Su Changqing is the Siwei master. As soon as he came back, No. 16, Hehua Hutong became lively.

Ximen Xiong and Liu Yufei stayed in Tokyo and did not come back. They were the regents and were in charge of daily affairs in Kanye.

People who were familiar with each other asked, expressing their longing. The atmosphere was completely different from that of Japanese companies. Su Changqing felt quite warm.

Du Keke took Mu Mu and Hu Jun and other main creators to travel outside for a month, missed the Siwei meeting, and was still a little confused about Su Changqing's acquisition of the Japanese Arts and Energy Society: "Japanese movies are too niche and there is no market for TV series. Why buy their Arts and Energy Society? It's better to buy a small Hollywood company with this money."

The general direction of this idea is correct. Since you want to take the path of internationalization, it is better to go straight to Huanglongzhi and enter Hollywood.

However, there is a problem in operation. The 400 million yuan is less than 50 million US dollars at the exchange rate of 1996. The Hollywood production company that can be bought is probably a bit of history empty shelf. It cannot include a five-story building with a studio, two sets of film production equipment, and a full set of late-stage, and more than 200 cast and staff who can be put into work immediately.

Hollywood housing prices will not likely increase ten times in the next ten years. The building alone in Kano will be worth 2 billion yuan in the future. This is a comprehensive investment in the bottom-up Japanese economy.

Moreover, Hollywood lacks connections like Hachiman Harumi to help mediate, and it is impossible for Su Changqing to allow payment in two years.

Once you invest in Hollywood, you may not be able to afford an actor of Ken Takakura in the early days. The salary of a top-tier brand in that place is tens of millions of dollars, which is equal to one-fifth of the company's value. Even if you invest a film of 20 million US dollars, it is still a medium- and low-cost production, which is equivalent to starting from brushing the plate.

A movie like "The Immortal" has great potential for winning awards, but it can only be filmed in the East. It is difficult for a Hollywood team to show off, and it may even be ruined.

Perhaps one day Su Changqing will occupy a place in Hollywood, but first of all, he must accumulate enough fame and strength and bring in the cultural genes that suit him. If he is assimilated beyond recognition like many predecessors, he might as well stay in the East.

In addition, Du Keke said that Japanese films are niche. Japanese films gradually declined in the late 1980s, and the subject matter became more and more biased, which was already the same as the sixth generation of Chinese directors.

The glorious period of Japanese TV series has passed, and the more the series is filmed, the shorter it is. A drama usually only has about ten episodes, so it is difficult to make money if it leaves the local area.

In the 1980s, many Japanese long dramas were introduced, and their reputation was very good. The reason why they disappeared was that their relationship worsened was on the one hand, mainly because they were not making money.

According to domestic playback habits, ten episodes are only one week, and they end before they get hot. Who can stand this?

At the beginning of the 21st century, we had a bad relationship with South Korea, but we introduced a large number of Korean dramas. One of the reasons is that they are long enough, the longer the better, and there are several episodes of about a hundred episodes.

After not seeing each other for a month, Mu Mu seemed much more mature and more motivated.

Su Changqing thought she would feel deeply guilty when she saw her, but she didn't.

Why do you have to feel guilty? Senior Takakura said he should be fearless.

He could barely comfort himself by changing his concepts, but he was still a little guilty for his lack of guilt, so he further comforted himself: "I am not as bad as I imagined, and I still understand the truth."

But it's just understanding the truth.

Mu Mu was a little reluctant to say that Su Changqing would need to film in Japan for a long time: "Why do you need to write a Japanese story? Can't these things happen in China? If they succeed internationally in the future, wouldn't it be cheap for the Japanese?"

This subject is really difficult to transplant, just like "Late Night Cafeteria". No matter how big the director or star is, whoever transplants will fail.

Of course, you can shoot Chinese-style late-night food stalls and barbecue stalls, and there must be many good stories, but it is impossible to transplant the essence of the original work, and it is difficult to arrange a vicissitudes of the old man to elegantly sell spiritual chicken soup. This is a completely different creation.

