Although it's only the beginning of August, there are no surprises in the summer season after "Fortress" hit the streets.
"Walker 2" was released on Chinese Valentine's Day. It was a coincidence that the box office reached 160 million in a single day.
During this festival, all movie box office sales soar. Basically, many boys will spend the Chinese Valentine’s Day with their girlfriends.
Watching a movie is a two-hour entertainment activity that only costs a few tens of dollars and is still sitting down. It is a great deal.
The first movie that discovered that Chinese Valentine's Day could make money was "Bride Wars" starring Ni Ni and Yang Ying. It was a bad movie and it made more than 100 million yuan in a single day just because of this holiday.
It’s not surprising that a Hong Kong movie like “Walker 2” has 160 million in a single day, which is higher than “Heroes of Fire” and “Anti-Drug 2” which have already exceeded 1 billion.
But the next day, the box office plummeted by two-thirds, leaving only over 50 million.
This is the real level.
From a popular TV series to a remake of a movie, and then to the second installment, this IP has also occupied a place in Hong Kong films.
As for the movie itself, it's pretty ordinary, almost the same as the first one.
It's a police film about a pair of brothers who were separated when they were children and meet again 30 years later. It's already a confrontation between good and evil, and then they go undercover.
The undercover plot means there will be a lot of twists and turns. The plot can basically be watched. The first half is okay. Except for the occasional affectionate look between Louis Koo and Zhang Jiahui, there is nothing wrong with it.
The second half is full of climaxes. The two male protagonists and the SB killer race together with cows in the Spanish Carnival. When the audience thinks that is enough, the screenwriter can always challenge everyone's limits.
At the end of the drag racing scene, the heroes and the villain rushed down the hillside with a cow. The car flipped over in various ways. One was thrown out of the car and the other was in the car, but nothing happened.
In reality, he would basically have to be sent to the emergency room.
But as for the movie, this part is actually quite exciting, after all, the scene is exciting enough.
I always say that Hong Kong movies are dead, there are only so many people coming and going, and those cliche plots, but this must be my first time going to Spain, and racing with bullfights.
At this time! The cow fell from the sky and rushed towards Gu Tianle who was thrown out of the car. Seeing this, Zha Zhahui stepped on the accelerator with lightning speed and blocked the cow. The cow's horns penetrated the door on the side of the cab.
Zha Zhahui had a hole stabbed in his left abdomen.
Of course, as the male protagonist, it is impossible to die like this. Even if he does die, he should not die in this way. At least he has to fight the killer for three hundred rounds.
Gu Tianle rescued Zha Zhahui, and the two supported each other. Zha Zhahui confessed to Gu Tianle affectionately. At this loving moment, the killer shot Gu Tianle in the temple!
It's just like the scene in "A Better Tomorrow" where Ponyboy is killed with one shot, even the lines are a bit similar.
The two men fell to the ground in response, but as the male protagonist, it was unreasonable to be killed so quickly.
Louis Koo was not as unlucky as Ma Ge. Although it looked like the bullet hit his head, it just missed his ear.
Just after the killer stabbed Zha Zhahui and was about to give him a fatal blow, Koo Tianle, who had just been shot in the head and was still bleeding, suddenly stood up and controlled the killer with three strikes and five cuts!
Even though Zha Zhahui had two holes in his abdomen, he rushed forward to help Gu Tianle control the killer!
You may wonder why the two of them control the killer instead of stabbing him to death directly, because the ultimate boss has not appeared yet!
That’s a cow!
We have filmed scenes of Spanish bullfights, how could we not have the scene that many people are looking forward to when watching a bullfight?
That's right, a bullfight descended from the sky again and rushed towards the three people. With a fierce sprint, the killer received his lunch directly because he was stabbed by the horns, while the two male protagonists were lying on the ground unconscious at the moment.
Finally, the cow wandered in place for a while and looked at the three people on the ground. At this moment, the eyes of the ultimate boss seemed to say: There is no one who can fight!
This method of killing villains is considered unusual in Hong Kong movies. I guess no one would say that all Hong Kong movies use the same routine.
Although it's a bit nonsense, the scenes are still very good and exciting, and the total box office is better than the first one, which took in nearly 700 million.
A week later, Zhang Jiahui's "Silent Witness" was released. These are the only people who come and go in Hong Kong films.
Louis Koo is the most frequently seen face. It seems that there are four or five movies released this year. The title of model worker cannot be removed.
In the second half of the summer season in August, the only popular films are these two and "Ghost Blowing the Lantern 2".
The sequel to a hit movie was as popular as the first one, with a box office of nearly 3 billion.
With a box office of nearly 3 billion, it ranks high among domestic films.
However, the limitations of the subject matter are still obvious, and female audiences will not be particularly interested in this kind of subject matter.
The subject matter determines the upper limit. "Wolf Warrior 2" has a lot of female viewers, and it has attracted middle-aged viewers over 35 years old to the cinema. "Nezha" is enough for children during the Spring Festival. A child means
There is also a pair of parents, or even a family.
Not to mention the CP between Nezha and Ao Bing, there are not a lot of female viewers.
"The Wandering Earth" is a science fiction film, and it is also the first one in China. Many people have watched it for two or three times.
