Roosevelt said that he would give us a big gift. In addition to making us nervous for a while and doing our work more carefully, it did not have any adverse effects on us. Instead, it was because of his statement that made DreamWorks people work harder.

Among the DreamWorks group, the hardest one is probably the director team.

Previously, after receiving the order to ask them to write the script, the guys in the director team were busy, Stevenberg, Stiller, Dunar, Visconti, Breth, David Ryan..., and a group of people basically held a notebook in their hands wherever they went.

The notebooks are densely packed with things, and everyone's style is different. Stenberg's notebooks are almost all pictures. This guy has no basic skills in painting, so he can only understand the drawings himself, and it is extremely terrible. Stiller's notebooks are all text and very neat. Visconti's notebooks are paying attention to words, words rather than sentences, so when he told others that what he had was a script, no one believed him, and many people joked that his script was stolen and others could not plagiarize it because no one knew what was written on it.

The most fun thing among everyone is Bu Liesong. I think it would be a pity for this guy not to open a dye shop. His notebook was colorful and written with at least a dozen different colors of pens, red, black, blue, orange, and different fonts, which made his script colorful, making Gans and others ask him for the script every few days. They didn't read the content of the script, but after reading the script, they pulled the collar of another person: "How about it, I said that the following paragraph will be in warm colors! If you lose, give money! Give money!"

As a result, Buresong accidentally invented a new gambling method for DreamWorks, which almost made the guy die of anger.

Among all, there are only two people who are the least busy.

One is me. The filming of "The Godfather" has made me tired and almost crazy, and my second brother's affairs have almost consumed all my energy. So I still want to fix it at the moment, which is my habit.

Apart from me, the most leisurely place is Griffith. The old man is living a very comfortable life now. He comes to the company early every day, and drinks tea in my company, and then starts reading scripts for others, making suggestions for revisions, and making jokes with me in the afternoon. In the evening, with Gans, and a group of people from Stenberg went out to drink and watch women. The old man became more and more red and energetic.

That morning, after reading the script for others, Griffith sat on the sofa, holding tea, and humming a pop song from the new album released by Rolling Stone Records, which was very enjoyable.

I sat down and said, "David. How much weight have you gained this month?"

Griffith was originally a thin man, thin and thin. When he first arrived at DreamWorks, he was not only thin and malnourished. I suspected that a gust of wind would blow him off. But now, this guy is eating big and round.

"I don't know how much I have gained weight. Boss, our age, cannot be with you young people. We have passed the age of teasing women. So we have no requirements for ourselves. We only have one goal. That is to enjoy life. We should eat and drink. Boss, I have to remind you. We should not treat ourselves too badly. When we should enjoy it, we should enjoy it. Life is beautiful. Time is short!" Griffith said with a shaking head.

OK! I originally wanted to educate him, but in turn I was educated by others.

"But Mr. Griffith. You are not yet sixty. You are the golden age of a director. Why have you become lazy? Do you know? Now audiences around the world are eager for your new work. You can't work hard and shoot your life experience and your decades of insights into life? In this way, it not only brings glory to our DreamWorks, but also leaves a name in history!" I licked my lips and instigated me.

Griffith immediately laughed. Then he pointed to the young people scattered in the office and buried their heads in writing the script and said, "Boss, look, it's enough to have these guys here. I prefer to give them the opportunity. I'm helping them by the way. I'm very happy to push them. These guys need opportunities more than me."

Griffith looked at people like Visconti, Stendburg, and Stiller. His eyes showed relief.

Actually, I understand his thoughts. Griffith is very satisfied and happy at the moment. In movies, he has created his peak. Now, whether in Hollywood or in the world film industry, Griffith has been recognized as one of the best film masters. He has achieved success and fame. Since he won the Harvey Award for Lifetime Achievement, he has devoted his main energy to the young people in the director team. He uses his experience to help these young people and cultivate these young people, especially juniors like Visconti, Bresson and David Ryan, who have received careful guidance and rapid progress.

He told me: "Boss, Hollywood is a process of eliminating another generation. Look at how many people have been eliminated in the past few decades, and how many people have become the past. The future of DreamWorks. For young people, people like Dunar and I have been in the past, the golden age has passed. For us, if we can help young people and help them avoid detours, it is our greatest contribution. In that case, we can do our part to DreamWorks."

He said this and did it. He did not compete for fame and fortune at all, but instead focused on doing a lot of things for the growth of young people. I remember all these things in my heart.

But in my heart, this old man can still get a lot of things in the movie, because I know his abilities, and I want to show his abilities to the maximum extent and his talents.

"David, you old guy is just lazy! Don't take the initiative to give opportunities to young people so generously. Let me tell you, DreamWorks now has money. As long as the notebook is good, they invest. We have no limit on the quantity, and we don't specify how many movies you make in a year. So you have to toss me with this old bone! Young people need exercise, and you old bones need exercise even more! Otherwise, they will all rust! I ask you, do you have a script on hand?"

