Please give me a monthly ticket and a recommendation ticket!

The box office of $18.5 million in advance also confirms Matthew's speculation. With "The Curse of the Black Pearl" as the basis, coupled with Disney Pictures' targeted large-scale publicity, the box office of "Soul Coffin" is not a problem. Moreover, cinema Sore also adjusted its estimate based on the box office of the early stage and the audience's response, believing that the box office of "Soul Coffin" in North America will be around $150 million in the first weekend.

Of course, Matthew was happy to see it. This era of films with a box office of over 100 million in North America's first weekend can be described as extremely rare. No movie he starred in in the past can achieve a feat of over 100 million in North America's first weekend box office.

"The Soul-Gathering Coffin is a sequel."

In the office of Angel Agency, Helen Hermann said to Matthew, "It's too difficult to have a box office of over 100 million in North America."

Matthew fully agreed with Helen Hermann's words and said, "The situation of original movies has not been very good in the past two years."

Helen Hermann pointed to the core, "There are too few original movies that can really sell well at the box office. In the current market situation, even a low-scale production, the film company will spend tens of millions of dollars. The risk of spending this money on original movies is several times greater."

Although this is not conducive to the long-term development of the film industry, studios are all commercial companies. Investing in movies is not to pursue art. Even if it is replaced by Matthew, he will not put projects with smaller risks and higher returns and invest in films with greater risks.

"This is normal." Helen Hermann is an agent and businessman, and film art is not her pursuit," she said. "If an original script and a script based on a well-known work were placed in front of you, which one would you choose?"

Of course, I chose the one that was more famous in his impression! But this way I couldn't say to Helen Hermann. Matthew shrugged and said vaguely, "Does this kind of question still need to be answered?"

In fact, when a celebrity chooses a project, it is just like a film company chooses a project. The script is just one factor. For example, who is the director and producer, the sequence must be ranked first in the script.

After working hard, Matthew has already had a deep understanding of Hollywood. For example, in the shooting and production of American dramas, scripts are the key, and the screenwriter has a lot of power. There has even been a situation where the starring actor offends the screenwriter and the character is directly written to death by the screenwriter, which has led to the starring actor being out.

However, in film production, directors and producers are far more important than screenwriters, and screenwriters are often in a relatively awkward position.

It is interesting that the hard share agreement signed by the Producers League and major Hollywood unions have the same period of time. That is, when the agreement between the Screenwriter Union and the Producer Union expires, the agreement between the Actors Union and the Directors Union will also expire.

Every time the agreement expires, it is the most turbulent moment in Hollywood. If major unions want to win more profits, the producer alliance that represents the interests of investors will certainly not agree.

As a result, the union began to brew a strike, but the strikes of the actors and directors union would not break out, because before the strike broke out, the investors would show enough sincerity.

Those who really strike are often screenwriters' unions. The demands of screenwriters are always not taken seriously by investors, and negotiations will always be deadlocked.

It is obviously impossible for screenwriters to want similar agreements between actors and directors. In the eyes of investors, they are far less important than the latter two.

Matthew is not very clear about the independent film circle, but the production of mainstream commercial films often involves first producing producers and projects, and then recruiting screenwriters to write scripts. For example, in the case of "Mr. and Mrs. Smith", if Aziva Gossman was not the first-line producer, Pinfeng Entertainment would pay attention to Simon Kimberg?

Matthew watched James Cameron's scripts of "Titanic" and "Terminator 2" last year. If you only read the scripts, it is really ordinary. "Terminator 2" is a little better, and "Titanic" is simply a bloody love between a poor boy and a rich girl.

Film screenwriters always clamor to surpass actors and get the power and status equivalent to directors, but in today's Hollywood, their requirements are too unrealistic. Hollywood does not need screenwriters to let go of their minds and create creative ideas that shock the eyes. The mainstream commercial films in Hollywood and even most award-winning films in the awards season must conform to the traditional three-stage structure like a assembly line.

Screenwriters who want to break these things either invest themselves or clean up the bedding and leave.

Having said that, films that are truly accepted by the audience every year, with box office sales or big hits in awards seasons are often typical three-part films.

Hollywood is a business circle, and the market determines supply.

Most of the time, the scripts of mainstream Hollywood productions are not a single person's work, but are often the product of teamwork. It is normal for several screenwriters to write together. Each screenwriter often has more subdivided small screenwriters behind it. However, these people cannot get the signature rights, and their names cannot be found from the list of cast and crew members of the film.

