Huayu: Hard fight against Zhang Weiping at the beginning

Chapter 623 Script Approved
Burbank, Los Angeles, Mission: Impossible 4 Studios
Hollywood practice dictates that each film project registers a dedicated studio. This facilitates settlements and makes it easier to distance oneself from problems if any issues arise.

Ding dong, ding dong~
The doorbell rang, and Anna, the assistant, went to open the door. A FedEx deliveryman was standing outside.

"Hello, ma'am, a package from Dubai~"

Anna signed for the package, the deliveryman left, and Anna closed the door again.

"Has the script arrived?" Tom Cruise's voice came from inside the room.

"Yes, Mr. Cruise."

"Great! Put it on my desk, I'll be right there. Oh, Anna, could I have another glass of water?"

"Okay, sir."

Tom Cruise was working out when he heard that the script had been delivered. He stopped, picked up a towel to wipe his sweat, and went to his desk.

In the center of the table was a brown paper bag containing the script. Tom Cruise picked it up, but his fingertips felt a weight that was greater than he had expected.

I originally thought it was just a standard-thickness filming script, but when I got my hands on it, it felt like I was holding half a solid brick.

After pulling the cord around twice, I opened the seal. The first page, a white title page, prominently displayed "MISSION: IMPOSSIBLE – GHOST PROTOCOL".

Upon removing the script, it was discovered that the atmosphere consisted of two parts: a regular script and hand-drawn storyboards.

Tom Cruise sat down on the sofa and began to study it carefully.

The story follows the classic Hollywood three-act structure:

Act One: The Crisis Erupts (Russia)
By employing a three-pronged approach—prison break, team rebuilding, and infiltration of the Kremlin—the tone of an "impossible mission" is quickly established.

Then, failure is used as the narrative driving force. The failure of the Kremlin mission (the theft of the coded documents and the explosion in Red Square) leads to the disbandment of the IMF and the arrest of the team. Furthermore, through "experiential insertion," the audience can intuitively feel the threat of the villain Hendrix—he can intercept communications, frame agents, and even predict the IMF's course of action.

Act Two: Global Chase (Dubai)

The climbing scene at the Burj Khalifa is not only a visual spectacle, but also a metaphor for a vertical battlefield. Zhang Chen interweaves Ethan's every step of the climb with the team's real-time support, such as Benji cracking the access control and Jane creating interference, forming a multi-layered montage.

The most eye-catching high-tech equipment in "007" is used as a joke in "Mission: Impossible 4". This unconventional approach is likely to become a memorable point of the movie.

Act Three: The Final Showdown (India)

The nested countdown timers—five minutes to obtain the satellite password, three minutes before the nuclear launch, and one minute of hand-to-hand combat between Ethan and Hendrix—keep the audience on the edge of their seats, while the side quest of Benji repairing the server provides a brief respite.

Overall, the story is not complicated, but it is full of suspense. Tom Cruise closed his eyes and imagined the plot of the script in his mind. Even just imagining it was very exciting.

Only then did he remember that there was also a storyboard. He opened the storyboard and saw that the lines of the characters' movements drawn in pencil were as sharp as a knife. Next to the camera angles marked in blue marker were various explanations, with lighting parameters and actor positioning tips marked in small print.

"It's interesting~"

He looked down and was unconsciously drawn to the content of the storyboard.

That's a cross-sectional view of the Burj Khalifa—the climbing route marked with red arrows on the drawing not only indicates the precise floors from the 123rd to the 138th floor, but also includes small diagrams next to each turning point:
The load-bearing nodes of the glass curtain wall are marked out, and hidden safety buckles need to be installed in advance. Even the angle of sunlight at different times is marked with dotted lines to avoid excessive shadows on the actors' faces.

Tom Cruise's eyes widened in surprise. So thin?
Hollywood champions industrialized processes and does indeed operate that way, but it's not an absolute rule.

When the first Mission: Impossible movie was being filmed, there wasn't even a complete script.

In the second season, Wu Baige also liked to add scenes on set, and it wasn't until the third season that she became a little more professional.

However, it pales in comparison to the storyboard in front of us.

