Please give me a monthly ticket and a recommendation ticket!

Gal Gadot was a little dissatisfied with the questions asked by Murphy, then thought about the environment in which Murphy grew up, and then let it go.

She knew very well that in Murphy's eyes, no matter what kind of people, white, Asian, African, Jewish, Latino, etc., they were all the same people, and there was no difference. He would not give any special preferential treatment to black actors and characters because of the so-called political correctness of Hollywood, nor would he look at Jews in a different way because of his past suffering history.

At the beginning, she still had some opinions about Murphy's attitude, but as she spent more time together, she found that Murphy had no intention of discriminating against anyone, but just treated everyone as ordinary people.

Gal Gadot is also very clear. Perhaps it is because of his education that his boyfriend knows very little about Western history.

For example, the next project will involve an important historical period. The plot is basically based on ideas and has nothing to do with the past history.

After thinking about it, Gal Gadot felt that he should spread the history he knew for Murphy.

"This is how things happened," she said to Murphy very seriously. "At first, people thought that Poland would not lose the war; then, when the Germans came in, people thought that they could continue to live; then they passed laws forbid Jews to sit on public benches, or to parks and other places; then they said that Jews must wear the David Star Armband; then they said that all Jews must be concentrated in one district; then they surrounded the district with walls, without a critical moment, and without much possibility of organizing..."

Gal Gadot shook his head and continued, "When the Germans arrived in France in 1940, why did the French not resist immediately? The situation was the same. At every stage of this complicated situation, people would say, 'This will pass, it will pass, it will not be worse...' However, it was a big mistake, it was worse, it was worse, it was worse! In the end, most people killed."

After hearing what Gal Gadot said, Murphy thought it very seriously and nodded slightly.

He had a limited understanding of Western history, but he was familiar with some historical events on the other side of the Pacific.

"Sorry, my dear." Murphy said actively.

Gal Gadot came over and kissed him gently on the face, "It's okay, I know you're not meant."

The two naturally changed the topic and discussed the preparation and shooting plan for "Inglorious Bastard". In this project, Gal Gadot will serve as the assistant producer and continue their own learning path.

But Murphy's history of relationship with Jews, which was spoken by Gal Gadot, came to the film aspect.

Of course, he had no interest in subjects such as the Holocaust. He just thought about the way Germans treated Jews, which could be applied to movies. This gradual feeling of one step after another is also very important for a film. When this feeling accumulates to a certain level, the final outbreak will undoubtedly be more refreshing.

In this film, after many small climaxes were laid out, the final climax scene not only had to kill Hitler, but also whip the corpse at him wildly, allowing the audience to vent their emotions happily.

If it were another character, doing so would undoubtedly take great risks, but Hitler said nothing at all. Anti-Nazi and anti-Hitler was completely politically correct, a hundred times more correct than the so-called black politically correct.

In the social and political public opinion environment established over the past few decades, it is a fool to whitewash Adolf Hitler.

In recent times, Murphy has been further polishing the script of "Inglorious Bastard". Every director has his own ideas. Quentin Tarantino's way of telling stories is definitely not suitable for him.

For example, in many transitional plots in the film, Quentin Tarantino likes to use a lot of dialogues that deviate from the theme of the film, while Murphy has never liked to talk in the film. He will use every minute and every second to create a tense rhythm that is irritating to the film as much as possible.

This is not to say that Quentin Tarantino's shooting and production methods are not good, but that every director will have his own style. Any famous director will form his own style, and even Steven Spielberg, who is recognized as the most patterned shooting and production, is no exception.

In the completed script, Murphy did not use Hollywood's usual moves to create a tense atmosphere, but considering the audience's physiological reactions, he would still try some small routines appropriately.

For example, creating a tense atmosphere in the script is to put pressure on the audience in the film, and the only thing that can make the audience suffer from both psychological and physical pain is time. Here Murphy needs some strategies to determine the duration of the entire scene and how to freely display the tense rhythm in the entire scene.

In other words, during filming, you should cleverly grasp the drama, atmosphere and rhythm tension, and be relaxed and relaxed. It is difficult for the audience to predict when the climax will occur in a second.

