原创与造血,剧作中心制的序曲时代

时间:2019-07-16 来源:www.ashleyhomestorenow.com

澳门星际电子真人

好消息甚至很小,但它总是充满活力:在这个上海白玉兰奖中,第一个区别是原作和编剧奖的改编。

事实上,原创和改编的两点是国际大会,而戏剧类别中的艾美奖是相同的,而这次Magnolia也在剧本类别中精美地呈现了两个奖项。这慷慨地证实了编剧的改编。这一努力也体现了对原始编剧的尊重以及对莲花的介绍,本身就是对电影来源的肯定和加重。

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创意不只是一种感觉,而是红尘降落

坦率地说,原始的过去,包括现状,仍然有许多尴尬的姿势,其中一个是原始编剧的概念。

所谓的原创性实际上是指故事来源的概念,来自编剧本身,并以台湾书籍的形式呈现,可以拍摄(或播放)。例如,莎士比亚的作品都以剧本的形式完成,但他自己也是作家,甚至没有人会说莎士比亚是编剧,陀思妥耶夫斯基是作家。

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莎士比亚的作品《罗密欧与朱丽叶》被改编成电影

例如,中央戏剧学院的写作教学课并没有将原始写作与原始写作分开。因为默认来自最大来源,所以必须有创意生活用水,从草图到短剧到完整剧本。多态性,但作者的原始故事,这是学术默认,但也是训练默认。

简而言之,原作者是一个载着故事世界的人,这个故事世界将人物和母亲角色从零到世界上的人。至于形式,小说,散文,戏剧剧本,电影和电视剧本,它只会唱出它的不同之处。乐器。如果钢琴中有东西,为什么不听它,但太多的人注意指向月亮的手指,而忽略月亮本身。

从上面可以看出,白玉兰的变化实际上是原始来源的专业视角,而这一信号对于业内原作者来说是积极的。

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第25届白玉兰奖颁奖典礼

对“信心”一词的提及涉及前三或五年的原创性困境。我始终认为原来的追求不是感情,而是红尘落地。而如何降价,在资本狂潮之前的行业,盲目追逐大的知识产权环境,这是极不现实的。

当一切都用数据标尺完成时,原始意味着0流量,大IP意味着早期饱和数据,原始意味着高风险警告,大IP意味着短期和快速盈利的游戏。

任何选择可能都不会更好或更糟,但这两种弊端都是轻率的。我曾说过一件事,那就是“原创是冒险,但追随潮流是最大的冒险”。这个陈述的背景是随机网络IP是数千万,当涉及到原创性时,它突然改变,结果变成原始是一种爱的感觉。

不是这种情况。中国电视剧与美国,英国,日本和韩国的原始传统一样原创。来自《编辑部的故事》,《我爱我家》,《空镜子》,《渴望》,《贫嘴张大民的幸福生活》,《一年又一年》,《大明宫词》,包括《士兵突击》,《我的团长我的团》,《北平无战事》,《嘿老头!》等近期年份。当时,中国原创性在表达质量,创作欲望和工作水平方面颇受欢迎,而原创的谱系作品往往造成质量剧的现象,并且具有很强的保留性。

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The wind blows the pigs, the wind stops, the pigs in the sky fall to the ground, and the ones who walk on the ground are still solidly engaged in the creation, although the posture is lonely. With the smashing of big IP, the producers and producers in the industry have begun to enter a cooling-off period. It is precisely because of this industry's precipitation at the expense of failure that the original screenwriters can be layered, clear, and colorful.

Therefore, this time Magnolia was awarded the original, and the industry is also a signal to clear the source.

Third, originality is a risk and an opportunity, but it is not a feeling, because from the perspective of the creator, originality is actually a challenge, a self-game, and a market game. Although the overall number of scriptwriters is increasing, the quality of the screenwriters is scarce. Because the professional threshold of the scriptwriter itself is very high, the original screenwriters need life experience, sensibility, imagination, and sharp and solid technology. In my opinion, There is also enthusiasm and courage that is difficult to passively obtain, and even to obtain.

