The screenwriter recruited by Stanton Studio once participated in the adaptation of the "Lord of the Rings" trilogy. Although he did not receive a signature in the end, it was also recognized by the industry. Murphy specially invited him to value his successful work experience in the "Lord of the Rings" trilogy.

In any case, George Martin has been away from Hollywood for many years and is not a successful screenwriter. He can grasp the plot direction and the fate of the main characters, but some of the details of the script need to be hosted by a more professional screenwriter.

In the past nearly a year, the screenwriter has helped George Martin complete the script outline and the first draft, and gradually gained dominance in the entire screenwriter team led by him and George Martin.

But as Murphy completed the production of "The Lost Lover", the most popular stage of the film passed, and turned his energy to the planning of "Song of Ice and Fire: Game of Thrones". The screenwriter naturally lost his dominance. Moreover, Murphy asked to change many plots of the script he hosted, especially the setting of the little demon Tyrion Lannister.

I don’t know how this screenwriter impressed George Martin, and actually changed the little demon Tyrion Lannister to a complete bastard, in line with the tradition that Hollywood deformed people must have deformed ideas.

Murphy would definitely not agree to adapt such a charming character into this, and requested that it must be modified, but encountered the screenwriter's boycott. Of course, these boycotts were just vulnerable to the car, but the relationship between the two sides inevitably deteriorated.

The screenwriter thought he had the successful experience in the screenwriter of the Lord of the Rings trilogy, and part of the support of the original author George Martin. In addition, Twentieth Century Fox received half of the investment rights and copyright. He also thought that with his qualifications and Hollywood TV series production tradition, Twentieth Century Fox could impress Twentieth Century Fox and set off a game of thrills within the project.

But he was obviously too confused by the Hollywood TV series production tradition and completely ignored who Cara Fais, who was in charge of the project in Twentieth Century Fox.

There is no suspense in the ending, he was fired by Murphy and Cara Fais.

The liquidated damages stipulated in the contract were not high, so the screenwriter naturally refused to leave with more than 100,000 US dollars, and asked Stanton Studio and Twentieth Century Fox to pay for the copyright of the script he adapted, which was also rejected by Murphy and Cara Fais.

The parties' contract contains a note clause specifically stated that any copyrights related to "Song of Ice and Fire: Game of Thrones" created by the other party during his employment shall automatically belong to the employer.

This is also a Hollywood convention, and the screenwriter is more unwilling to give up.

Murphy knew that, like the industrial assembly line of the film industry, Hollywood TV series production also had a mature system.

Hollywood recognizes that TV series is the art of screenwriters. Screenwriters with sufficient qualifications often expand their authority in the TV series they create and adapt, becoming the operator of the entire TV program and supervising the work of other departments. The scope of his focus is not just on scripts, but on all aspects from performance to editing to TV series production.

They can even become the CEO of TV series production and also serve as producers. Their names are usually signed as executive producers, appearing at the top of the TV series’ signature!

Unlike the film industry, the production process of TV series requires the continuous participation of screenwriters.

Therefore, the negotiation content of the TV drama script agreement not only includes the reward for creating a pilot script, but also includes other additional terms, which are set according to the screenwriter's high position in episode production and TV drama projects.

But in this project, Murphy is the only one who is in the dominance. He will respect George Martin's opinions and other screenwriters' reasonable suggestions, but will never let others take the dominance.

In some ways, this is also caused by the differences between the film industry and the TV industry. In the film industry, even gold medal screenwriters cannot truly compete with directors. However, in the TV industry, the position of screenwriters is equally important, even more important than directors.

In order to avoid trouble, Murphy simply asked George Martin to be responsible for the entire screenwriter team, allowing the remaining new screenwriters to become the execution tools of himself and George Martin's will.

Just like commercial blockbuster production, the production of TV series will also hire a group of screenwriters to assist in script creation and TV series production under the command of TV series producers.

Subsequently, Stanton Studio and Twentieth Century Fox jointly registered and established a production company called Ice and Fire Studio. All businesses related to "Ice and Fire: Game of Thrones" were affiliated with the studio's name, including contracts with screenwriters of other newcomers to the screenwriter.

Ice and Fire Studio signed a brand new contract with other screenwriters except George Martin, which increased the treatment of these people, but this is a typical screenwriter package agreement.

