Many people have watched a drama, or like Ronan, who have watched the wonderful highlights of this drama and left a certain impression.

The male protagonist is famous in history, and related deeds have been included in the history textbooks of East and West. As the protagonist, he has been adapted into movies several times. Once, many stars became famous because of starring in this role, such as Michael Douglas's father Kirk Douglas.

This character is called Spartacus.

That drama is also called "Spartacus".

Ronan has never seen the full version of the series, but has seen related content highlights. He has been filmed for several seasons, and his biggest feature is the scale.

Once, the scale of "Spartacus" completely exceeded that of "The Song of Roughness and Killing".

After "The Three Hundred Warriors of Sparta", Ronan specifically checked and found no copyright registration for similar TV series scripts. So after "Pirates of the Caribbean 3" was released, he took time to complete the preliminary project planning and then forwarded it to the Shahai Entertainment Screenwriter Department.

Spartacus is a historical figure and does not involve copyright. You can take photos at will.

After Shahai Entertainment's "Song of Ice and Fire: Game of Thrones", it will also increase the production and investment of large-scale dramas.

How to write the script specifically depends on the writers of the screenwriter department, and Ronan can only designate a large framework for the screenwriters to create within the framework.

“To some extent, it is more in form to the B-level films in the movie.”

In the screenwriter's department of Shahai Entertainment, Ronan convened a meeting of relevant persons in charge: "The investment does not need to be too high, it is mainly made up of violent and large-scale shots. The style is similar to "The Three Hundred Warriors of Sparta". It doesn't matter if CG is rough."

He emphasized: "Overall, the most ideal state of this drama is to have the picture of "The Three Hundred Spartans", the realism of "Gladiator" and the degree of nudity far exceeding the series "Rome".

Several screenwriters responded: "I understand."

Ronan said: "You have enough time to create the script this year."

Leaving the screenwriter department, Ronan went to the office area of ​​the previous floor of Princess Animation Studio. More than a dozen core members of the team, led by Chris Buck, Byrne Howard and Ritchie Moore, were waiting in the conference room.

Ronan asked Connie to distribute the materials she brought to the Princess Animation Studio and said: "You have been joining Relativity Entertainment for more than half a year. I believe you have already got some understanding of the company and are familiar with the personnel and company structure."

Chris Barker said: "Yes, we're ready."

Byrne Howard continued: "Mr. Anderson, with the assistance of Pixar Studio in the past six months, we have completed the preliminary computer animation technology update and can't wait to invest in animation production."

The other people also nodded. They joined the relativity entertainment animation not to support the elderly, but to revitalize the glory of the team.

Ronan pulled out his chair and sat down, asking, "I'll ask a question first, what kind of animated movie do you want to make?"

Everyone, including Chris Barker, was silent for a moment, and this question was quite difficult for them to answer.

Ronan continued, "Or, from another perspective, what is your best animation production?"

Chris Buck said without hesitation: "Disney Princess cartoons and fairy tales cartoons."

"That's right." Ronan said directly: "This is what you are best at, and it is also the fundamental reason why I and Relativity Entertainment poach you."

Ritchie Moore said at this time: "But the market proves that Disney's traditional animated films have fallen and cannot keep up with the needs of the times, otherwise we..."

He didn't say the second half of the sentence, but the meaning was very obvious. If it weren't for the decline of Disney animation studio, there wouldn't be the birth of the current princess animation studio.

Chris Buck was very cautious, but said: "Princess and fairy tale animated feature films are indeed no longer popular. Since the new century, the best animated feature films sold are DreamWorks' Monster Shrek series and several Pixar Studios."

He was worried: "Ronan, we are not good at purely spoof types."

"Don't worry." Ronan said with a smile: "I won't let you shoot that type, which is inconsistent with my original intention. Why is this animation studio called a princess? Because I want you to carry forward the princess and fairy tale types of Disney animation again."

It was simply a waste to have Chris Buck and others shoot a spoof movie like "The Monster Shrek".

Ronan continued: "I mentioned to you some time ago that after the animation studio stabilizes, it will use Andersen's fairy tale "The Snow Queen" as a template to adapt an animated short film to run-in the team."

Byrne Howard said: "The Snow White is a typical princess-style story..."

