This director needs to apologize

Chapter 219 Already at a loss

Chen Yiming stopped talking after a few venomous words. The director's dignity still had to be taken into consideration, not to mention that there were potential investors sitting next to him.

Xiangrui didn't care. When she worked for Chen Yiming as an assistant director, it was common for him to spit out sweet things, and she had long been used to it.

Chen Yiming rarely curses people on the set, and he never utters curse words. However, when the filming is not going well, it is always necessary to get angry at the person who made the mistake.

Especially Xiangrui and Lin Xiao, because they are familiar with each other, Chen Yiming is particularly merciless when hurting them.

Of course, when Chen Yiming was wronged, they both took revenge on Chen Yiming equally enthusiastically.

Therefore, Xiangrui didn't take Chen Yiming's venomous tongue to heart at all. She was absorbed in her own thoughts.

After a long time, she suddenly realized and exclaimed, "I made a mistake. I should have chosen the heroine first."

Chen Yiming became interested, held the pot and filled her tea cup, indicating that she would be careful.

Xiangrui said happily as if he had picked up money, "Your story is from the perspective of the male protagonist, and the heroine is the ideal image of Bai Yueguang.

Judging from the plot of the first version, there is not much overlap between the two parties. The male protagonist is not so much in love with the female protagonist, but rather has a crush on the shadow of the imaginary female protagonist.

When I was filling in the details, I kept asking myself a question, what does the male protagonist like about the female protagonist?

In other words, boys don't need a reason to like girls. They fall in love at first sight and become attracted by sex.

Anyway, I just felt it was against the grain, so after interviewing some classmates, I designed a lot of interactive plots for the male and female protagonists to allow the two to enhance their understanding and cultivate their relationship.

However, in the second draft of the script, I deleted those plots one by one. After all, the core of the story is secret love, and the prerequisite is that the male and female protagonists are not familiar with each other.

If the relationship is between lovers above AUO but not satisfied, it means that both of them have a tacit understanding that will stop below the boundary, and it is no longer an ignorant and beautiful secret love.

So I added a lot of jokes to the follow-up script, expanded the branch plots of the male and female characters, and turned the whole story in a humorous direction.

The length is enough, but the taste is wrong. The youth romance film has turned into a youth comedy.

Yiming, your words reminded me that the first priority in casting should be the suitability of the character.

I had trouble choosing the actors because the order of casting was wrong.

From the perspective of the male protagonist, the female protagonist is a subjectively beautified existence and the anchor of the story.

The protagonist cares because he has the same name. He pays attention because he cares. After paying attention for a long time, he can't help but fall in love. This logic makes sense.

The heroine should have a face that is recognized by the public as the nation's first love, so that the target audience of the movie will naturally recognize the hero's falling in love with her after seeing it.

When it comes to casting, you should definitely choose the heroine first! "

Chen Yiming nodded repeatedly, he should have thought so a long time ago.

That's not how the original "Love Letters" worked.

It's just that the casting of the male and female protagonists happened to be reversed, and the director chose a nationally beautiful boy.

Just the famous scene where the wind blows through the curtains to reveal the real body made Chen Yiming's female classmates scream.

Megan listened for a long time and had a rough understanding of what "Love Letter" was like, so she joined the discussion with interest.

"Xiangxiang, if it's a two-way secret love, the male protagonist should also have something shining in him, right?

Since the two protagonists in the story have more one-way attention due to having the same name and surname, then the heroine probably discovered a certain advantage in the male protagonist by chance and developed a liking for him.

Boys can fall in love with girls based on their looks, but the reverse may not be true. " Megan's words further inspired Xiangrui. She put down her chopsticks, opened her notebook, and started writing furiously, mumbling something while writing.

"The male protagonist silently cares about the female protagonist and actively participates in class activities. Subjectively, it is naturally to support the female protagonist as the class president. He wants the female protagonist to look at him differently, but he is too arrogant to take credit for it.

From the female protagonist's perspective, of course she could not understand the male protagonist's deep meaning, but the active figure of the male protagonist did leave a special impression in the female protagonist's mind.

Okay, so the logic is smooth. The next step is to select several typical campus events and narrate them from the perspective of the male and female protagonists. The male protagonist is responsible for the reverse comedy, and the female protagonist is responsible for the positive inspiration. "

Chen Yiming took Xiangrui's notebook and found that the plot direction recorded on it was no longer a two-line intertwined narrative, but a circular structure connected from beginning to end. He couldn't help but feel a little interested.

Xiangrui explained with excitement, "I have been struggling before. The male and female protagonists have a dual-line narrative. It is easy to start and difficult to end.

Because according to the outline, the female protagonist dropped out of school due to an accident and lost contact with the male protagonist.

This direction can only be regarded as quite satisfactory. Although it is logically logical, the audience has long been accustomed to it. As the last suppression before Gao Chao at the end of the film, the reversal is obviously not strong enough.

Ellie reminded me that the heroine is not an independent fairy in the world, just like the white moonlight pestle in the movie serving as a vase.

She may not understand the male protagonist's efforts, but she has always seen the male protagonist's progress, so her concern for the male protagonist is real.

Therefore, in the communication and memory part of the film, I wanted to adopt the form of meeting in the middle way.

The recipient of the hero's first letter is actually himself in high school. In the letter, he bids farewell to his youth with an ambiguous confession.

The heroine, who returned to school to teach, received this letter with no beginning and no end. She thought of the male classmate with the same name as her ten years ago, so she responded to the letter by accident.

At this point, the movie enters the first recollection from the heroine's perspective, the last day before she dropped out of school.

That's right, I chose to put the truth about the lost connection in front of the audience from the beginning.

After receiving the letter, the male protagonist recognized the female protagonist through the handwriting and also learned the reason why the female protagonist left without saying goodbye.

While relieved, he was even more eager to know whether the heroine of that year had ever liked him even a little bit.

He put on his girlfriend's vest, and wrote a second letter, asking the heroine indirectly about her thoughts on the hero.

This is the first recollection from the perspective of the male protagonist. When he wrote the letter, he asked about the female protagonist’s perception of the male protagonist, and the reminiscence clip presented his own first impression of the female protagonist.

In other words, this clip is about the day when the hero and heroine first met. "

After hearing this, Megan already understood, "I understand. The male protagonist's letter is a flashback from when the two met for the first time, and the female protagonist's reply is a flashback from the two of them breaking up. The exchange of letters pushed the two plots to gradually move closer together, until they finally overlapped. Together."

Xiangrui nodded his head with a proud look on his face, "What do you think? This structure is very delicate, right? The same experience goes in the opposite direction from two time dimensions.

From the perspective of the male protagonist, the female protagonist is initially a white moonlight beautified by a subjective filter, and gradually becomes more vivid as the interaction between the two deepens.

From the female protagonist's perspective, when the male protagonist appears, he is in a state of glory after two years of hard work. As the female protagonist's memories deepen, the male protagonist's aura gradually fades, and gradually returns to the original image of an unknown and poor student. "

Chen Yiming also found it interesting after listening to it. This treatment indeed avoided the boring repetition of telling the same thing twice, and at the same time, it also preserved the emotional pull between the male and female protagonists to the greatest extent.

The biggest difference between youth romance films and romance films is that the people involved are unaware of their feelings.

This feeling can be treated as a recollection, but it was lost at the time.

(End of this chapter)