I’m Almost Losing to a Muggle

He is a friend of Hirokazu Kore-eda, and there are poor dicks like Ueda Shinichiro, but in fact there is no shortage of normal directors.

But this normal film market in Neon is not so normal.

Looking at the annual box office rankings of neon movies, most of the top ones are 2D movies.

Detective Conan, Doraemon and so on.

Live-action movies are weak, and the cost is not low enough, but the box office results are all over the street, which makes the directors of the Neon generation change careers one after another.

It's Hirokazu Kore-eda's friends, most of them are normal directors who are unwilling to change careers, or fail to change careers.

They soon discovered that Du Qixi was not a fool.

I won't call you brothers just because you flatter me a few times.

The soundtrack is flattering to him, it is purely wrong, and Shinichiro Ueda has indeed watched the movie, and he really likes the soundtrack in the movie.

Mountain and Sea 1 is a big production, with a cost of 400 million, which is almost 6.4 billion yen.

This movie is different from the usual big productions.

Many big-budget movies give money to the actors, and the actors' remuneration accounts for 50% to 60% everywhere, and it can even be as high as 80% if it is a little exaggerated.

Of the 400 million yuan in Shanhai 1, only less than 20% was actually spent on actor costs.

Anxi's price is not high, five million after tax.

Huang Da’an even made it clear that he could act with zero pay—it’s a good idea. Our boss said that free things are the most expensive, so Du Qixi finally gave him a salary of 8 million after tax, which almost broke Huang Da’an’s recent years. Lowest pay on record.

So, where is the remaining 80% spent?

It's all spent wisely.

In order to complete the soundtrack, Du Qixi recruited several Chinese music masters to compose classics together.

Compared with the screen photography, the soundtrack is what he is most proud of.

However, after Mountain and Sea 1 was released, it was full of blown special effects, blown up clothes, blown up graphics and photography...

Anyway, it's all kinds of blowouts.

Regarding his favorite soundtrack, only a few people said that the soundtrack of this movie is really comfortable to listen to.

The more you listen, the more flavorful it becomes.

In order to listen to this soundtrack, I watched the movie three times, and secretly recorded some classic clips with my mobile phone.

High and low.

Ueda Shinichiro was completely scratching his itch.

There is a saying that there is a huge gap between Huaxia and Neon in terms of music.

If faults are the culprit of the gap, then the traditional habit of emphasizing characters and ignoring rhythm from ancient times to the present is also to blame.

Music is just a subsidiary skill, and the ancestors did not put music at a high level.

The racial talent of the Han people lies in writing.

The ancient poems and songs are all masterpieces, but we rarely hear the ancient tunes.

The existing music score of The Song of the King of Qin Breaking the Battle, which requires a grand performance, is preserved in Nehong, which is a gift from the emperor to the Nehong envoys during the Tang Dynasty.

It is undeniable that the culture of the Tang Dynasty had a profound influence on the neon nation,

So what we hear now, the relatively large-scale Japanese folk-style orchestral music, always has a feeling of the heyday of China.

For example, Shensi Zhe's Maritime Silk Road soundtrack trilogy Poseidon, Gallo, and Tea Waltz have a very obvious style.

Japanese music inherits the tradition and explores new production techniques and styles, to a level that is as good as madness.

In a lot of Japanese music, we can hear the refreshing pentatonic arrangement.

The late level of Neon also belongs to the top level.

Not because of how good their equipment is, but because they have pursuits.

Ordinary Huaxia directors would not spend their energy on this at all. It would be better to ask Jay Chou to come and sing a song instead of spending money and trouble.

Du Qixi is a person who likes to brag a lot.

He felt that he should do something different from others.

So, he searched for the best composers in the Chinese music scene, and spent tens of millions of tinkering for two months before he came up with the beautiful soundtrack of Shan Hai 1 today.

Especially the soundtrack of the ancient Qi practitioners working together to isolate the two worlds, it is tragic and passionate, and it is not inferior to a masterpiece. Du Qixi uses it as a ringtone on his mobile phone.

Therefore, Ueda Shinichiro got the investment.

And look at what kind of ass these other people are licking.

Good special effects?

Is not this nonsensical?

The top-notch visual effects team of Miaoyan worked on it repeatedly, regardless of the cost.

The picture is good, the photography is good, and this is also a cliché.

Everyone can see it, okay?

And the one who said that the female number one is really pretty, why are you smiling so obscenely.

What are you thinking about.

Despicable!

Not to mention that I never touch actors, even if I do, I will never touch An Qian.

Among a group of various directors, Du Qixi quickly locked on one target—Masato Harada.

Masato Harada is not one of those people who are swarming and flattering.

This one belongs to Hirokazu Kore-eda's real old friend.

The 68-year-old Harada Masato was all the rage in the 1990s, and was named the top ten directors of the film Xunbao, as well as the top ten directors of the blue ribbon.

At the Neon Academy Awards, he was nominated five times for Best Director and three times for Best Screenplay.

In the year Lin Dong traveled here, he also won the Special Jury Award at the 35th Montreal International Film Festival.

Hirokazu Kore-eda invited him here not simply because he had movies to invest in.

He wanted to see this young director who has been popular in China in recent years, but he couldn't help feeling a little disappointed after seeing it.

In his twenties, there is no trace of youthfulness at all.

I can't see any great place in speech and demeanor.

It's hard for you to imagine why such a young man has made so many movies with good reputation and blockbusters.

In the eyes of Masato Harada, the movie Mountain and Sea 1 does not have much profound intentions.

The structure of the plot is not too good.

The director's approach is distinctive, but not to the point of admiration.

But the neon young people applauded one after another.

Some bastards even directly sprayed, saying why we Neon don't have such a director, why we don't have such a big production.

Are you directors eating shit?

This is actually impossible.

Hollywood is undoubtedly the most complete film industry in the world. In terms of large-scale production movies, no country can compete head-on with Migo, no matter whether it is simply competing for production standards, global marketing capabilities, or other aspects of the film industry.

Therefore, based on the characteristics of the country, it is the strategy that countries choose when facing the impact of Hollywood.

Neon has been very successful in this regard.

Looking at Neon's box office list, Hollywood blockbusters can certainly sell well, but the various animation and TV dramas featuring Neon's features are also selling well.

I have already done very well in the field I am good at, so why take a huge risk to make a blockbuster and fight Hollywood head-on?

Neon is not Huaxia, and Neon does not have such a large movie market, so it cannot support this scale of burning money.

I plan to collaborate with Takuya Kimura for my new movie. Masato Harada came back to his senses and answered Du Qixi's question.

Oh, what ape dung. When I was in No. 8 Middle School, I was called Xicheng Takuya. Du Qixi laughed.

It's not that I have to write Du Qixi, but I want to use a different angle to see the popularity of a movie.

The audience is the angle, the film critics are the angle, the peers are also the angle, and the peers in different countries are the angles that the author is trying to try, try not to be stereotyped to say that the film is good