Before the release of "Raise the Red Lantern", although there had been a lot of reports in China and even appeared on CCTV news, at that time, it still felt illusory to the domestic people. After all, everyone had not seen "Raise the Red Lantern" yet.
"Raise the Lantern", at that time everyone only knew that there was a great director in China who had won the most powerful film festival award in Europe.
But it's different now.
The movie was released, and everyone went to see the movie. Although people in this era also have their own cunning, they still have blind worship of foreign awards. Coupled with the limitations of the times, there are not so many comparisons, and there are not so many
The so-called commercial blockbusters, the bombardment of visual blockbusters.
So even though some people feel a little confused after watching the movie, they still clapped and said it was awesome.
And those professionals couldn't help but clap their hands after watching this movie, as if this movie opened another door for them!
In the past, Chinese film directors repositioned the relationship between film and drama, and rediscovered the creative characteristics of Bazin's documentary aesthetic style of long shots. They opposed falsehood, pursued truth, and vigorously promoted Kracauer's "image restoration of material reality" and
Bazin opposed excessive editing and advocated the documentary aesthetic style of long shots. In the creation of the film, he started more from the nation itself and life itself, and explored the inherent spiritual value from simple life scenes.
Their movies show a more plain and sad side!
This was also the creative thought that later became the fourth generation of Chinese directors.
As for the film content created, on the one hand there are a large number of films that reflect historical themes, and on the other hand there are some films that reflect real life emotions, but the number of the latter is not very large. Historical dramas such as "Xi'an Incident"
"Nanchang Uprising", etc., and those that reflect real life such as "Small Street" and "Middle Age", etc. Although the number is not very large, there are many excellent works published among them.
Of course, Wu Jianye's previous role in "Under the Bridge" can also be classified into this type.
The emergence of Wu Jianye and "Raise the Red Lantern" changed this phenomenon.
“After we enrolled and studied at the college, we were able to see many foreign films, such as the French New Wave and Italian neorealist films.
I remember that at that time, Chen Kaige, Zhang Yimou, Tian Zhuangzhuang and others like me and I would repeatedly watch the new wave films of Godard and others, and we would often comment on the new composition, editing, narrative techniques and shot scheduling.
I came out to discuss it. When I participated in the Venice Film Festival this year, I discussed this issue with Director Godard.
China is developing, and our movies are also developing, so I have always believed that movies are not made behind closed doors, but should go out and watch more.
This will not only broaden the horizons of everyone here, but also allow you to see the operations of overseas film companies.
I believe that in the days to come, many of you here will take leadership positions. Your vision is further than that of directors like us. You can no longer focus on the success and success of one or two movies.
Failure, but look at the entire film industry from a strategic perspective. This is what you should pay attention to in the future!"
Yanjing Film Academy, in the classroom of the cadre training class.
Wu Jianye put down the guide tube, picked up the chalk, and became Teacher Wu of the college again.
Students in the 1983 Yanjing Film Academy cadre training class had already enrolled at this time.
Han Heping and Huang Jianxin, two great masters, also sat in the audience with notes and carefully memorized the contents of Wu Jianye's lecture.
Through word-of-mouth spread among the students of the last cadre training class after graduation, Wu Jianye's reputation is no longer unfamiliar among these people. In addition, Wu Jianye is the first Chinese to win the European Class A Film Festival.
The winners of the biggest awards did not show any so-called disobedience to management at this time.
Much better than the previous one.
"Teacher Wu, you said we should pay more attention to places. Can you elaborate on them?"
Han Heping sat below, like a good student.
Han Heping officially graduated from Sichuan University last year, but like many people of this era, he was already working before going to university, serving as the director of the Art Center of Emei Film Studio.
After graduation next year, I will return to Emei Film Studio as director and deputy director...
Then he was transferred to Yanjing Film Studio, and then became the head of China Film Group, controlling the lifeblood of the entire Chinese film industry.
Wu Jianye considered his thoughts and then said: "What you want to study is the system, not the shooting technology of a movie, the system of the film studio, the system of the future development of the film, and the system of film marketization!"
"A film marketization system?"
The big guys in the audience were slightly startled. This was the first time they heard someone say: "The film marketization system!"
"Yes, for example, the current movie types in our country are a bit unclear, and there is no clear plan for the entire movie-going market. Let's not talk about overseas, only Xiangjiang movies. Xiangjiang is a small place, but the development of the film industry has not
It has already matured, and movies of various types are emerging one after another.
There are commercial films created specifically to entertain audiences, which are divided into action films, kung fu films, comedy films, gangster films, drama films... Even each of these types is divided into different small genre films, each
Each type of movie has its own audience.
At the same time, they will also have different theaters showing different types of movies. These are the progress of the film industry. In contrast, in our country, there is no such emphasis at all. Basically, the audience has to watch whatever type of movie the studio shoots.
.
These gaps may not be visible now, but with the rise of the television industry, the film industry is bound to be impacted. By then, if domestic studios are still like this, then I dare to say that in the near future, China Film
Industry will be hit hard!"
Wu Jianye's words caused everyone to fall into silence. It was obvious that at this time, what Wu Jianye said was a bit alarmist and even a bit deviant in the eyes of these people.
"So how can this be avoided?"
Han Heping asked subconsciously.
Wu Jianye glanced at Han Heping and said in an astonishing tone: "Since the whole country is now talking about marketization, I think our film industry should also enter the marketization system as soon as possible. Let's give the simplest example.
Nowadays, no matter what the cost is for a studio to produce a movie, the revenue generated by a single movie for the studio is only about 1.2 million at most. So this actually limits the cost of making a movie for the studio.
.
The production cost of a single film must not exceed 1 million, otherwise no matter what the performance of the film is, the studio will not be able to make money, which will indirectly hinder the development of domestic films.
Let me give you a simple example. In 1981, a movie called "Mr. Zombie" was shot in Hong Kong. The shooting cost was 8 million, but the box office in Hong Kong reached a box office record of about 23 million. At the same time, in Hong Kong,
The box office revenue throughout Southeast Asia exceeded 100 million. Excluding all expenses, the movie "Mr. Zombie" brought more than 70 million Hong Kong dollars in revenue to his production company!
It was precisely with the return of this capital that the film company subsequently invested in and filmed many movies."