The original work is more like making earth, not filling the sky, but opening the first place. It is a character, and it is the character's worldview and aesthetic existence behind the character. All the advantages will bloom in the original works, which means that all defects will be magnified in the original, enlarged to the point of responsibility, why? Because of originality, it means that the author is the first person responsible.

But glory is always a burden. As I see it, unless you really love writing, if you only want rice blast, originality is not a good choice for screenwriters. Because of the so-called courage, but also with enthusiasm, otherwise you do not have to do all the hardships, to fight the original windmill Don Quixote.

There is no blood and tears, no heart and lungs, no originality, no need to be original.

In this way, the Magnolia subdivision of this award is not only a two-two summon, but also a group of creators to self-deprecation, in the end how to position, sincerely deceive.

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The 25th Magnolia Awards Presentation Ceremony

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xx知识产权是一个中性词,经典的改编仍然是一朵花。

对应于原始编剧的编剧的改编仍然是电影和电视剧中的一股强大力量。它在商业和艺术方面都具有发展价值。

这是一个知识产权问题。在我看来,你不应该杀死IP,无论是持有它还是杀死它。

画狗和老虎很难,邪恶的魅力很好。对于IP应该首先被妖魔化:IP是“知识产权”的英文缩写,它原本是正常的心脏。如何让这颗心跳得更好,我个人觉得它是回归适应对象本身来判断质量的。

商业属性和艺术属性并不矛盾。大数据也是参考值,只要它不是数据。每个人都在这里提供帮助,有用的是判断这个故事或小说,价值不值得改变。

这个值不值得。我认为重点是从过去的数据转向内容质量的核心。

关于变革的对象,中国仍然有很多经典文献。好的外国戏剧不仅是由中国引进和改编的,而且在当地也有所改变,如简奥斯汀,有数百种改编《傲慢与偏见》。版。因此,在适应的内容中,引入更多具有更多自由裁量思维的专业人员可以“不为知识产权和知识产权”。

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电影《傲慢与偏见》

迎合观众已经逐渐在人群中结束,想要在数字游戏中不打南壁,只是跳出IP,播放剧集,有这样的逐步剥离,回归到质量的内容心态,也是工业增长的积极面孔。

Second, I always think that a really good adaptation of the scriptwriter is also a creative process. Why IP has been frustrated before, involving the professional conversion of a cultural product, as the saying goes, the threshold of the screenwriter is very high, and the threshold for adapting the scriptwriter is also very high. Even if the original is good, as long as the author has no screenplay background, it is almost impossible to make his script better than the former. Of course, there are very few examples, such as the American female writer, the Pulitzer Prize for Literature, and the winner of the National Book Award. Plu. As the original author of the novel《断背山》, she adapted the script through her own, and also won the Academy Award. In addition to the rare, it means that a large number of original works require professional scriptwriters to make film adaptations. We can hardly imagine a piece of dead wood with only data and no quality, how to be adapted and edited to make a play, and it is hard to imagine a story that cannot be read. The creators who lack enthusiasm for the original work and worry about the professional quality of the scriptwriter can adapt a masterpiece.

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Movie《断背山》Stills

Therefore, as long as the industry exists, good content will always be scarce, and good screenwriters, whether original or adapted screenwriters, are lacking yesterday, lacking in the present, and lacking in the future.

The excellent adaptations of each final product have been injected into the second life experience of the scriptwriter, and each of the final failed adaptations and adaptations of the scriptwriters can not escape. Regardless of originality or adaptation, the writer and the work are always the community of destiny, and all the needs are the creativity of the same way. This is no doubt.

The more attention is paid to the content, the more vital the industry is, the more the industry can promote the machine, and it is really a good thing.

Only because of the hematopoietic power, is the greatest sense of security of the body. The subdivision of this screenwriter award, in the land of Shanghai, can be described as floating clouds, the moon is shining, and the photo is the "drama center system."

The prelude of the drama center system, call it, want to come out This year's Magnolia is for the problem.

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