บท 593: Leisurely

Renly was serious just now, not joking at all. He genuinely needed to read the scripts.

There is a significant difference between a script and the finished product. A good script doesn't necessarily guarantee a good film, but a good film invariably has a good script.

For many ordinary viewers, it may seem like commercial movies don't need scripts, just dazzling visual effects, as exemplified by "Transformers". However, this notion is mistaken. Truly outstanding commercial film scripts may not be overly complex or profound, but they must flow smoothly. A simple story should be told clearly, with a seamless pace, well-placed highs and lows, and impeccable timing. Achieving this is no easy task.

In commercial film scripts, there are generally two approaches. One centers on the story, narrating around a specific event, such as "Ocean's Eleven", where the goal is to rob a casino. The story is divided into three stages: the origin of conflict, the preparation for the mission, and the execution of the mission, which is the film's climax.

The story itself isn't complex, the main plot is established, and even if the characters are stereotypical or simplified, it doesn't matter. Everything revolves around the main storyline, with a clear objective. This makes the viewing process incredibly smooth, and the thrill follows naturally.

The other approach centers on characters, revolving around the development of relationships between characters, as seen in "Harry Potter and the Sorcerer's Stone", where the ultimate conflict is between good and evil. The story also unfolds in three stages: the establishment of characters and their relationships, friends and enemies; the brewing of conflict, deepening friendships, and the rise of hostilities; and the climax of the conflict, where justice prevails over evil, or the protagonist triumphs over the antagonist.

These types of stories aren't inherently complex either. The protagonist is established, and all the supporting characters revolve around the fate of the main character. Events happen with the protagonist at the core, allowing the audience to experience a rollercoaster of emotions alongside the main character's growth.

In short, commercial films don't mean they don't require scripts; they need a simple yet effective script.

As for scripts like "The Dark Knight" that weave the main storyline throughout, supplement it with moral reflection, and even add subplots to develop supporting characters, they are extremely rare. Even scripts like "Inception" or "Titanic" can't compare.

The scripts for "Battleship" and "John Carter" both had fatal flaws. The former's script was messy and pale, with almost no help from various subplots for character development or advancing the main storyline. This resulted in too many abandoned plotlines and an overly thin main plot, revealing glaring logical gaps and leaving the audience with a sense of powerlessness. The end result was a pile of stars stacked atop a heap of special effects.

Objectively speaking, the plot was even worse than "Transformers".

The latter's script failed because ambition and ability didn't match up. On one hand, the main storyline was centered on a war standoff, but the intricacies and development of the story weren't adequately explained, lacking the straightforward yet well-structured feeling of "Star Wars". On the other hand, the second main storyline followed the protagonist's experiences, but the characters lacked the clear and straightforward character development seen in "Avatar". Many supporting subplots were disjointed and did nothing to contribute to the protagonist's character.

Expanded from the original source, "Star Wars" and "Avatar" each interpreted and portrayed their own styles, but the movies adapted from the original source material were a complete mess.

In a complete film, the script is just one aspect of it. Whether the pacing is well-controlled, the choice of actors is suitable, and whether the climax is exciting or not, these are all key factors in the success or failure of a commercial movie. But it can be affirmed that both "Battleship" and "John Carter" suffered from script-related shortcomings.

In the previous lifetime, before the release of these two films, nearly everyone had high hopes for their box office success. From investments to casting, directors to promotions, and the source material for adaptation, every aspect seemed poised for massive success, and it was hard to find any reasons for failure. Even the script itself was not considered a serious issue.

However, in Renly's view, a terrible script in the hands of an inexperienced director and under the guidance of an inept producer, even a single misstep could lead to a series of blunders. Ultimately, the dismal box office performance of both films was not surprising.

Of course, Renly was speaking from the perspective of someone who had traveled back from the future, so naturally, he was detached from the consequences of his words. Who could be certain that, when the timing of this life coincided with the point where his previous life had ended, and he had lost his "clairvoyance", he could still make these wise and accurate judgments?

So, Renly needed to read the scripts. Even for the scripts of "Battleship" and "John Carter", he needed to read them carefully. Just like he did with the script for "Thor" before. These commercial film scripts, even if they are not outstanding, are well-written. This isn't an easy task. Setting aside the visual effects and directorial control found in the final product, purely examining the script, analyzing the entire work, and even imagining how the director would transform words into images, all of this had its unique charm.