Ronan said: "We can completely subvert traditional fairy tales, but not spoofs. For example, Sleeping Beauty, those who wake up the princess may not have to be a prince, or a witch; and Snow White, the prince may not have to fall in love with the princess, but may have to use this to annex her kingdom... Well, even the traditional Snow White may have the potential to defeat the evil queen with the help of the hunter."

These principles are not complicated, but for the former Disney creators who are bound by tradition, they have opened up their minds from the other hand. Although some of them may not be suitable for the current social environment, they have also broken a thin barrier. Even if the fairy tale is not spoofed, it can be reinterpreted from a different perspective.

Chris Buck and others were looking through the outline of the script in their hands, almost completely subverting the content of Andersen's fairy tale.

Ronan waited for everyone to finish reading the script outline and said: "The times are developing and changing, and more and more people are beginning to form clearer cognitions. Fairy tale love is not rational, and you want to convincingly tell why the male and female protagonists fall in love in an hour and a half, and it is actually very difficult to love so deeply. Especially in cartoons, they rarely explore the rationality behind love - such as why the two love each other and why they love so deeply - but they directly make the two fall in love without explaining anything, so they will be very cliché."

He coughed lightly and continued, "Which family and friendship, such as the kind of love that loves one's own family, is stronger than the love foundation of a stranger, and is easier to impress the audience."

Chris Buck thought: "The Disney princesses in the past exist only for love..."

Ronan nodded slightly and continued: "Everyone has participated in the production of many Disney animation feature films. We can recall the performance of princesses in the past Disney animation movies. In the past, Disney princesses also had their own ideas and desire for freedom. But they always had to be stimulated from the outside world to take action. The little mermaid has always yearned for human life. Only when she fell in love with the prince and had a big fight with her father can she become a human being; Rapunzel always wanted to see Kongming lanterns, and only when a thief who was familiar with the outside world came to her can she give her the courage to leave home."

"They have their own goals, but they are not working tirelessly for their goals, nor paying too much. This is the shortcoming of these princesses. They have ideas and desires, but lack substantial actions. Even Rapunzels need external guidance."

Byrne Howard gradually realized what Ronan meant: "A princess like this is too passive and has no supervisor's initiative."

"That's right." Ronan said again: "The princess in the new era must be proactive, not for love, nor for waiting to marry the prince. They must take clear actions and take the initiative to make efforts for it."

He paused slightly: "Movies are the art of unity of visual and auditory vision, which means that it is not the protagonist's inner feelings that define them, but their actions!"

Ritchie Moore suddenly interrupted: "This is also consistent with the increasingly fierce feminist movement now."

Ronan glanced at him with appreciation and emphasized: "The Disney princesses in the next stage do not need a prince to save them, they can also save themselves."

The most classic animated feature film that once brought Disney princess to the world movie stage and rejuvenated infinity is reversal and rescue.

The prince took off his gloves and became a bad guy, and Anna didn't need love to save her.

At that time, Elsa's fans thought it was Elsa's true love that saved Anna, while Anna's fans thought that Anna saved herself...

Disney's fairy tales and princess style have had a profound impact on Chris Buck and others, and Ronan did not expect a word to completely change them, so the first thing that was put on the agenda of the princess animation studio was not animated feature films, but short films that often cost more than ten minutes.

This helps them hone in the integration of new computer making techniques and new ideas.

At the end of the meeting, Chris Buck said that in order to shoot the corresponding background of the short film "The Snow Queen", he needed to lead a team to Norway and other Nordic countries for field trips.

Ronan responded in one go, and it was an indispensable part to complete the production well.

Exotic style is also a great tool to attract audiences.

Of course, for Hollywood, this so-called exotic style must be the product of mixing half-know overseas culture and typical American concepts.

Hollywood animated feature films, no matter which country the background is, isn't it?

Just like Disney cartoons, "Aladdin" does not belong to the Middle East, "The Lion King" does not belong to Africa, "The Little Mermaid" does not belong to Denmark, and "Kung Fu Panda" does not belong to the Chinese world. It is a standard Hollywood manufacturing and wealth-making tool. It is like other North American movies that integrate foreign cultures, it simply or even roughly borrows foreign elements to make the film more international.

If a large-scale production is singlely shot into a certain country or nation, it only reflects the cultural elements that truly belong to them, the chances of this film being lost will be infinite.
Chapter completed!