When a production company or TV station signs a screenwriter in a contractual manner or can be called a signing of a packaging agreement, they will pay the screenwriter one-time compensation as a package fee during the contract period. The length of the contract period is usually one to two years, and sometimes it may be renewed for another year or more in return. The work of the screenwriter writing scripts for a production company or TV network company and the screenwriter cannot serve elsewhere.

In addition, the contract also stipulates that the screenwriter must adapt at least a certain number of scripts during his work period for Murphy to choose.

This agreement can only be used for screenwriters who are not well-known. Ice and Fire Studio only needs to pay a one-time fee. They are not able to participate in the later share like those screenwriters who dominate the production of TV series.

Perhaps the agreement will change in the future, but Murphy will not offer high salaries to these people in the early stage of the project.

In the next two weeks, Murphy will pull all screenwriters, including George Martin, to the Hilton Hotel in Beverly Hills and rent a large conference room to avoid external interference and be specially used for script modification.

Among them, the most important modification is the plot about the little demon Tyrion Lannister. In the hands of the previous screenwriter, the little demon Tyrion Lannister became a complete bastard and completely lost the charm of the character itself.

The little demon Tyrion Lannister is not a good person, there is no doubt that this character has many highlights. As long as the character is suitable and the plot is well set off, he is definitely a very popular character.

When Murphy was quickly dragging around this TV series, he saw a conversation between Jon Snow and the little demon Tyrion Lannister. He left a deep impression. He had long forgotten the specific content of the conversation. He just remembered that the words of the little demon Tyrion Lannister were summed up. If someone as frustrated as him and if he didn't read and think seriously, he would definitely have no future.

This plot can fully reflect the other side of the ugly appearance of the little demon Tyrion Lannister.

In short, one of the most important tasks of revising the script this time is to bring the little demon back on track and show the charming "bad guy".

It is difficult to write about bad people who make people hate them, and it is even more difficult to write about bad people who make people sympathize with them. The little demon Tyrion Lannister is not an unforgivable scum, but a moral or some aspect that can be criticized.

The modification process is completely dominated by Murphy. He used Hollywood's usual play technique of whitewashing characters. Of course, "whitewashing" refers to whitewashing script characters and is not suitable for life.

Human nature is complex, different positions, and interests involvement will influence a person's views on others. In terms of the story, since this is a TV series broadcast for adults on cable TV networks, the audience has long been separated from the simple aesthetic of good and evil. It is either black or white. The binary flat characters are not controversial and credible, and they cannot maintain the long-term vitality of spread.

In Murphy's own words, Bai Suzhen, the representative of the Virgin White Lotus, also flooded Jinshan Temple for her own sake, causing the lives of life to be miserable, not to mention those who participated in the Game of Thrones competition.

Not only the little demons, but other characters cannot be distinguished by simple views on good and evil, right and wrong. It is obviously too fake to write the characters in a tall and complete way. It is only suitable for adult audiences in North Korea. Appropriately giving shortcomings or defects can make the characters more full and vivid, but this will easily make the audience lose their favor and the character will be written if they are accidentally inadvertent.

In the script processing of the scene in the first episode of the Devil, Murphy used the method of trying to promote and suppress it first.

The first scene where the little demon appeared alone was to fool around with a prostitute, then mock the characters in the North and the illegitimate child of Jon Snow, who looked pretty good.

To put it simply, first write about the many shortcomings of the little demon Tyrion Lannister. Don’t be afraid of the audience being annoyed, and then write about the characters’ highlights, giving the audience the surprise of “He is not bad, not that bad.”

In fact, it is not necessary to explain in detail that the audience has very low moral requirements for characters with appearance like Little Demon, so you can write about his bad side first to reduce the audience's expectations. Next, write on the better side, which can double the audience's favorability for him.

In addition, Murphy and George Martin had a few more secret talks, firmly weakening the halo of the protagonist in the series as much as possible. When it is time to kill an important character, you must not be ruthless.

In Murphy's words to George Martin, "all characters serve the plot, not the plot serves a character."

After modifying the plot of the little demon, the settings of the protagonist are polished.

The concept in this aspect is very clear. Every character in the play is a contradictory and real existence. While everyone is fighting against fate, they show the dark side of human nature, but they can't hate it. (To be continued.)
Chapter completed!