Zhang Chen's storyboarding is extremely detailed, and the timelines for the 27 key shots are even more meticulously crafted:

Shot 12: Close-up of hand gripping (2.3 seconds)

Shot 15: A panoramic view of the city from above (1.8 seconds)

There's also a special note next to it that says, "Switching here requires the heartbeat sound effect to gradually increase."

Scrolling down, when he reached the sandstorm chase sequence, he simply sat up straight, his fingertips slowly moving along the movement lines in the storyboard:

The abandoned market, shrouded in yellow dust, was divided into three levels:
A close-up shot shows Ethan Hunt's cuffs covered in sand and dust;
The medium shot shows his profile silhouette as he moves among the stalls;
In the distance, there is a magnificent scene of billowing sand engulfing the streets.

Each explosion point was marked with an orange dashed box, and next to it was written in small red text: "Camera position 15 meters from the explosion point, using a high-speed shutter of 1/1000s."

Even close-ups of sandstorms sweeping across the actors' faces were prepared using three different methods:
"Option A: Side lighting highlights dust particles";
"Option B: Use backlighting to outline facial contours";
"Option C: Soft light reduces the glare of sandstorms," ​​the sticky note added, "can be adjusted according to the actual sandstorm intensity of the day."

As Zhang Chen flipped through the storyboard, scenes unfolded in his mind, far more concrete than his earlier wild imaginings.

At this point, Tom Cruise was already amazed. How could Zhang Chen have done such a detailed storyboard? He didn't do location scouting, how could he have done it?
Then, as if he had just remembered something, he quickly looked towards the corridor: "Anna, where did the mailman say the script came from?"

"Dubai." Anna arrived just then, bringing water.

"No wonder, no wonder~"

It seems Zhang Chen personally went to Dubai to scout locations. He was right, how could you create a storyboard without scouting locations on-site?

"It seems that this time, we can really produce something different."

Tom Cruise took the water glass Anna handed him and drank it all in one gulp.

After thinking for a moment, he took out his phone again and found Zhang Chen's number.

When the call connected, Tom Cruise's tone became lighter: "Zhang, I received your storyboard script. It's fantastic, especially the Burj Khalifa scene—it's the best storyboard I've ever seen!"

"Haha, I'm glad you're satisfied. It was worth the trip!"

Where are you? Dubai?

"Yes, the Burj Khalifa is still under renovation. I identified myself and contacted the Dubai Tourism Authority before they allowed me to go in for a tour. Otherwise, how do you think I got those data?"

"You're such a dedicated guy!"

"Working with such a dedicated person like you, I can't afford to be undedicated!"

"Haha~"

"Alright, buddy, I have to board now. We can talk more when I get back to Los Angeles. Oh, and I also sent the script to Warner Bros. and Paramount, but the one you have is the original hand-drawn version, so make sure you keep it safe. I'll be taking it back when I get back."

"Haha, no way, this is one of my treasured possessions~"

In a jest, Tom Cruise hung up the phone, feeling very satisfied with Zhang Chen, while also thinking of someone else—David Ellison.

At the casting meeting six months ago, it was David Ellison who strongly recommended Zhang Chen to them. This rich second-generation may seem like a playboy, but he has a good eye for talent.

At the time, he pointed to "Taken" and told everyone that this person was the best action movie director of the day, and that we should ask him to direct "Mission: Impossible 4".

Big IPs like Mission: Impossible generally don't choose big-name directors because it can easily cause costs to skyrocket.

Both Paramount and Tom Cruise were looking to discover up-and-coming directors. As for how to assess someone's abilities, it was simple: just look at their narrative pacing and camera control in their previous works.

If these two points are fine, then this person is most likely qualified.

Zhang Chen was not originally on the shortlist, but David Ellison strongly recommended him. They then conducted a detailed analysis of "Taken," and Zhang Chen was added to their shortlist.

This guy's control over the narrative rhythm and camera work is just too strong; that's the consensus among everyone present.

The film "Taken" has almost no wasted shots, especially the two-and-a-half-minute long take, which is something few Hollywood can match.

The pacing is also excellent; media reviews of *Taken* describe it as having no dull moments. David Ellison is right, this actor is perfect for the role; the only unsuitable aspect is the price.

At that time, Zhang Chen already had two representative works, "Pacific Rim" and "2012", and was a well-known director. If he were invited to join the film, the salary would definitely be considerable.