Objectively speaking, of the nine scripts that Andy submitted this time, after some filtering and selection, Renly had to admit that he agreed with Roy's idea. "Looper" and "21 Jump Street" were worthy of consideration.

Personally, Renly favored "21 Jump Street" more. Having missed out on "Horrible Bosses" and experienced "50/50", Renly had a special fondness for comedies. Shedding the burden of image, letting loose and performing, not just as a pretty face but as someone who could blend their humor with the screenwriter's ideas, was an interesting creative process.

For the likes of Bill Murray, Robin Williams, and Billy Crystal, who were masters of deadpan comedy, Renly had immense admiration. Their humor was a product of wisdom and years of experience, difficult for ordinary people to emulate.

As of now, Renly was far from being a qualified comedian, but "21 Jump Street" could be an interesting starting point.

However, "Looper" was also a good attempt. While Renly speculated that the production team's self-identity was a science fiction action film, limiting the scope of performance, science fiction films were undoubtedly a new frontier. Works like "Blade Runner", "Alien", "Inception", "Interstellar", and "Twelve Monkeys" had left a deep impression.

Renly had always been a fan of "The Butterfly Effect". Not only because of the inspiration it drew from parallel space theories and black hole time travel theories, with the director filming four different endings to explore the meaning of life and time, but also because it combined art and science, truly making people reflect on their lives. Every choice could lead to different outcomes, and what people should pursue wasn't perfection but authenticity.

Once, in his past life, Renly had a special fondness for such movies. He had actively sought out many similar films, such as "Triangle", "Coherence", "The Man from Earth", "Moon", and more. This included "Source Code", which was released in April this year, and the script "Looper" that he currently held. These science fiction movies, whether good or bad, mainstream or niche, always had something unique to offer.

If he could act in "Looper", Renly was greatly looking forward to the opportunity to exchange ideas with the screenwriter, Rian Johnson. While Renly was an arts graduate and not a physics major, he was more than happy to engage in discussions about topics that interested geeky fans like them. He felt it could be a beneficial experience.

However, "Detachment" had just wrapped up, and Renly didn't have the urge to immediately dive into shooting another film. Relatively speaking, he was yearning to explore the world beneath the sea, to adjust the pace of his life, and truly savor this rare vacation time. Whether it was "21 Jump Street" or "Looper", they could wait a bit longer.

If he missed any of these productions because of this vacation, it would undoubtedly be a regret. But Renly wouldn't dwell on it. Neither of these two projects had reached the level of making Renly excited and impatient. After nearly two years of navigating the ups and downs of Hollywood, Renly had gradually adapted to the rhythm of life here.

Miss one project, and there would always be another. Once he encountered a project that truly enthralled him, he would hold onto it tightly because in Hollywood, no one was special, and no project was special. Only through one's efforts could a project become special to them, truly becoming their own.

Furthermore, these nine scripts were not formal audition invitations; they were merely exploratory inquiries. Beyond Renly, each production team probably approached dozens of actors to gauge their interest. While actors chose scripts, the production teams also selected actors, especially in the case of top-tier commercial productions. The initiative always lay in the hands of the production company, and actors were just pawns.

So, Renly decided to take a proper break, leisurely perusing these scripts as if reading books, using it as a means of relaxation and entertainment. This included both the scripts for "Battleship" and "John Carter".

However, before he could officially start reading, he decided to respond to the call of slumber and embrace the warmth and comfort of his bed for a good night's sleep.

As soon as his head touched the pillow, Renly drifted into a deep slumber. In the past two months, he had never truly had a good night's sleep. While it might appear that Renly had seamlessly integrated into life in the Bronx, the reality was that he had to remain constantly vigilant, even if it became second nature. Because there, one momentary lapse, one instance of carelessness, could cost him his life.

No one could afford to let their guard down, and Renly was no exception.

Now, he could finally relax completely and enjoy a good night's sleep. Soon, Renly's breathing became steady and uninterrupted. Only at this moment did he truly depart from the life of Henry Barthes.