"As an excellent Hollywood film director, Dunar was already the most famous first-line director in Hollywood more than ten years ago. His films are grand and profound, with a vast atmosphere from the primeval forest. This characteristic is unique among the many directors in Hollywood at that time. After disappearing for many years, he appeared at DreamWorks and appeared in the director team of Mr. Corleon. In recent years, Dunar has filmed some movies, and through these movies, we can find that Dunar today is obviously different from Dunar more than ten years ago."

"Movies from Dunar more than ten years ago were sharp, like a shining dagger. They always pierced into the heart of the audience and resonated with the audience. But now Dunar's movies are like wines that have been mellow and mellow, exuding the strong fragrance of life! This may be related to the emotions he felt after experiencing the tragic situation of human voices."

"After joining DreamWorks, Dunar's movies are obviously the color of the DreamWorks school. Today, the second commandment in the Ten Commandments he filmed today has changed the style of compassion in the past and replaced it with a broad and observant attitude, which is impressive. Today, the big dollar investment site "King Kong" makes people feel more and more that this old director is so unique."

It can be said that Dunar's "King Kong" really shocked everyone.

Another old director, the co-teacher of Hollywood filmmakers, Griffith, brought people an extremely huge shock!

Almost as Dunar submitted the script to me, Griffith also found me. However, the guy was secretly holding the script alone without letting anyone know.

At that time, I was revising Dunar's script.

"Boss, are you going to shoot a new movie?" Griffith looked at the script in front of me and laughed.

"Why are you so happy if I shoot a movie?" I couldn't help laughing.

"If you shoot a movie, I can be your assistant director!" Griffith smirked twice, pulled over a chair and sat opposite me.

I gave him a blank look: "David, the people in the DreamWorks director team are crazy about filming independently. You guys are so good. You have cut your head and want to be an assistant director. Is it so good to be my assistant director?"

Griffith looked at me and scratched his head and said, "Boss, I am different from the people in Stenborough. I think it is a kind of enjoyment to film with you. Don't worry about running around, just follow you and appreciate it slowly. It's a kind of enjoyment."

Griffith said while squinting his eyes and savoring his mouth for a long time.

I was amused by his appearance and couldn't help but shake my head.

"Boss, you have to write your own movie?" Griffith pointed to the script in front of me.

I shook my head: "This is the script that Dunar just submitted. It's pretty good. I'll modify it for him and then invest in the filming."

"Dunal wants to direct the movie?" Griffith's eyes widened.

"What, isn't it?" I spread my hands.

Griffith immediately smiled and said, "Okay, of course, okay. Yes, Dunar should also direct a movie of his own."

Griffith's words were somewhat filled with emotion.

I took out a cigarette from the cigarette box, threw it to Griffith, and then lit it and said, "That's right. David, I'm going to tell you, the one I feel most owed to in our DreamWorks is Dunar. In the director team, the person he directed the least independently, and he usually sent him any job as an assistant director, but he never complained."

"Now, among the people in the director team, you, Stiller and others have won the Silver Feather Award, and others have also been nominated. The only one who made the name of the famous Liwan is Dunar, no matter how he is. Sometimes, looking at his busy back, I always feel sad."

My words made Griffith nod.

"David, count it, Dunar should be of the same generation as you. Time is unforgivable. I think it's time for him to gain honor."

I asked Griffith Yang's script in his hand and said, "This time, I have a chance. Dunar's script is very well written, and I have changed it a lot for him. I guess the people should have a good response after the filming comes back. Look."

I handed the script to Griffith.

Griffith took it, looked through it carefully, and said excitedly: "Boss, if this movie is filmed, it may be able to win the Harvey trophy."

I smiled and said, "It's best to win a trophy, so I don't feel like I owe anything."

The two of them were talking and laughing in the office, happy for Dunar and sighing for Dunar.

As I smiled, I suddenly remembered something.

"David, you run in alone, nothing will happen, right?" I thrust at the black file bag Griffith was carrying.

Griffith smirked and said, "Actually, there is nothing. I have written a script. I want you to see it."

"You wrote the script!? Come on, take it and let me see it!" As soon as I heard that Griffith had written the script, I jumped up immediately.

If I say that other people in the director team, such as Stiller and Stendburg, I am happy to write the script. Then Griffith's script will make me crazy.

DreamWorks has long been popular with two sentences. One of these two sentences is: "It is easy to make the sun turn from west to east, and it is difficult to make Andre Corleon give up his filming principles.

Another sentence is: "It is easy to make the ram give birth, but it is difficult to make Griffith write a script."

Among the people in the director team, Griffith is the person with the least volume of scripts. Since the establishment of DreamWorks, almost every director can direct independently every year, and basically write a few decent scripts every year. However, Griffith rarely reads to write.

Since joining DreamWorks, he has taken the initiative to hand in scripts very rarely. Even if I ask everyone to write scripts to assign tasks to them, he always walks into the office with both hands.

Griffith has two reasons for this approach. The first is to give the opportunity to young people, especially after winning the Best Director Silver Feather Award, to support the young people. It has become his busiest thing after filming movies. It not only helps the various crews of DreamWorks work, but also runs to the Corleone Film Academy when you have time to teach students. At Corleone Film Academy, Griffith is the most respected and popular teacher among students.

The second reason why Griffith doesn’t write scripts is that being an assistant director can learn a lot. In Hollywood, no one is indifferent to Griffith.

People do not agree with his ability, his contribution to Hollywood, and his achievements in movies, otherwise people would not have given him the title of "Master".