There are also scenes that reflect characters or other backgrounds.

Those who have watched Quentin Tarantino's film will definitely have an impression of this aspect. When the plot of the film needs to explain the background of a person or an important prop, this gangster director often uses some simple and crude methods. The most typical example is to directly insert a narration and corresponding scene into the film.

But Murphy has never used this technique and does not intend to use it in the future.

Of course, this is just due to personal interests, and no one can deny the rational use of this method.

Many times, the background story is so complicated that it will take too long to present it in a real scene.

Therefore, narration narratives are often used in the first act to explain the background story so that the audience can catch up with the progress of the story. Some screenwriters do not like to use narration and think that it is a way for lazy people to tell stories.

This idea is usually right, because the use of narration on some illustrative images has almost become the standard mode of comedy's first act, a rather formulaic opening.

Despite this, it is wrong to think that this writing style denies the value of the entire script. When this practice is correctly used, narration brings out the backstory not only guides the audience, but also allows the audience to enter the story in a lively and stylish way.

The completed script, including the introduction of flammable and explosive films made of nitrocellulose, will be hidden in the story of the entire movie by Murphy, rather than being specifically explained.

The background story reveals important information about the character's identity and also provides basic elements of the conflict in the story. How the director and screenwriter express the background story in the movie will somehow determine the structure of the entire script.

Regardless of whether Murphy chooses to tell all the backstory in the first act, or weave it in the process of the story development, the relationship between the backstory and the development of the identity of a character should always be closely linked.

Many times, it is useful to retain some important background story information, which can make the disclosure of this small amount of information consistent with the development of the story, or the self-development of the character.

In addition, in the introduction of Hugo, a member of the Bastard Squad, Murphy would use the method of identifying diffusion.

Hugo basically has no lines, his actions are the characters. Every plot and story about him is deliberately designed to add another side of the characters told in the movie.

These are all due to the differences that are inevitably brought about by the different styles of Murphy and Quentin Tarantino and their personal interests and hobbies.

Let him shoot and make a movie exactly like Quentin Tarantino, and Murphy is sure that the chance of screwing up is much higher than the chance of success.

In mid-December, Murphy basically confirmed the final draft of the script, and good news came from Twentieth Century Fox and Weinstein Pictures that the two companies will jointly invest up to $80 million in this project to shoot and produce the film.

Since the current project is completely dominated by Murphy, 20th Century Fox also occupies an absolute dominant position in this cooperation with Weinstein Pictures. Not only will it be a North American and overseas publisher of "Inglorious Bastard", it will also receive 51% of the film's investment share.

In other cases, Weinstein Pictures might give up this project, but the candidate Quentin Tarantino found was Murphy. The Weinstein brothers clearly remembered how terrifying profit Murphy had created for them. Even if they were chasing Oscars as their main operation method, they would not be able to refuse the temptation of profits.

At the same time, Bill Rossis also completed the pay negotiations with the two companies on behalf of Murphy. The great success of "Man of Steel" undoubtedly allowed Murphy to firmly stand as a first-line director in Hollywood. Compared with other first-line directors, the investment profits of the film directed by Murphy are undoubtedly higher. Without spending too much effort, Bill Rossis received Murphy's treatment that matched his current status and appeal.

This is still a pay contract with advance payment plus income sharing.

According to the contract, Murphy will receive a prepaid prepaid in three installments of US$12 million. After "Inglorious Bastard" is removed from North America and overseas markets, as long as the global box office can exceed three times the production cost of US$80 million, he will automatically receive a 20% box office share. If the film's North American box office can exceed US$500 million, the share share will rise to 25%...

Of course, Twentieth Century Fox and Weinstein Pictures rely on successful directors like Murphy, but they are not fools. Murphy's dividends do not involve the DVD and TV broadcast revenues that are now large in Hollywood companies.

However, Murphy had an explanation before that Bill Roses talked about all online paid on-demand broadcasts in the future, with 15% of the download and rental income as dividends.

Perhaps this part of the income is not particularly high now, but the contract term is as high as ten years, and the future potential is unlimited.
Chapter completed!