I was not polite to Griffith at all. I looked at him and opened my eyes wide.

The guys in the room laughed at Griffith.

"David, you old guy really deserve to scold him! You're just lazy." Stenborough smiled.

"Boss, I really don't have anything to do with the script." Griffith shrugged.

"Come on, don't talk nonsense with me! I don't know you yet! You don't have a hundred or eighty scripts on hand." I shook my head.

"There are not so many, only a dozen." Griffith became anxious and blurted out.

Hahahahaha. There was a burst of laughter in the office.

Only then did Griffith realize that he had been trapped and laughed awkwardly.

"Then let me take out a few excellent ones, right?" I said happily. "Boss, if there were good scripts, I would have taken them out long ago. The key is that I am not satisfied with them myself, and I will not be able to get to the table with you." Griffith scratched his head, feeling very embarrassed.

"I don't care about this. I have to decide whether it's good or not. Jimmy went to David's office to bring some of his scripts!" I waved to Jimmy.

"OK!" Jimmy turned around and ran out.

"Inside the second drawer! The red folder on it!" Griffith's voice sounded like a broken gong.

After a while, Jimmy handed me a red folder with sweat on her head. It seemed that the script in this folder was Griffith's relatively mature work.

Stevens, Stiller and others stopped writing scripts at this time, and they all came over to see what good things Griffith was hiding.

I opened the folder and pulled out a thick stack of documents from it.

Griffith's habit of writing scripts is different from mine. I like to type it on a typewriter in one breath. He is different. He writes it by hand, and writes a script with a sketch of a storyboard next to it. In this way, not only did the content of the script, but even the effects of the movie have been released.

So for him, after the script of a movie was written, the overall image, shot and scene scheduling of the electronic music were completed in his mind. He had to do it, just based on these, just to shoot it. To be precise, this is a fine tradition left by the older generation of Hollywood people. This way of working can greatly shorten the creation time of the movie. It is also conducive to the director's overall grasp of the movie.

However, this method has been lost among the younger generation of Hollywood directors and is quite lost. DreamWorks is pretty good at this point. The people in the director team have more or less inherited this fine tradition, but in other film companies, few people will draw storyboard sketches when writing scripts.

Coolidge's script is written very carefully, with neat handwriting, and the sketches are even more vivid. Looking at the thick manuscript, I felt as if I saw the old man returning home after finishing his day of work, turning on the desk lamp. Put on his reading glasses and writing his script stroke by stroke.

This is the work attitude of the older generation of filmmakers!

Looking at Hollywood and the film industry today, there are several directors who can think of Griffith in creating movies like this.

Griffith is right. Hollywood is a process of eliminating another generation. But the problem is that in another hundred years, two hundred years, looking back on this history, people will still remember Griffith and Munau. People will call them movie masters. How many moviegoers who follow them can remember?

Griffith said that his era has passed, but in fact, this sentence is correct to some extent. From the perspective of the changes of the times, his era has really passed, but from the spiritual perspective, his era has never passed, and has become immortal.

"David, what is your movie written?" Stenberg frowned at Griffith's script.

"You don't look at your own eyes?" Griffith smiled at Stenborough.

Then, Griffith took the script, groped the cover on it, and said in a low voice: "I'll tell you a story. About this script."

Looking at his expression, we were all attracted and came over.

Griffith lit a cigarette, then looked at the window and murmured: "It should be fifteen years ago, at that time. I was still shooting a movie, and that movie was not brought to the screen later."

"Have your movie been brought to the screen? Impossible?" Stenberg shouted as he looked at Griffith.

Fifteen years ago, Griffith was a very popular director in Hollywood. Whether his movies were even brought to the screen was not only unexpected to Stenborough, but also made me feel a little incredible.

In history, I have never heard of any movie that Griffith has not been screened after filming. Logically speaking, such a move does not conform to Griffith's personality at all. In addition, for a film company, it is obviously not in line with the interests of the company. A movie has been invested and produced but cannot be screened, which is a considerable loss for the company's investment.

"David, why didn't that movie be screened?" I asked in a low voice.

"Actually, that movie was not something that the film company asked to go offline. It was because I asked them not to show it." Griffith shook his head, looked at the ceiling with his head raised, his words full of melancholy and nostalgia.

Then he ignored us and his thoughts were completely immersed in his memories.

"It was a movie about disaster. A disaster film." Griffith pressed the cigarette out of the ashtray and showed a smile on his face: "At that time, the movie was invested by Paramount Film Company, and the theme was also determined by the company. At that time, they thought that the effect of shooting disaster films might be very good, and they would definitely attract people to watch, at least they could have a strong appeal in the box office. You all know that in Hollywood at that time, the box office was the most important, as long as it could make money. The owners of the film company did not care about anything else."