But at DreamWorks and even in Hollywood, the most humble person is Griffith.

This old man always feels that his level is very low and that he can't keep up with the times. For this reason, he always does not give up any opportunities to learn, especially following me.

It can be said that he almost serves as my assistant director in every movie. He has greatly helped me during filming, and he always said that he has learned a lot.

Therefore, Griffith is not only at DreamWorks, but also in Hollywood, because of this spirit, and is increasingly respected and loved by people. It can be said that he is one of the few filmmakers with the highest prestige in Hollywood.

"Boss, I think I'd better forget it. Since the Dunardi movie has been filmed, I won't join in the fun. Otherwise, I can be an assistant director for Dunar. We two old guys will work together, and it may be very attractive to the audience's attention." Griffith wanted to run away with his file bag, but I grabbed it.

"Duar is Duar, you are you. Maybe this time, I can let you two old guys go to the battlefield at the same time." I grabbed Griffith's file package and dug out his script in a few seconds.

The script is not very thick, only more than fifty pages. This is very consistent with Griffith's style. His scripts have never been as detailed as those written by Stenberg, Stiller and others.

Among the directors of DreamWorks, the style of writing scripts is obviously divided into two schools. Stevenberg, Stiller, and Munau include Visconti and Bresson. These guys were influenced by me. The script was detailed in detail, including individual shots, scenes, costumes, characters' lines, and other elements.

Such scripts have their own advantages, that is, they can maximize the director's intentions and bring convenience to filming.

It can be said that this is the script style of Hollywood's emerging directors and the style of Hollywood's current mainstream scripts.

Another faction is Griffith, Dunar, the school of old filmmakers. Their scripts are generally very general, just like writing novels, characters, time, place, what happened, and what the result was, and it was gone.

Such a script is more of a summary in the director's mind than a script.

In many Hollywood directors today, such scripts are not suitable for making movies because they cannot be mastered by actors and crew.

But Griffith, Dunar and others.

But he was able to shoot wonderful movies with these simple scripts.

This is how the older generation of Hollywood filmmakers work.

Emerging directors like to finish all the work before the movie begins, and the rest is just to complete it according to the plan little by little. However, the older generation of directors just set an outline at the beginning and then complete it at one time when the specific operations are done.

These two methods have their own advantages and also represent the ground style.

But overall, this method by Griffith and others requires a high level of ability and a global perspective, which is something that ordinary young directors cannot learn.

It is precisely because of this relationship that people like Griffith and Dunar will be more attractive than those young directors when they come up with scripts.

Because their scripts are usually carefully crafted.

This time, Griffith's script made me nod while watching the floor.

Historically, after filming "The Party and the Party Counterattacks", Griffith basically declined. In the next few years, although several movies were born, their influence was very little.

But Griffith is fundamentally different from him in history. Not only is he more and more famous, but he is also becoming more and more famous.

At the beginning, I couldn't guess what kind of script his script would be.

Because from the moment he joined DreamWorks, any of his works were something I could not have expected.

Therefore, I am very curious about his script.

After reading it once, I jumped and jumped in the office excitedly.

"David, you wrote a good script! Good script!" I held the script, trembling with excitement.

Griffith's script tells the story of an isolated pianist. This pianist does not like to sever the social distancing and lives a closed life. He only lives in his own world and looks at the world with the eyes of people outside of society.

He saw the secular world, the increasingly degenerate world, and saw that people became less and less faithful and became more and more numb. The pianist burned his house with the last fire and chose to leave the world in the fire.

The entire script, the criticism of society, and especially the brilliant criticism of human nature and human spirit in the industrial process, is very vivid and shocking!

Looking at the entire Hollywood, only Griffith can write such a script.

The heaviness that the script exudes, the profound dialectical thinking that can see the essence of the world at a glance, is beyond the reach of young directors. For Griffith, he is writing this script with his life experience and thoughts, which young directors cannot understand.

My exaggerated expression did not make Griffith look so happy. He looked at me, now stunned for a moment, and then said to me in a deep voice: "Boss, I think this script is not well written, so I want to ask you to read it. Please give me some advice."

"Then what do you think is bad?" I asked at Griffith.

This old man is a typical perfectionist person. He has extremely high requirements for his movies and has almost reached a harsh level.

Griffith coughed and pointed to his script and said, "The biggest problem with this script is two. One of them is that the plot is too thin and too simple. Although I think this movie is an art movie, relatively speaking, the requirements for the plot should be lower, but the story still seems a little thin. On the one hand, it cannot attract the audience and cannot fully unfold the plot. On the other hand, the simplicity of the story also makes the characters in it look a little shriveled, which is what I worry about the most."

"The second problem may be that the preaching meaning of the entire script is a bit strong. When I write the script, I always want to fill in the movies with my thoughts over the years, but I don't worry about the audience's acceptance. After I finish writing the script, I feel that the whole script is more like educational materials and is a bit rigid."

Griffith looked at me and shrugged.

Of course, he knew the problem with the script he wrote best.

In fact, the two problems he mentioned are not missing, but they are not as serious as he said.

The reason why the script is thin is that although it has something to do with the simple story Griffith told, it has a certain relationship with the script itself. I think if the movie was officially started, the situation would be very different, because at that time, there would definitely be many plots not in the script that were added. In that case, how could it become thin?

But now I think this electric

Less can make it better.

Because this theme of a pianist, especially a pianist who is isolated from the world, it reminds me of a very famous movie in later generations!

"David. I think you should change your name in this movie." I put down the script of Griffith and laughed.
To be continued...