On the afternoon of October 18, the auditorium of the Lin Quanze Film Academy of South Korea's East-West University was crowded with people.

After learning that Zhang Ran would hold a lecture here today, many fans and movie fans were moved. Originally, only 1,000 seats were arranged, but nearly 3,000 people flocked to East and West universities, and some fans even came from Japan, Singapore and other places.

When Zhang Ran and Lin Quanze walked into the auditorium, Zhang Ran fans who arrived all raised the support signs in their hands, but they also knew that this kind of occasion was not suitable for shouting loudly, and the whole scene seemed relatively quiet.

Zhang Ran and Lin Quanze walked onto the stage and sat down on the chair, and the lecture officially began.

Lin Quanze is the master, so he will naturally start the show: "Today we are honored to invite Director Zhang Ran to the Master Lecture for exchanges. Today's theme is 'the structure of a genre film'. Our main problem today is to discuss with Mr. Zhang Ran how to judge the quality of a story and develop the story into a film in a very appropriate way. Everyone knows that Mr. Zhang Ran is not only a director, but also an excellent screenwriter. Let's first ask Mr. Zhang Ran to share his experience in how to create scripts."

Zhang Ran looked at the fans and movie fans below and smiled and said, "Actually, I don't like to give speeches. I think it's meaningless to talk about how I made movies in the first place. But today's content is the structure of a type of movie. I can talk about this. Of course, if I don't speak well, please forgive me."

The students all laughed, Zhang Ran was so humble!

Zhang Ran looked down and said, "It may be boring to say that, so why not do this. Let's make up a story on the spot and analyze the story according to the Hollywood routine. Some classmates may know that I was making a movie about earthquakes recently. Then we will start with earthquakes to make up a story. The beginning is like this. When a big earthquake occurred, my brother and sister were pressed on both sides by the same floor. No matter which one they want to save, they have to give up the other. Who would like to try it and make up a complete story based on this?"

The audience raised hundreds of hands in a blink of an eye, like a forest of arms.

Zhang Ran looked at it and reached out to click a pretty girl in the front row. After the girl came on stage, Zhang Ran asked, "Are you a student from East China University? What's your name?"

The girl bowed to Zhang Ran and said, "My name is Goo Hye Sun, I am an actor. I especially like your movies, and I hope to be an amazing director like you!"

Zhang Ran knew a lot about South Korea by the directors of the three major departments. He had no impression of the name Goo Hye-sun. He smiled at her and said, "So he is an actor. No wonder he is so beautiful. Please sit down!" Then he looked at the students in the audience and said, "I remember when I first entered university, the first screenwriter class, Mr. Heywood, threw the book on the table and told us, remember, the first principle of screenwriters is that no one in the world is happy! You are here to learn to make movies! Your happiness is the pain of the audience! The happier you are, the more painful the audience!"

The audience was very surprised and thought that this was unreasonable. The audience clearly liked the movies of reunion, so why would Zhang Ran’s teacher say that?

Zhang Ran explained: "The reason is very simple. If the protagonist is a millionaire and has a beautiful girlfriend, everything will go smoothly. What is there to watch the whole story? The audience needs to see the protagonist being wronged by the police and being dumped by his lover, and watch the protagonist climbing up to halfway through the volcano erupting! Even if the protagonist is a millionaire and has a beautiful girlfriend, after the story begins, he will go bankrupt and his girlfriend will abandon him. This way there will be dramatic conflicts and the audience will have expectations for the story!" Zhang Ran saw that the audience suddenly realized, Gu Hye-sun nodded slightly and said to her: "Remember, the people in the story must not be happy for more than five minutes! Now you can start talking about your ideas!"

Goo Hye-sun thought for a while and said, "The male protagonist is Tae-soo, and the female protagonist Yara, they are a brother and sister. Dad is a poor painter, dad is a gentle housewife. Although the family of four lives in poverty, they are happy."

When Zhang Ran heard the joyful voice, he immediately said, "Don't be happy for more than five minutes, start the turn now!"

Goo Hye-sun began to turn: "A sudden earthquake occurred, dad was killed, brother and sister were crushed by a large stone slab, and could only save one. Mom didn't know what to do. The brother said to save her sister, and the sister said to save her brother. The three of them cried and didn't know what to do."

Zhang Ran reminded: "Make a decision quickly, don't procrastinate too much, let the story develop!"

Gu Hye-sun immediately said, "After shock comes, my brother faints, my sister's rescue staff said I can't do it anymore, you can save my brother. My brother was rescued, and my mother thought my sister was crushed to death, so she couldn't bear the blow. After my brother was awakened, a middle-aged man found him. It turned out that my mother was in love with the rich young master, but she was abandoned after she became pregnant. Now the middle-aged man hopes to take his son home. However, my sister was not dead, and was adopted by the family, changed her name and surname, and since then she was separated from her brother."

Zhang Ran felt that although the story was very Korean, it was basically still moving downward in Feng Xiaogang's direction, and asked: "What's next?"

Goo Hye-sun said: "Fifteen years later, my sister grew up. Although she lives very poor, she is very kind and very strong. After her brother returned home, she was carefully cultivated by her father and became the heir to the company. She also had a beautiful fiancée. Because of her family's poverty, she went to work in her brother's company. Her brother and sister met unexpectedly."

