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What is the most important thing about such a film? Just like for a film, Deadpool's most important ability is his mouth, it will never be a story, logic or philosophical thinking, but the charm of the character!

In other words, the character Deadpool, who appears on the big screen, will show a very alternative and extraordinary charm!

So, in the script prepared by Murphy, the three elements of the movie story are: role, role, or role!

Other structures, rhythms, and plots are all secondary. Only by standing up the Deadpool character can the audience follow the journey without regrets and willingly follow it. If the character does not stand up, then this seems special but in fact it is still clichéd story. The audience will continue to compete with whether the logic is reasonable and will constantly find loopholes in various plots, which will make things difficult to handle.

Murphy first has to think about how the story will affect the protagonist, not the audience, not the production company, not the film category issues himself, such as "What will make a good superhero movie?"

Instead, Murphy is more thinking about what kind of dispute Deadpool should get caught up in, and then come up with a viable story, based on the character, and create a powerful, clear story.

Murphy pays special attention to the story creativity must be proactive, and the story must be carried out by the protagonist Deadpool, which defines the entire story by Deadpool's actions and actions.

For creating a movie script, inspiration can be in various forms: it can be a specific scene containing characters, an exciting emotional impulse, or an abstract idea about the concept of the story, such as the concept of the Star Wars Prequel trilogy, which “You thought you could fight against the power of dictatorship, but these forces will eventually win”.

Whatever the form of story inspiration, as long as the story’s germ is obtained from Deadpool, Murphy can use it to create a solid, viable story.

Deadpool is like a non-human, but Murphy will not build stories around non-humans. That is not the story that a screenwriter should do. All good stories are constructed around humans and conflicts. Not to mention that Deadpool is just a transformer, including Finding Nemo Bambi and the monster Shrek, which use other biological forms to hide their human nature. When imagining the protagonist, you must also think clearly about the protagonist's flaws.

Yes, flaws are very important to a movie character these days.

Maybe others haven't seen this yet, but Murphy is very clear that the character who can do everything and can easily solve his own troubles is no longer suitable for the needs of movies of this era, so Superman movies are the most difficult superhero movies to shoot, and Batman also has to fall from the altar to complete redemption.

Similar character flaws are called "fatal flaws" by Murphy, and are a very important human characteristic that a character lacks. This is not something that the character needs or naturally carries in the film, but something that the director or screenwriter needs to give to the character.

This "flaw" may be addiction or a wrong goal, such as the wealth and power in Wall Street Wolves were always good, and the hopes of the mediocre people were popular, etc.

As the initiator and real implementer of the project, Murphy must "discuss" such deep-seated issues face to face with the protagonist Deadpool, which will ultimately bring a very important change to the end of the story.

What are the flaws of Deadpool? Talk, lustful, greedy, irresponsible

The chatter requires a certain design, and cannot be unlimited nonsense. That will only arouse the audience's disgust. In this regard, Murphy called Robert Downey Jr. and asked him to stay here for a day. Robert Downey Jr. himself is a verbal chatter. After communicating with Murphy, he took away a lot of comics about Deadpool and outline samples of Murphy to design verbal lines for Deadpool.

Deadpool is very lustful. No matter which comic work, any woman who appears as the protagonist has kissed and made intimate with him in the end, especially because she can't die, she once fell in love with the female Death God. Later, she was cursed by Thanos, who also fell in love with the female Death God, and became immortal and could not be with her.

Therefore, it is necessary to have a beautiful and sexy heroine, and the two of them must be equally lustful. They can set up a relationship scene. These two people hid together and had sex in different ways for a year.

Character flaws can help Deadpool get closer to the audience, make him appear more charming, and resonate with the audience, but to create such a character, it is far from enough to have character flaws. Deadpool also needs a path to satisfaction, that is, the character's plan.

In the script and video, Murphy must let Deadpool embark on his own journey and make the character feel pain.

Correspondingly, Wade Wilson decided to conduct dangerous human experiments because of love and cancer, and became like a person who was neither human nor ghost. He also wanted to find his original appearance because of love.

There will definitely be a lot of pain in this, but it is necessary.

