為什么Hollywood會(huì)有工業(yè)化制片的可能被AI替代的算法？！因?yàn)榫巹§`感的捕捉不像是時(shí)鐘那樣有規(guī)律，單純依靠編劇團(tuán)隊(duì)的靈感，給好萊塢的供應(yīng)鏈提供了不確定性，給影視制片帶來財(cái)務(wù)危機(jī)的威脅。Screenwriters'?greatest epiphany has come unexpectedly on a regularly,adding?a massive degree of uncertainty to Hollywood supply chain, continually threatening the industry with financial disaster.?為了讓企業(yè)生意開展下去，工作室用意讓寫作變得機(jī)械化與盡可能可靠。而不是鼓勵(lì)作家寫創(chuàng)新故事。工作室要求復(fù)制過去證明奏效的風(fēng)險(xiǎn)小的，所以出現(xiàn)了同樣的故事結(jié)構(gòu)一遍遍的復(fù)制。觀眾最終還是買單來支持大預(yù)算的影片。但是工業(yè)化規(guī)模制片的副作用是導(dǎo)致忽略了一大批的受眾。由此提出問題，服務(wù)好被忽略的受眾的創(chuàng)新低成本劇本就是契機(jī)，是這樣嗎？！And to keep the business going. The studio is therefore have a huge incentive to make writing is mechanized and reliable as possible. Rather than encouraging writers to develop creative and innovative new stories, studios instead ask them to take the less risky approach of copying, what is worked in the past. Ask them to crank out the same basic story structure over and over again. Audiences in turn, end up supporting these stories, because there aren't other big budget movies to see.they had a blind spot that was a natural but unfortunate by product of their efforts to make movies on an industrial scale, then raise upthe question: is it the innovative way to hatch new business, taking?advantage of the overlooked huge audience?!?是的，影片是給受眾看的，影視不僅僅給供應(yīng)商與投資者的，還是給觀眾的。受眾樂意買單了，投資者也開心。服務(wù)好被忽略的受眾，也是工業(yè)化制片里不可被忽略的創(chuàng)新空間，接下來我們回顧史上那些探索到忽略受眾創(chuàng)新導(dǎo)演的低成本電影。That's because movies aren't just made for supply lines and investors. They are also made for audiences. And if you can listen to your audience and give them a story that they want, you not only make your audience happy, you make all your investors happy too.?to reveals that even within this industrial storytelling machine, there is still room to innovate. to learn those who?tried to?pull off this feat of corporate innovation, such as indie industry?

接下來借鑒可以燎原的Hollywood創(chuàng)新前輩的星星之火。斯科特·菲茨杰拉德在寫完著名的《了不起的蓋茨比》后離開好萊塢，坦言要真正的電影人而不是小說家，絕非為虛名浮力的話。So magical is the dream of movie writing that is even being watched a few of the greatest literary talents in history. F. Scott Fitzgerald, moved out to Hollywood, after he wrote the great Gatsby, confessing that he wanted to get some real status, as a movie man and not a novelist, such as the siren call of Hollywood fame and fortune. And it's not just an empty vanity.最開始好萊塢影片替代受眾的思考，讓觀眾在影片中如癡如醉，外界世界置之不理？！當(dāng)然好萊塢完全犯不著用情感協(xié)助觀眾逃避現(xiàn)實(shí)，而是喚醒觀眾。再?zèng)]有比Lee 《為所應(yīng)為Do the right thing》導(dǎo)演更致力于喚醒觀眾了。From the beginning, Hollywood movies have been intended to stop people thinking, to get us all drunk on empty video entertainment, while the real world burns outside. But Hollywood movies don't need to bamboozle us with emotional escapism. They can instead wake up our minds. And no Hollywood filmmaker has been more committed to waking us up than Spike Lee, like regular Hollywood scripts.低俗小說引領(lǐng)了19世紀(jì)90年代獨(dú)立制片革命，以百萬美金的票房開創(chuàng)了獨(dú)立制片的先河，進(jìn)而昆汀·塔倫蒂諾（名導(dǎo)演）與羅杰·艾弗里榮獲奧斯卡編劇獎(jiǎng)。獨(dú)立制片有望成為主流。獨(dú)立影視的主要思維是共享空間不同的體驗(yàn)，打破傳統(tǒng)好萊塢制片模式。不是單一模式，而是可以轉(zhuǎn)化成大量生產(chǎn)的。Pulp Fiction ushered in the indie movie revolution of the 1990s. It became the first independent film to gross over $100 million to the American box office. And it went on to earn an Oscar for its two screenwriters, Quentin Tarantino and Roger Avery, paving the way for indie cinema to go mainstream, except for one little problem, which is that the whole idea of indie film, is that it's a space to do different things, to experiment, to break traditional Hollywood molds. It isn't a single rigid formula, that can be turned out in large quantities.

"AI" epic point us into the inovative perspective of indie industry. then set yourself free from the profitable?mechanized productive workflow.?We’ve all reviewed?those?genius and their masterpiece?movies to wish that someone would write a few more good ones. And if not you, well, then who.?