The spirits of the two nations are different. Only Japanese culture exaggerates the beauty of death, and other nations basically have no such hobbies.

During the Edo period of Japan, there was a samurai named Tayo Miki who spent seven years writing a collection of the Analects of Confucius called "Ye Yinwen Shu". This booklet involves a large number of septums, revenge and unique concepts of death. The lines reveal a strong worship of the beauty of death. This aesthetic idea has profoundly influenced Japan for hundreds of years.

The fear of death is the nature of human beings. It is difficult for most civilizations in the world to face it calmly. Japan is a unique specimen on this issue, and such a story is difficult to replicate elsewhere.

As for who the films are counted, there is no big problem with this. Disney has made Kung Fu Panda and two versions of Mulan, but no one has counted these as Chinese movies.

"The Immortal" is a four-dimensional, Beijing Film Academy and Shenye co-production. Whoever invests is the one who counts, not to mention that the director, screenwriter, photography and future music will all be Chinese, so there is no doubt about the ownership.

However, Mu Mu's question forced Su Changqing to think about a question. This subject can arouse audience's strong curiosity about the Eastern culture of death in Europe and the United States, and may have a strong box office call, but audiences from China and South Korea may not accept it, and even believe that the Japanese pretending to behave like playing with a flower trajectory may not be able to please the dead.

Su Changqing's art films like this are based on the sixth generation of directors, with the purpose of winning awards rather than making money. If he spends a lot of effort to promote it in China and South Korea and finally gains a reputation that is not popular, why would that be a problem?

Jia Zhangke later encountered similar problems. He did a good job in making art films outside and had to go to domestic theaters to prove himself, but the truth was revealed.

The market is different. In the next twenty years, the people who dominate the domestic film industry will be comedy directors and actors, which is the most telling.

Su Changqing also exchanged views with Director Han. He said he was also considering: "The young young man took his girlfriend to watch a movie on weekends. He was originally aimed at Daming, who was so exciting to film director Su. But after watching it all night, he would probably curse himself."

I didn't say anything, but I was considering how to have the same virtue as the Japanese, this old fox.

After discussion, the two reached an agreement: it is better to put the videos accurately on the corresponding market. In addition to Japan, it is mainly engaged in Europe and North America. It is advisable to distribute video products in China, and whoever is interested will buy them.

In this way, there seems to be no need to cooperate with Beijing Film Academy. This is probably the main reason why Director Han has been considering it but not saying a word.

However, Su Changqing didn't think about the problem this way. He knew Director Han even better than Director Han. Next year, he would bring Beijing Film Academy to join China Film Academy. He was not as good as a newcomer, and he had to cultivate some old friends.

"Everything, do it well. Don't learn from some young directors. If you go out, you will be complacent and forget what soil you root on."

Director Han, you can do your best and make progress together.

"You From the Star" has a huge ratings and reputation. After CCTV first set was removed, it will be replayed again in the second set, and the popularity remains.

Mu Mu further consolidated his position as the top-tier, Hu Jun also became popular, and Wu Jing and Wang Baoqiang also gained considerable popularity.

Huang Bo and Wang Yang are tinkering with the new script. At that time, you can bring Wang Baoqiang to film. What will the others do next?

Du Keke tasted the sweetness: "Movies are not as interesting as TV series. Look at Hu Jun. A drama is well-known. Wu Jing and Wang Baoqiang are desperate to make movies, and the box office has also broken the record. The fame is a bit bad. Whether it is making money or winning the stars, TV series is more beneficial."

Mu Mu also hugged Su Changqing's arm and asked, "What do you want me to do next?"

This action and expression seemed familiar, and Su Changqing finally felt a little guilty.

Money is not only the best carrier of love, but also the best medium of apologies. So start filming new TV series to make more money and fame make up for it.
Chapter completed!