For example, in the midnight cowboy, Joe Buck decided to become the most successful male PR in New York. Is this idea really bad? In fact, he learned more on this road than ever before.

Similarly, in Viagra, the 18-year-old and pregnant heroine gave up her job and had to make money quickly, so she decided to become a drug dealer.

For movies and scripts, a very bad idea for characters is extremely correct!

These two protagonists thought they could control the ending, but they did not. Their failure made the film successful.

So, Murphy will exert force here and must let Deadpool go on a painful road. This will be cruel and rough, but it will also be compassionate. Let Deadpool embark on this twists and turns will cause some kind of radical change or recognition.

This path that leads Deadpool to satisfaction but ultimately fails is the plot he needs, and it is also a map of Deadpool and the audience's new world.

And these will also reflect the necessary values ​​of a movie character.

In the movie, you can see familiar values, such as "love will find a way out", "be yourself", "connect with people", "money is not omnipotent", "family can save you", etc.

In the past, Hollywood called these "information" the basic truths that the public strives to believe in life.

However, the values ​​of movie characters should not be pastors or essays, and should not be stubbornly stuffed to the audience, but should be expressed through dramatic methods such as activities, behaviors and discourses.

Deadpool's values ​​are very special, which is also part of the character's charm.

Setting the defects, action journey and value orientation of Deadpool, Murphy then formulated the action structure table in the script for him.

Through this table, Murphy combines the various settings of Deadpool into a coherent story, which can be used as an extended version of the "recommendation".

In fact, once Murphy finished the form, he could keep it in mind and give it to Bill Roses and Karafez for a preliminary look.

The action structure table is a collection of all the elements that form the basis of the script’s story. In doing so, Murphy can instantly see the entire story, such as Hollywood’s usual “incitement incidents,” “calls of action,” “” and “determination.”

He would distil his ideas into six to ten short paragraphs, no more than two pages of ordinary scripts.

This will not be an event table, and Murphy does not need to list the specific, actual scenes in the story.

Action structure is a way to define the main arcs and values ​​without having to fill in all the details. For example, in the second act of the script, he can set "What's wrong happening" as a placeholder, because these actions and events can be described in detail in the event table.

This work is much easier, and Hollywood has ready-made action structure table templates to use.

After getting through these, Murphy can use this as a template to fill the template situation to start filling the script story content, and the filling will not create any unexpected content, and will develop according to the traditional three-stage structure.

Although the whole story will be flashbacked, the rhythm is still in the standard Hollywood mode. Deadpool must be a relatively ordinary little character at the beginning, and then through some inconspicuous little things, it intersects with other main characters and even conflicts. This is also a very ordinary way for scripts to inspire events.

Once Deadpool inspires the incident, he needs to make a decision. The decision in the script is not because of or the character's plan, but rather how Murphy pushes Deadpool on the way he should go.

Next is the journey and test of the second act of the three-stage structure. The simple story of Deadpool being an ordinary person will also become complicated in this process.

During this process, the reality of the combination of poor decisions by other characters and Deadpool will bring more pain and complexity to the protagonist, forcing the character to struggle, push the plot forward, and complicate the story. If you don't do something, the protagonist will not be able to move forward, and the protagonist has exhausted everything.

At this point, the second act can also be declared ending, followed by the critical third act.

The third act is the protagonist's decision and the whole story.

Once important decisions are made, Deadpool, as the protagonist, no longer struggles with the main problems. The only thing Murphy needs to solve is the conflict between people and the values ​​that Deadpool finally forms.

Of course, Deadpool decided to change and identify with his own flaws.

This is the value of the story. The characters finally understand why the initial plan or "satisfaction" is a mirage, but they also gain something more important, a new understanding of themselves.

The script ended here, the whole story was officially completed, and then Murphy modified and filled some borders. For example, in addition to borrowing part of the comics, Deadpool's mouth turrets were also written by Robert Downey Jr., to be more in line with the current social situation.

The black humorous drama inside also found Seth Rogan and Jonahill who ended their vacation to help. These two fat guys are both funny experts.

After completing the first draft of the script, Murphy and the planned draft were passed to Bill Roses and Karafes respectively. If the project is completed, they still need to obtain copyright. To be continued.
Chapter completed!