Instead of doing his best to remedy the situation, Lei Juekun adopted a laissez-faire attitude at the beginning, hoping to be able to control New Art City with ease under the multi-head management model of New Art City.
However, the major giants in New Art City are not pure businessmen and have their own way of doing things. Lei Juekun tried to control them using purely commercial office politics methods, and the results are self-evident.
In fact, now, Xinyi City is almost disintegrated. The few people who started the business have left and scattered, and the remaining few are working on their own.
The sequel to "A Chinese Ghost Story" was planned and produced by Princess Jin, not New Art City, which already illustrates this point.
Historically, this year's "Bleeding Heroes" filmed by Wu Yusen was also filmed by Princess Jin instead of New Art City.
By 1990, after completing the last few signed contracts, New Arts City finally went out of business.
Ten years of glory in Xinyi City have come to an end.
New Art City has left many classic film works for the audience and is the representative of Hong Kong movies in the 1980s. However, this name has since disappeared in the long river of history.
That's too far.
Cheng Xiaodong is working on his sequel to "A Chinese Ghost Story", while Wu Yusen is filming "The Legend of Two Heroes".
He and Tsui Hark agreed to have a battle between gentlemen. They will compete with "Dragon" and "A Better Tomorrow 3" (prequel) during this summer vacation. It will not only compete with box office, but also with artistry.
In addition, he also has a script that has been reviewed by Youlian, and that is "Across the World". This project has been approved and the preliminary preparations are being done. After he finishes working on the current "Blood Heroes", he will build
The team is getting ready to start shooting.
Bodhi Patriarch Liu Zhenwei is fully preparing for the filming of "The Gambler" which is about to start filming. This is his first project in Youlian, so he can't help but not pay attention in order to get a good start.
Another contracted director of the company, Zhang Yimou, returned to the mainland after completing the performance and production work of "Ancient and Modern War between Qin Terracotta Warriors".
Now, he is filming "Codename Jaguar". This is his second directorial work and the first commercial film he directed.
"Codename Jaguar" had a poor reputation and box office in its previous life. At that time, Zhang Yimou was not interested in commercial films, but the investor was a private company introduced by a friend. Zhang Yimou couldn't save face, so he took over the filming of this movie.
The shooting budget of this film was not high, only one million yuan. Due to the tight schedule, Zhang Yimou hurriedly launched the film without even preparing the script, and the results were predictable.
At that time, in the domestic film industry, it was okay to shoot historical films, war films, feature films and dramas, but few people knew how to shoot commercial films.
After Zhang Yimou participated in the filming of "Ancient and Modern War between Qin Terracotta Warriors", he was very disgusted with Xiangjiang's commercial film production and left the crew without even participating in the final dubbing.
When it was his turn to shoot a commercial film, he naturally had no experience. The final film had a chaotic rhythm and improper plot arrangement, giving people a feeling of being anticlimactic.
However, under the influence of Sun Dahai's rebirth, Zhang Yimou has changed a lot in this life.
As the de facto cinematographer for "A Better Tomorrow" and the director's assistant for "The Last Emperor", he was exposed to the production process of commercial films in Hong Kong and the professional division of labor and collaboration model of international blockbusters early on.
In addition, the just-concluded "Ancient and Modern Battle of the Qin Terracotta Warriors" played an extremely important role in his understanding of the characteristics of commercial movies.
In particular, his concurrent role as a producer on this film gave him a comprehensive and in-depth understanding of the entire production process of this film from beginning to end.
After receiving the project of "Codename Jaguar", he did not go to Sun Dahai directly. Instead, he followed the formal procedure and faxed the script, or the plot summary of the film, to the editorial team of Youlian, asking for their help.
Perfect the script.
This is one of his benefits as a contracted director with Youlian. Even if the project he receives is not from the company, Youlian is still obliged to help him revise and improve the script and calculate the shooting budget.
With the intervention of the Youlian editorial team, the script quickly took shape. For this kind of commercial film script creation, Xiangjiang's screenwriter is undoubtedly more comfortable.
Therefore, compared with the old version of the previous version, the new version of "Code Name Jaguar" has undergone major changes in the plot, reducing some ideological and political propaganda scenes, and adding many action scenes and psychological descriptions of the characters, making it
The pace of the entire film has sped up a lot.
Youlian was not involved in this film, and the filming budget was reworked based on the script to 1.8 million yuan, which was hundreds of thousands of yuan higher than before.
Zhang Yimou said that there is no problem. This newly increased budget will be borne by the producer, Xi Film Studio. Originally, Xi Film Studio only provided people and equipment to complete the film production.
This film is still a co-production, but the two parties are Xi Film Studio and a domestic private enterprise. Since there is no involvement of overseas funds, the various approval procedures have been simplified a lot.
Sun Dahai read the new script and found it to be much more organized than the old version. In addition, Zhang Yimou has more experience in commercial film shooting than at the same time in history. Sun Dahai believes that the new version of "Codename Jaguar" will be better than the old version in history.
It has produced a lot, and it will not be made into a different work again.
As for the box office, domestic movies do not pay attention to box office performance. At this time, the equipment and management conditions of mainland theaters cannot support real-time and accurate box office statistics. Most of the time, manual estimates are made, which is very watery.
Therefore, until the mid-1990s, box office had not become an important statistic for domestic films, and the box office sharing system had never been implemented.
If Sun Dahai wants to make a profit when investing in movies, his target is overseas markets. For at least ten years, he has no hope of making money in domestic theaters.
Therefore, he engages in co-productions with China, or sells movies suitable for domestic release to China Film Company at cabbage prices (Huaxia Film Company, the predecessor of China Film Group, is responsible for introducing excellent overseas film works to the mainland), all in order to cultivate domestic films.
The film market is also promoting Youlian and its artists domestically.
…
Today's dinner was mainly dumplings, with some hot and cold dishes. Everyone chatted while eating, but before they finished, Gao Zhizhi, Zhang Yujie, sisters Hu Jing and Hu Xiao came to Sun Dahai together.
's home.
Today, the movie "Ancient and Modern War" will be released simultaneously in China and Xiangjiang. Li Cuifeng helped Sun Dahai find some movie tickets for the 7:30 pm show at the Capital Cinema. Gao Zhihui and the others had already made an appointment with Sun Dahai.
We went to see a movie together.
It’s awkward to say that the movie was co-produced by Youlian and China Film Co., Ltd. When it was released in China, Sun Dahai still had to find tickets through his mother’s channels.