teenager who is not a bad person, but reckless and impulsive. In a movie of this style, the protagonist must grow up..."
"Because that's what actually happened." Schiller didn't dwell on this question too much, but said firmly: "The Sandman also needs to be changed. It's changed to that he was kidnapped by Robbins, hypnotized and his abilities went out of control, so he was chased from the East Coast to the West Coast."
"Wait a minute, this is not a movie issue anymore." Eddie said, "What's the motive? Why did Robbins kidnap the Sandman?"