Except for a few special ones, domestic movies are not good to watch and domestic aesthetics are very backward. This is a common view.
The domestic film industry is still very weak in front of Hollywood. In this era, it may be much weaker than other industries.
Fang Yi said, "Last year, among the more than 200 countries and regions in the world, there was only one place where the box office of domestic films exceeded that of American films."
The old comrade asked: "Where?"
"China." Fang Yi said.
Guo Fan duly added, "Last year, the box office number one in Asia, and the film that made domestic films overtake Hollywood at the end of the year, was our company's "Twelve Zodiacs", starring Fang Yi and directed by Fang Yi. In this film, Big Brother Cheng
.”
"I know this movie, I've seen it!" The old comrade is still a movie fan.
In fact, there is another place where the box office of domestic movies is almost equal to that of Hollywood, and this place is India. Indians don’t like to watch Hollywood movies, preferring Bollywood musicals and epic films. There are only four Hollywood movies in the top 70 box office in their country’s history.
Movies, some of which are far more shocking to Chinese audiences than "The Anti-Japanese Heroes", but Indians love to watch them and you can't stop them.
It is better to praise Korean films than films made by Indian veterans, whose record is much better than that of Koreans.
If India's per capita GDP is three-quarters of that of South Korea, it's unimaginable how culturally confident Indians can be.
"But Chinese audiences don't have this habit. We can accept Hollywood movies, and we can even accept them quite well. Among the major movie markets in the world, only mainland China can accept English dubbing and Mandarin subtitles for a long time. No other region can accept it..."
Fang Yi talked a lot. He also talked about the wto's liberalization of film restrictions last year, and talked about Hollywood's massive attack on setting up joint venture film companies in China. He also mentioned the past glory of domestic films:
During the Republic of China, the movie industry in Shanghai was very developed, and it once invaded Japan. This was a bit of a coincidence, because Shanghai was more prosperous and fashionable than Tokyo at that time, and it took advantage of it - but the result was that mainland movies were once
The more developed ones easily ranked first in Asia.
There was a period of glory after the founding of the People's Republic of China, mainly animated films, such as the familiar "Havoc in Heaven" and "Tadpole Looking for Mom", which have won some international awards.
But these are temporary and moving, flickering meteors driven by some geniuses and masters, and cannot stay in the night sky for a longer period of time to illuminate us.
"Because there is no developed film industry, all these achievements will eventually come to naught. I don’t know how other practitioners view the film. In my opinion, no matter what impact individual films have, overall, it has
Or an industrial product.”
"Without a developed film industry, it is like an army without a base. No matter how good it is in fighting, it will perish if it continues to fight; if a developed film industry is established, it will have a base. Even if it cannot win the war for a while, the army will
We will become more and more capable of fighting, and generals and marshals will be born from the soldiers... In the end we can win."
Fang Yi summed it up this way.
The old comrade's eyes were serious. Maybe he thought of a lot at once and didn't speak for a long time.
Today's arrangement is also very interesting. It happens that the first one is the war movie "I Come from the Future", which allows him to see how to resist U.S. aggression and aid Korea to defend his country. The fight was very hard and strenuous decades ago; the next one is the one that represents the future.
"The Wandering Earth" is about Hollywood, and it seems like nothing has changed.
What does it represent now?
Is it Fang Yi in front of me?
Fang Yi and the others did not intentionally arrange this. Perhaps there was such a fate. No old comrade could remain indifferent after seeing this.
Guo Fan glanced at the old comrade and noticed that the muscles on his face were trembling unconsciously. He pondered as if he had made some decision. He finally said: "What kind of support do you still hope to get? I will do my best.
"
Fang Yi and Guo Fan looked at each other and expressed their previous thoughts.
——————
In the final analysis, this plan is all about making exceptions. Fang Yi is an exception, and the Republic Era is also barely an exception - as long as the movies they make are high-quality and they don't make too many mistakes, they can cooperate with domestic departments for a long time and release high-quality products every once in a while.
.
In the field of competitive sports, it is the so-called "superstar whistle" (having the privilege to do certain suspected illegal competitive actions). If others cannot do it, Fang Yi can do it according to the situation, and even protect him.
Because Fang Yi has achieved results.
Some people may ask, does Chen Kaige not have a superstar whistle? Doesn’t Zhang Yimou not have a superstar whistle?
Of course they do. Now only the fifth generation of directors can shoot certain stories from the past. Although this process is still difficult and gradually getting more and more difficult, the fifth generation of directors can get the privilege and they are tacitly allowed to take advantage of it.
Subject matter, this is their privileged paradise, and directors of the new era must not touch it.
The problem is that Zhang Yimou and the others cannot let go and are working tirelessly to photograph the past era, while Fang Yi has no interest in those old stories. He needs a customized superstar whistle for his era, with breakthroughs in heavy industrial special effects, theme blockbusters, themes and lens scale.
...In this way, he can compete with Hollywood and bring the audience a visual experience that does not belong to Hollywood.
What's more, the audience doesn't like to see the things shot by Zhang Yimou and Chen Kaige...
Because too much time was spent on the set of "The Wandering Earth", the old comrades later had family time with Fang Yi and others, recalling the spirit of resisting U.S. aggression and aiding Korea, and other reasons. The final inspection of the Huairou Film and Television Base planned for the day was not completed, so we had to wait for a long time.
Secretary Jiao, the new chairman of China Film Group Corporation, was helpless - this was something he had been looking forward to for half a year.
But he couldn't and couldn't blame Fang Yi. He knew that the glory of China Film Academy in the first decade of the 21st century would not be restored. He would not be able to achieve the same status as Han Sanping, and Fang Yi was not the young director who had just debuted.
"Director Fang, we have known each other for such a long time. Next time there is an opportunity for such an inspection, I can also help to speak... In fact, during the filming process of "I Come from the Future", including your current movie, our film and television base
They have made some small achievements and the cooperation is very good.”
"Now the main shareholders of the film and television base are us, and there is also Baoli, but can't we introduce funds from private enterprises? As mentioned above, 70% of domestic technological innovation and 90% of employment...
It was created by private enterprises, not to mention that you are such a different private enterprise, and many people pay attention to you."
Secretary Jiao said to Fang Yi that he really wanted to make progress.
When the old comrade left, he said that other comrades would visit in the future. Secretary Jiao was probably looking forward to this opportunity to show his face.
Fang Yi felt that the matter had come to an end, and was anxious to take a look at "I Come from the Future" after it was submitted for review and awarded the bid. The film has been confirmed to be released during the National Day, and materials are being produced.
Guo Fan stayed in the studio and was as exhausted as if he had fought a battle. He later recalled this incident during a Q&A session at the Jingying Film Alumni Association:
"What kind of visiting groups will I receive in the future? I didn't even think about it at the time. I never thought that I would one day meet such a big leader, but I actually met and talked... but I didn't feel so nervous. At first
I prepared some ready-made phrases, and what I said later were from my heart. I was convinced and convinced that Director Fang Yifang was greater than what I said, and he was the one who took me on this journey."