Zhang Ran felt that the Korean flavor of the story was getting heavier and stronger: "The brother and sister won't recognize each other so quickly, and then the family will be reunited, right?"

Gu Hye-sun waved his hands straight: "No, my brother and sister changed their names and did not recognize each other. Once, the brother and sister had a conflict. The brother thought that his sister was very special, different from the girl he had met before, and fell in love with her crazy. But the sister knew that he had a fiancée, and everyone's identities were very different, so she firmly refused. The brother felt that his sister was even more special and launched a fierce offensive. After the brother's fiancée knew about it, he sneered at her sister, "You are a poor man, are you worthy of him? After all the twists and turns, the sister released that her brother is a very good boy and fell in love with her brother."

Zhang Ran almost knelt down. The story was too bloody. He asked, "So what to do next? You won't want to make a movie about Forbidden Love, do you?"

The students in the audience burst into laughter.

Gu Hye-sun scratched her head embarrassedly: "One day, my brother went to my sister's room and saw a photo of her placing on the table. It was a photo of him with his parents when he was a child. At this time, he realized that the girl he loved deeply was his sister. The brother and sister were almost crazy, thinking that God was too cruel, and actually made such a cruel joke with him. He called her sister, and she called him brother, and then hugged her head and cried. They went to the hospital to see her mother. When they saw her mother, the earthquake came again. At this time, the mother suddenly woke up. She told the brother and sister that the sister was not her biological daughter, and they were not brother and sister."

Zhang Ran asked with a smile: "They live happily together?"

Gu Hye-sun firmly remembered the requirement that Zhang Ran’s happiness should not exceed five points: “As soon as my brother and sister started a new life, my sister found out that she had leukemia. At the end of the story, my brother came to the beach with her sister on her back like when she was a child, sitting on the beach to watch the sea. My sister leaned on her brother’s shoulder and closed her eyes with a smile!”

Zhang Ran was indeed convinced. He is worthy of being a Korean. He is indeed inseparable from car accidents and amnesia leukemia. He smiled and asked the audience below: "What do you think of this story?"

"I think it's so touching. If you take a photo, it will be beautiful!"

"Why is it leukemia again? It's so bloody!"

"Yes, it's completely a routine for TV series, I can't stand it!"

Zhang Ran learned that many Korean audiences could not stand the bloody plot of leukemia, and said with a smile: "There are many problems with this story, but there is a particularly interesting point. If you can explore this point well, it can become a very interesting movie. We all know that Hollywood movies pay attention to genre, and Hollywood movies have many modes. Of course, these modes are based on the three-act structure. There are two very important plot points at the end of the first and second acts, which change the direction of the story and the protagonist's action goals.

The story Gu Hye-sun just wrote is very similar to a classic Hollywood model. I call this type of movies a contrasting model of identity. The two most important plot points of this type of movie are changing identity and exposing identity; the first plot point is changing identity, and one has to change one's own identity for a certain purpose, such as a criminal becoming a policeman, a policeman going undercover, a rich man pretending to be a poor man, etc.; the second plot point often reveals his true identity, and then conflicts and conflicts in various aspects break out in a concentrated manner, forming a climax, and the protagonist finally resolves all the contradictions and ends up.

To give a simple example, Sandra Bullock was a rude FBI agent, but he had to go undercover at the beauty pageant; for example, in "Face Change", the police changed their faces and became criminals, and the criminals changed their faces and became policemen. Speaking of this, I believe everyone has seen what the identity contrast of the story Gu Hye-sun just made up, and who can tell me?"

A girl raised her hand and said, "The male and female protagonists are brothers and sisters, but they have become lovers!"

Zhang Ran applauded and said, "Yes, that's it. Let's look at this story according to the routine of identity contrast movies. We will find that the first plot point of the story changes identity, which means that the sister has to enter the brother's company, and then the two start to fall in love, causing various conflicts. The second plot point reveals the identity, which is that they find themselves brothers and sisters, and conflicts are concentrated. The final ending is that leukemia is too bloody, and the movie does not last that long, so they are removed directly. The mother is awake and tells the male protagonist that they are not brothers and sisters. In order to make the story more arrested, a one-minute rescue can be arranged. When the brother goes to see his mother, the sister is preparing to commit suicide. After the brother knows that they are not brothers and sisters, he runs wildly and saves his sister at the last moment. It can also be arranged to bury the sister in the ruins, and the brother finally rescues her.

In fact, there are many identity contrast movies in South Korea, such as "My Wife Is a Big Boss". The heroine is a gangster. In order to satisfy her sister's wishes, she conceals her identity and gets married to ordinary people. For example, the heroine of "Don't Believe Her" is a female liar, and by chance, she has to play the heroine's girlfriend."

Many of the students present have watched "My Wife is a Big Boss" and "Don't Believe Her". Now after listening to Zhang Ran's analysis, I found that it was true.

Zhang Ran continued: "The most interesting thing about identity contrast movies is that the contrast of characters can bring about dramatic conflicts. Moreover, since the characters change their identities, the audience will worry that the real identity will be exposed, and the whole story will have suspense. We can use the identity contrast to add a lot of interesting conflicts to the story, so that the story will easily capture the audience's heart. Now let's go back to the story just now and continue to analyze..."
Chapter completed!