This model of assembly-line production of scripts must have disadvantages, but it also has benefits.

Any screenwriter has his own expertise and is not good at it. "Pirates of the Caribbean" has a huge screenwriter team, some are responsible for writing British dialogues, some are specialized in action scenes, some are provided with funny jokes, some are also written about boating on the Caribbean Sea, etc.

Every screenwriter writes what he is good at under a unified style and template, and may not be very professional, but it seems at least that way when he appears in a movie.

This is not particularly obvious in "Pirates of the Caribbean". It involves professional movies, such as rugby, medical care, anti-terrorism or lawyers. This model of division of labor and cooperation can prevent the content of the film from being extremely embarrassing and amateur situations.

If even the most basic situation of the profession reflected in the video is wrong, the probability of success of such a video can be imagined.

Of course, not all scripts will do this.

Some crew members and screenwriters also use an extremely lazy way to solve the problem of professional shortcomings and emotional scenes when encountering such professional situations.

Therefore, some movies or dramas will have surprising plots. A film and television drama that is engaged in workplace or business wars will always be mentioned in one stroke whenever it involves workplace and business wars. It is always easy to end with MV and Michael Bay style super fast editing. After this plot, I wish I could end in one minute, but film and television works always have content, and it is impossible for the whole article to be short-shot editing of MV style.

What should I do? For some screenwriters, this is simply too easy. Just have a bloody love triangle, and Mary Sue or Jack Sue will be resolved successfully.

As for the so-called workplace and business war, the screenwriter has never experienced it or understood it. How to write related plots and how to develop the plot in detail? So the professional movies or dramas that the audience can see are only meaningless love triangles.

When a professional profession is written by someone who doesn't understand the profession, how can the empty space be compensated? The opportunistic screenwriter is very clever to choose a theme of love.

Matthew could even imagine that using this technique could completely write a "Soul Gathering Coffin".

For example, let Will Turner be the Jack Sue, and he fell in love with Elizabeth Swan successfully. He was about to hold his wedding, but he got the news that Jack Sparrow was captured by the cannibal tribe. For his good friend, Will Turner told Elizabeth Swan to temporarily postpone the wedding and go to rescue Jack Sparrow, and then had a verbal conflict with Elizabeth Swan.

This conflict is enough to survive the first thirty minutes of the film by relying solely on lines and lyrical footage. Will Turner told Elizabeth Swan how much she loved her. Elizabeth Swan burst into tears and accused Will Turner of his true love for Jack Sparrow.

In the end, Will Turner chose to rescue Jack Sparrow, and the two characters could last for another thirty minutes to sell corruption.

That group scene on the island can be changed to Elizabeth Swan and Jack Sparrow being jealous, and at the same time, they are dissatisfied with each other and Will Turner, and they fight on the island, and there will be no problem with it for another half an hour.

In the ending scene, Jack Sparrow was plotted by Elizabeth Swan and swallowed by the Nordic sea monster. For the sake of Ki... No, it was friendship, and he jumped into the Nordic sea monster's big mouth without hesitation.

Elizabeth Swan swore that even if he chased the dead world, he would not let the two be together, so he looked for someone to go to the end of the world...

This is definitely the perfect plot of Jack Sue with a bloody love triangle.

Matthew could imagine that if the film was really filmed like this, in the name of pirates, all plots would serve the bloody love triangle, and most viewers would probably vomit blood and die in the theater.

After staying at Angel Brokerage for half a morning, Matthew left Helen Herman's office before noon. Before leaving, he specifically told Helen Herman to contact the agents of Johnny Depp and Keira Knightley. Now that the big sale of "Soul Casket" has become a foregone conclusion, the three of them must strive for greater profits in the next "End of the World".

After leaving the Angel Agency, Matthew didn't care about the paparazzi following him and drove directly to Amanda's apartment in Westwood. Alexandra Dadario, wearing a tight T-shirt and clinched legs, was already waiting in front of the apartment building.

Alexandra Dadario got into Matthew's car and asked, "Where are we going?"

Matthew could see a flash of lights on nearby, but he didn't mind, saying, "I booked a seat at a sea view restaurant in Santa Monica."

Alexandra Dadario nodded and said, "Let's go, I'm a little hungry."
Chapter completed!