Interview with "Landbridge Legacy" Screenplay Richard La Gravens

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Introduction: In a recent Oriental DreamWorks's "awakening lighted creation" forum, our guests Richard Vince pull Guerra had an exclusive interview. In the hearts of viewers who are familiar with millennial romance films, Richard is definitely a "love holy man who loves and hates". From [Landbridge Legacy] to [Note: I love you], no matter whether Richard is a screenwriter or a director, he always seems to find the most tragic and beautiful aspect of love, and puts such a strong collision, Before being unadorned in front of the audience, it makes people sigh and think about what is the true meaning of love. As he said, perhaps sadness is the most beautiful emotion in the world.

■ Many of your past works have been deeply loved by the audience, and we are also curious. How did you succeed in crying a group of audience for each story you created?

□ Richard La Gravens: I am indeed more interested in creating love tragedies. If you say that there is a story now, the ending is a pair of loved ones who have lived happily together since then, I do n’t know if I believe it is true, or I will go and ask in silence if everything goes so smoothly So, how important is "love" to these two people?

Since it is a love story, "love" must be the most important core concept. For everyone, understanding the value of love is a journey that must be completed alone. I do n’t quite believe that each pair of partners will spend their lives together. If there are other better choices between the two, or if one of them must sacrifice themselves to maintain the relationship, then the pair will What kind of decision is made? For me, I believe in my own joys and sorrows and hold more space for writing than my partner ’s mutual help. Because two people are together, in order to adapt to each other, they will definitely make some kind of sacrifice, which is not the best self. I hope my creation can touch the hearts of the audience. They can cry or laugh, and they can prove that they are really moved. This is what I am happy to see.


■ When you wrote the script, was the cast of [Landbridge Legacy] already determined?

□ Richard La Gravens: No, when I joined the scriptwriting work, I knew that two screenwriters had written two different versions before. At that time, it was January. The month is about to start shooting. According to the original plan [Legend of the Bridge] was directed by Steven Spielberg and produced by Kathleen Kennedy, I met them and told them their ideas. But Spielberg had just finished shooting [Schindler's List], he was very tired, and he was not sure whether he would make this movie. After listening to my thoughts, Clint Eastwood still quite agrees, but his identity at that time was only an actor. After Spielberg withdrew, Bruce Bellsford took over the director's job. He didn't like my script, so he fired me and used the previous version created by the screenwriter. Later, Clint was not satisfied with these people. They fired them again, became a director himself, and then found me back. It was already more than June at that time.

 

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■ [Landbridge Legacy] Francisca and Robert recounted the scene in the rain at the end of the movie, which was a point of emotional explosion for the entire movie. How did you handle this scene in the process of creating the script?

□ Richard La Gravens: This scene was discussed by Clint and I. You must know that too many readers are familiar with the original novel of [Landbridge Legacy] and know the end of the story. How it is, so if you want to resonate emotionally from it, it is actually very difficult. When the close-up shot is given to Meryl ’s hand, the audience will think, "Did she change her mind?" "Will she open the car door", because even if everyone knows the ending, there must be some hope for the scene where the two meet again. , This is human nature. I chose to do this, there may be a little suspicion of manipulating the emotions of the audience, but fortunately the original fan has accepted my adaptation and interpretation. Clint respects the original readers very much. For our screenwriters, what does the original mean? In fact, it is the original data. You know the antecedents, consequences, and how to complete this process. In fact, it is to discuss what the most instinctive and normal reactions and practices are when people encounter this situation. Meryl himself liked this interpretation because of the pause, which was also Francisca thinking about what he wanted and how he would go in the future. It was not easy to make such a choice. She kept tearing in her heart and could not decide how to say goodbye to Robert. But this is human nature, and this is real life.

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■ In addition to creating feature films, you have also shot a documentary called [The 70s Affecting the Movie World]. Do movie masters and classic masterpieces in the 1970s also affect your creation in a subtle way?

□ Richard La Gravens: The achievements of these masters are beyond me in my life. As artists who understand the whole industry of Hollywood, they really inspired me. I feel that I am most influenced by them because of the choice of perspective. They are the way they see the world through art processing and they are presented in the movie. Before them, the European film industry and the Hollywood film industry have experienced their respective glorious periods. Their outstanding feature is to integrate themselves into the flourish of this film industry and find the most suitable expression for themselves. Movie masters like Steven Spielberg, Martin Scorsese, Francis Ford Coppola, George Lucas, etc. in the 1970s, they created another shining era in Hollywood . Even after them, there are many young and talented filmmakers who enter this industrial system. Among these young people, you can find more or less the shadows of these masters.