Paramount initially didn't invite Zhang Chen due to cost considerations. After searching around and finding no suitable candidates, they went back to Zhang Chen, but he declined "Mission: Impossible 4" because he had his own filming plans, and things were delayed.

It wasn't until Tom Cruise watched "White House Down" and finally confirmed that it was Zhang Chen that Paramount decided to make the deal happen.

……

At the same time, David was also reviewing the script, and he immediately spotted the highlights in Zhang Chen's script:

"The IMF is disbanded, all members are wanted, and they fight alone with obsolete equipment"—this is not a coincidence, but a writing strategy that deliberately deprives the protagonist of power.

In traditional spy movies, the protagonist always has the backing of a huge organization: the latest satellite positioning in real time, bulletproof suits that can stop bullets, and intelligence support from headquarters at any time. Audiences have long been fed the sense of security of "being equipped to protect them" and know that the "protagonist halo" will resolve all crises.

But Zhang Chen insisted on doing the opposite: the IMF was gone, the former agent became a pariah, wanted posters were plastered all over the airport terminal, and the "high-tech equipment" in the protagonist's pocket was not so reliable, failing at a crucial moment.

This "deprivation" is precise—it removes the audience's habitual "sense of security in equipment," leaving every action suspended in "uncertainty."

In terms of identity, the IMF became an unregistered entity, and coupled with the predicament of "losing support and equipment," every success carried the weight of "surviving against all odds."

But it is precisely this kind of "embarrassing battle" that creates a more solid sense of exhilaration.

They didn't rely on gunfire or superpowers to achieve a comeback; they relied on their intelligence to "take the narrow path and bypass the hard wall."

The scene where the Burj Khalifa meets with the enemy is truly brilliant. They play the roles of buyer and seller, substituting one for the other and getting something for nothing.

When they finally succeeded, even David, a seasoned film enthusiast, couldn't help but exclaim, "So that's how it can be done!" This battle of wits was far more satisfying than mere visual stimulation.

What's even more remarkable is that every scene in the script follows a closed loop of "mission-accident-breakout," with no wasted time.

For example, in the Dubai segment, the high-tech gloves malfunctioned at a crucial moment, the fire hose used for escape was too short, and during the pursuit of terrorists, just when they were about to succeed, a sandstorm suddenly struck...

David knew that these "episodes" were not only meant to create tension, but were also closely interwoven with the main plot, becoming "plot accelerators."

David was most surprised by the ensemble cast depicted in Zhang Chen's work.

Why are there so few ensemble films in Hollywood?
Because it's difficult to capture something truly outstanding.

But Mission: Impossible 4 is an exception. The ensemble cast is united but not scattered, and what's even more remarkable is that the teamwork doesn't diminish their intelligence.

Each character has a specific skill set and emotional projection, making the "IMF team" the true protagonists, rather than a one-man show by Ethan Hunt.

……

A few days later

The day after Zhang Chen returned to Los Angeles, Paramount spearheaded a script workshop.

People from Warner Bros., Paramount, Tom Cruise, and others sat at opposite ends of the long table, their eyes fixed on the projection screen in the center.

Zhang Chen stood in front of the curtain, holding a laser pointer in his hand.
“I must emphasize one point – every piece of high-tech equipment in the film, such as the magnetic gloves, must have a ‘failure moment’ to increase dramatic tension.”

For example, the scene where the gloves suddenly malfunction while climbing the Burj Khalifa is both logically consistent with the props and enhances the suspense of life and death.

Tom Cruise suddenly leaned forward, his voice tinged with excitement: "This is my favorite part of the whole movie, it's so unique!"
Ethan climbed to the 70th floor when his glove suddenly went out with a 'zzzt'. He was left hanging in mid-air, and could only use his other hand to turn on the switch, his fingernails digging into the glass cracks.

At this point, the audience might wonder: Will he be able to reach the switch? Will his other glove also malfunction?
In the spy movies I watched before, the equipment was always perfect, so the audience had no suspense at all.

Your fault design has precisely tightened the 'life-or-death line' to its maximum.

Zhang Chen nodded in agreement: "I've thought carefully about how to differentiate 'Mission: Impossible' from '007' and 'The Bourne Identity.' It's simple: subvert the formula. Subverting the formula in terms of equipment is the first step, and the second step is character development."