"At that time, the company had a lot of discussions, and there were many kinds of disaster films. Obviously, which one to choose had a great impact on the box office. We discussed a lot, and in the end, we came to a common conclusion, that is, to shoot shipwreck films." Griffith's words made us sit up straight.

"Shipwreck film! David, this theme is absolutely very good! Not to mention fifteen years ago, even if you shoot it now, you can make a lot of money!" Gans shouted.

Gans said it well. Disaster films have always had a huge audience, and shipwreck films have never been many in Hollywood. Moreover, over the years, excellent films with such themes have not yet emerged in Hollywood movies. If it is a good shipwreck film, it will definitely be both well-known and popular.

Fifteen years ago, Griffith was definitely a top director in Hollywood, and at that time, Paramount Film Company had great strength at that time. With such a good theme, Griffith's movie was definitely a hit.

But the problem is. In my memory, Griffith never seemed to have ever filmed any shipwreck films.

We looked at Griffith and looked forward to him saying it.

"After the theme of the movie was decided, we started writing the script. This task was naturally done by me. You know my temper. The movies I directed and liked to write the script by myself. In order to write this script well, I almost went to the big ports in the United States, asked the old sailors about shipwrecks, and collected a lot of information."

"One day, I met a middle-aged man in a port in New York, about forty years old. He stayed on the dock all day, and what he did every day was to look straight at the sea and sit all day long. I was very interested in this person, and my intuition told me that there must be a story on this person. And this story is very likely related to my movie."

"I took the opportunity to chat with him. At the beginning, he was unwilling to talk to me, but later I was relieved little by little and slowly opened up the conversation. He said that he was a sailor, working on a world-class large oil tanker. He liked that job very much, and liked to follow the huge ship to sail on the sea, from one city to another."

"In his description, the ship was the largest ship in the world, and the best ship to accommodate one or two thousand people. He worked hard to find a job on the ship. The day when the ship set sail was the first time he set foot on the ship. On that ship, he fell in love with a woman, a beautiful British woman. They fell in love on the ship, and that sailing was a sweet journey."

"Two lovers are lingering under the blue sea and blue sky. That was the most wonderful time in his life." When Coolidge said these words, the room was very quiet.

"But the deeper the two of them fell in love, the more worried the end of the journey, because when the ship arrived at New York, the woman would go ashore to marry a baron. The two were worried about the approaching date and even hoped that the ship would stay on the sea forever without landing."

"As a result, one night, when the ship was sailing, a shipwreck occurred, and the sea water swarmed into the big ship, and the big ship quickly poured out, broke and submerged. A luxurious ship finally turned into a hell on earth. He said that the miserable scenes would never be forgotten in his life. Many people were devoured by the sea. He escaped with his beloved woman at the moment when the ship sank. Escaped to a piece of wood. But the wood was very light and could not hold them up. At the end, the woman gave up the wood and sank to the bottom of the sea with a smile."

This story of Griffith made the room quiet, and everyone was moved by his story.

"What happened later?" asked Stenberg.

"Later, the middle-aged man survived. He stayed in the port and watched the sea forever. He felt that one day, the woman he loved would appear before him." Griffith smiled bitterly and said, "This shipwreck has become the eternity of his life."

"David, this movie of yours. I think it can be called "Titanic"!" Looking at Griffith, I couldn't help but blurt out.

And when Griffith heard my words, he stood up!

The story told by Griffith shocked all of us, and among all the people in the office, I was the one who shocked the most!

The story Griffith told, strictly speaking, was this shipwreck. It reminded me of the most famous shipwreck in history!

There are many disasters in Shanghai in history, but the most famous one is obviously the most luxurious ship in history in 1912, the tragic ship known as the immortal boat!

Departing from South Cape Town, England, the destination is New York, the United States. The ship, which claims to never sink, hit an iceberg in the North Atlantic Ocean and sank into the sea. Due to the lack of lifeboats, 1,500 people were mulberry under the sea. This caused the most serious HNA accident in peacetime!

The name of this ship is popular in history.

Titanic!

The story of this dream boat has stopped circulating among the people since it sank to the sea forever in 1912.

This story full of tragedy naturally became the focus of many people's attention. After Titanic was silent, it had large-scale reports in the media, and many authors of documentary literature also wrote many literary works.

However, film and television works have never appeared.

Griffith said this story without mentioning the Titanic. The story has a very broad background, which seems to me a little blurry.

But I don't know, the first thing I think of in my mind is Titanic.

Unexpectedly, after hearing what I said, Griffith stood up all of a sudden.

"Boss, you, have you read my script?" Griffith looked at me, his face pale and his lips trembled.
To be continued...