muscle actor

Chapter 397

Brother Hu first, now even Huang Bo can't get out of this vicious circle?

Ding Cheng understands their original intention very well. As an actor with aspirations, he is tireless in acting, dares to break through himself, and tries different roles...

This is also the biggest reason why I admire them.

Commercial films are measured by box office, while literary and artistic films are judged by whether they can win awards.

Although the domestic movie box office is growing at an annual rate of 30%, the mainland film industry is still facing a shortage of various professional talents. Since it really went global, it has become more and more profound.

In addition to directors and actors, lighting engineers, pyrotechnicians, blasters, special effects artists, makeup artists, prop artists, accountants...

These positions sound trivial and unimportant, but they are indispensable screws for the smooth operation of the film industry.Even when Feng Xiaogang made a war film, he couldn't find a satisfactory demolitionist or pyrotechnicist in the mainland, so he had to turn to a Korean team for help.

Therefore, it is even more impossible for a small-budget literary film to focus on these details. In many mainland literary films, the director first raises a sum of money, and then organizes a grass-roots team to start shooting. The production method is very random.

Taking "The Piano of Steel", which I like more, as an example, I heard that director Zhang Meng only made a preliminary budget before shooting, and thought that it would need 600 million RMB.Even if the amount was still not enough, I still decided to bite the bullet and start the machine.

Fortunately, with good luck, the heroine Qin Hailu is a relatively wealthy person who has dreams of literary films.At the time of filming, there was only 47 yuan in the account. Sister Qin came up with the funds to complete the film.

On the day of filming, the crew had no money to pay the actors and others the final payment.Qin Hailu returned the advance payment to the director, and continued to use her own money to complete the post-production of the film.

When Wang Qianyuan won the Best Actor award in Tokyo, he was still holding the IOU for his salary.

That's why I told Huang Bo that if you want to make a literary film, you must have the courage to break the boat.

Even if it was Sister Tao back then, was it not Liu Tianwang's charity simply to support local movies?
In fact, literary films are actually more squeamish than commercial films.In addition to the financial talents needed for commercial films, film investors with unique vision and experienced distributors are also needed.Such professional talents are all grown up in the mature film industry, and cannot be cultivated in a few classes at the film school.

The popularity of the film market in the mainland has made it possible to say that there are countless people willing to invest in films in the market, but professional film investors are few and far between.The vast majority of investors just see that the film market seems to be booming, hoping to get a share of the action.

Their real goal is to invest in a movie that makes money, and it is difficult to make money in artistic movies.So there is a situation like this: Countless people are trying to invest in the big director's movie, but Zhang Meng's movie can't find any investment.

Literary films are an ideal, even a belief.Even a money-making machine like Wang Jing will pay for Xu Anhua's persistence.Of course, Fatty Wang also knows that if the money is invested, it will be for nothing.

As long as the movie can cause everyone to think and discuss, I think it is very worthwhile to lose money. Only with this mentality can we play literary films.

Ding Cheng sometimes doesn't quite understand. In this environment, there is a lack of professional investors and distributors, and directors often shoot wherever they go. But why do mainland literary and artistic films grow stubbornly like weeds?

After much deliberation, there may be only one reason: the art director is very persistent!

From a certain point of view, this is a valuable quality.If he hadn't insisted, Zhang Meng should have given up when there was only 47 yuan left in the crew's account.

Xu Haofeng's debut film "Traces of the Japanese Bandits" was also shortlisted for the attention unit in Venice. That somewhat alternative martial arts movie was very popular at overseas film festivals, and was even considered to be a new genre of martial arts movies. He was also dubbed by foreign media as The title of Hu Jinquan of the mainland.

However, when it was released in the mainland, the polarization was serious. At the premiere, the audience asked him directly: "I really don't understand what this movie wants to express."

While explaining that the film is about a noble story, he reiterated his insistence: Don't care about the box office, continue to make this style of film.

Not to mention little-known little directors, even Wu Yusen, Xu Anhua, and Wu Junru have the same headaches.Wang Jing even declared: None of the literary films make money.

It wasn't until "Day and Night in Tianshuiwei" he invested in won four awards at the Hong Kong Film Awards that the crowd shouted: Is this the same Wang Jing?
The reason why he invests in literary and artistic films is really not to gain fame, because he does not even mention the name of many films, for fear that his reputation as the king of bad films will affect the audience, but he really feels that good scripts should not be buried.

Regardless of whether Wang Jing or Liu Tianwang, they invest in literary films, not simply giving a sum of money and leaving them alone, but using their accumulated experience in making commercial films to escort the film from beginning to end.

Wang Jing is an excellent producer, knows cost control very well, and is also a good hand in marketing.And Liu Tianwang has a professional team, who are always watching on the set and helping to coordinate various problems. Can this attitude be successful?

Thinking of this, Ding Cheng laughed dumbfounded. Looking back on his journey, the first should be action movies, the second should be suspenseful crimes, and the third should be barely considered literary movies.

Moreover, they are all produced in Hong Kong Island. The peak is Sister Tao, and she can barely be counted as one. As for the mainland, there are really no outstanding ones.

Of course, there is also such a category of literary and artistic film directors: as long as they are willing to make films, they will immediately send a lot of money to their door.Once the film is finished, it can be sent to film festivals to compete, win several awards, and even be released with the same box office as a commercial blockbuster.

It is called Wong Kar Wai on Hong Kong Island and Jia Zhangke in the mainland.

Not only has the talent of filming, but also is good at calculating.To some extent, it has crossed the so-called boundary between art and commerce.

Because in the eyes of many literary youths, Wong Kar Wai is synonymous with petty bourgeois literature and art.But in his own opinion, he is definitely a well-rounded doer. He is not only a director of literary and artistic films with a strong personal style, but also knows the tastes of the audience, especially the judges of the film festival.

In the circle, the person who knows Wong Kar Wai best is probably Wang Jing who seems to be the opposite of him.Zeng made it clear: "There is no essential difference between me and him, we are both businessmen, just a vulgar and an elegant."

Jia Zhangke is good at using commercial sponsorship money to make personal style literary films. I heard that the series of short films "Yulu" produced and directed last year were sponsored by a high-end famous wine brand.

There is no product placement for the brand in the entire film, and there is only one sentence at the end that embodies the spirit of the brand, which is very pretentious.

The other one is "24 Cities", yours is the name of a real estate project.It used to be an old third-tier factory. It tells the story of this factory and does not mention the real estate at all. But relying on this title to enter the competition section of the Cannes Film Festival for a tacky real estate advertisement?
Only unique movies can attract the recognition of high-end brands. Although these movies are not popular in the mainland market, if people want to make movies and find sponsors, it can be easily done with a few phone calls.

Sighing secretly, in fact, I also want to try literary films, but I have never had the opportunity, especially in the mainland, I don’t have the fate!

(End of this chapter)