Zhang Chen then switched to the character design illustrations on the screen. Next to Ethan Hunt's portrait, the original label "Lone Hero" was crossed out and replaced with "Team Leader".

"Ethan's role must change."

He used a laser pointer to circle several characters around Ethan in the picture:
"Bangji is the technical expert and the comedian;"

Abu is a combat expert and the main fighter;

Jane is the only woman on the team and also works as an intelligence analyst.

Ethan used to be a 'lone hero,' venturing into dangerous situations by himself, but this time it won't work; he needs to become the team leader.

He is no longer someone who "handles everything on his own," but rather the brain of the team, making judgments and decisions, and taking responsibility for the safety of the team.

In this way, his sense of heroism will be more profound—not based on individual heroism, but on sound judgment and a sense of responsibility.

"Wouldn't that diminish the protagonist's highlight moments?" Warner Bros.' distributors raised this question.

Zhang Chen shook his head: "On the contrary. For example, in the sandstorm scene, Ethan had to direct his team to find satellite receivers in a sandstorm with visibility of less than five meters, while also fighting off the villains' pursuit. He had to take care of his teammates' communications and deal with the immediate danger. This kind of 'dilemma' actually makes his leadership stand out more."

Zhang Chen looked at everyone and said, "If everyone agrees on the character positioning, then I'll move on to the technical issues. I'd like to bring IMAX to film this movie."

When IMAX was mentioned, Warner Bros. staff were very familiar with it. "Director Nolan is particularly fond of using this technology. 'The Batman' was filmed entirely in IMAX, and IMAX is indeed very effective at showcasing grand scenes."

Hearing such praise, Zhang Chen nodded: "IMAX's 1.9:1 aspect ratio can perfectly present the vertical height of the tower and the details of the glass curtain wall. Viewers can even clearly see the texture of Tom Cruise's gloves, the panoramic view of the city reflected in the glass, and the realistic feeling of weightlessness when sliding down from the 123rd floor..."

In the sandstorm scene, IMAX can better present the vastness of the sandstorm and the chaos of vehicles going out of control, making the flying wood chips and the metal deformation from the collision of vehicles in the close-up shots feel very real.

At the same time, it also has a good effect on the presentation of action scenes.

The long takes of cars overturning and rolling during car chases, and the hand-to-hand combat between Ethan and the villain in a sandstorm, all enhance the sense of power thanks to IMAX's ability to capture detail.

"No problem, we have no objection to that."

When it comes to technology, that's the director's prerogative, and the film company won't interfere too much.

Surprisingly, all three parties involved in the script review meeting were very satisfied with Zhang Chen's version of the script.

The script was sent to them a few days ago, and the budget department also provided a targeted budget plan, with the production cost reaching a staggering 1.45 million.

This is not surprising; Mission: Impossible 2, made a few years ago, cost $1.25 million.

This is just the production cost, not the total investment.

Total investment refers to the sum of production costs and marketing costs.

The marketing and distribution costs of Hollywood blockbusters are usually 50%-100% of the production cost. As a globally distributed IP blockbuster, Mission: Impossible 4 had a high marketing and distribution investment. Based on 80% of the production cost, it is estimated to be about $1.16 million.

The total investment (production + marketing) was approximately $2.61 million.

Of the global box office revenue, approximately 50% goes to cinemas (exhibitors), 10% to distributors (service fees), and the remaining 40% is the revenue share that the production company receives.

If only box office revenue is relied upon to recoup costs, the following conditions must be met:

Production company's revenue share = total investment ($2.61 million)
The required global box office revenue = total investment ÷ production company's share of revenue = 2.61 million ÷ 40% ≈ 6.5 million US dollars.

The film grossed $6.9 million worldwide in its original timeline, achieving break-even and even making a profit solely from box office revenue, which is quite remarkable.

Many blockbusters cannot break even on box office revenue alone and have to rely on non-box office profits to make up for the shortfall.

In Hollywood, box office revenue only accounts for 30%-45% of the total profit of big IP film projects, less than half. The bulk of the profit is actually non-box office revenue. Otherwise, if a blockbuster has a production cycle of one or two years, Hollywood would be out of its mind to do this kind of business.

(End of this chapter)