Although the special effects of "Ghost Blowing the Lantern 2" are still wonderful, the plot is also excellent among commercial blockbusters, it is still a big IP, and it has the basics of the first film, it does not conflict with the restrictions of the subject matter.
Three billion is already out of reach for other movies, but for "Ghost Blowing the Lamp", the first one of which sold nearly two billion, the box office of close to three billion is not much different from the first one.
In the intervening years, the market's growth rate has been the same as the box office growth, which means that the box office of the second film has only caught up with the "box office expansion" rate.
Over the years, the domestic film market has actually undergone tremendous changes.
In the past, special effects blockbusters were a powerful tool to attract audiences, but now, after countless Hollywood blockbusters, the audience's vision has changed.
Coupled with the further sinking of the audience, movies that are closer to the hearts of the audience and resonate with them are more likely to become hits.
A top domestic commercial production like "Ghost Blowing the Lantern 2" can only earn close to 3 billion at the box office. Although there are also scheduling reasons, if it were released in early July, it would have been at least 4 to 5 billion more, but it has reached its maximum.
The proportion of female audiences is only 33%. On the first day of the release of "The Wandering Earth", the female audience accounted for only just over 40%. By the end of the show, it was close to 50%.
Moreover, on the three major ticket purchasing platforms, among the viewers who gave "The Wandering Earth" low scores, only 19% were female viewers.
According to general knowledge, men in science and engineering will like this kind of science fiction film more, while female viewers will not catch a cold.
But the reality is completely different from what I thought. There are more female viewers watching the movie, and more female viewers are satisfied and give positive reviews.
On the contrary, the proportion of male viewers giving negative reviews far exceeds that of female viewers.
For "Nezha" released during the Spring Festival, the proportion of female viewers is even higher, even close to 60%.
The female audience for "Ghost Blowing the Lantern 2" only accounts for 33%, which is ridiculously low.
For blockbuster movies, female audiences have become the main force, determining how high the box office can be.
The National Day is approaching, and the finished film "My Motherland and Me" has passed the review. Li Qian summoned several directors to discuss various arrangements for publicity, road shows, and activities after that time.
We also chatted about the summer vacation that just passed. Compared with others, Li Qian talked about the audience problem in the current film market.
This is a purely commercial thing, but it is no longer ten years ago. The market is completely commercialized, and even Zhang Yimou and Cheng Kaige are no longer so repelled by pleasing the audience.
Of course, they don't reject it, but they don't make movies just to please the audience.
They are old seniors. Now they just want to shoot what they want to shoot and what they want to express. As for the box office thing, no matter what happens, there will still be people to invest in them.
However, even though he didn't care, he still had children and offspring, otherwise Cheng Kaige wouldn't have become a mentor for a competitive variety show.
His son, who had just been admitted to the film school as a foreign student, now has all the resources from Penguin.
According to the factions on the Internet, it should be called Gouchang.
For the sake of his son, Cheng Kaige went to work in a program run by Penguin.
However, although his son relies on Penguin's resources, it does not mean that Cheng Kaige belongs to Penguin and wants to treat Li Qian as his enemy.
In fact, apart from Li Qian complaining about "The Orphan of Zhao" once, strictly speaking, he himself has forgotten whether he complained or not. Anyway, the media originally reported it as complaining.
Then because of the media fanning the flames, I felt a little bit unhappy.
That's the limit. It was quite enjoyable to collaborate on "My Motherland and Me".
Of course, it was also because Li Qian did not interfere with Cheng Kaige's unit.
Cheng Kaige quite agrees with Li Qian's statement. As a former master, his study of movies is definitely not as bad as those who satirize him.
As an artist, Cheng Kaige always quotes classics.
"Laura Mulvey discussed the role of women in "Visual Pleasure and Narrative Cinema". Women are viewed as images, while men are the bearers of viewing.
Female characters are usually a carrier of desire. This way of expression can release their male dominance while attracting the attention of male and female audiences, and finally achieve a convergence of interests."
Li Qian was speechless. What the hell are you talking about about the market?
However, it’s not easy to interrupt someone’s pretense.
This is indeed the case in his previous films. In his films, female characters have always been interspersed with a tragic image in the plot of the film. Even the outstanding concubine in "The Legend of the Demon Cat" has never been the subject, so it is not used as a lens.
Dominance is the absent person present in the lens.
After talking about the past, and of course now, Cheng Kaige cited some situations where female characters have begun to dominate in film and television works, and they are no longer the carrier of something as a theme.
"This is a very obvious change and difference. It not only depends on changes in consumption power, but also on changes in thinking. With the development of the times, there will inevitably be some film and television dramas that are more suitable for female audiences, whether it is entertainment
There will be more and more movies of both nature and reality, which cannot be ignored.
Recently, I read some foreign reports. Regarding women, the total output value of the global freight forwarding industry reached 6 billion US dollars 7 years ago. In India alone, there are more than 3,000 clinics specializing in this industry, and there are also derivatives from this industry.
An emerging industry of medical tourism has emerged.
This is a common social phenomenon all over the world. Apart from selling sex, it is the closest ugly thing to women. This is a very good critical theme, a realistic film about women."
As Cheng Kaige talked, he actually got inspiration.
Regarding female audiences, Cheng Kaige certainly won’t go back to filming male-male dramas. Realistic themes are what he is very good at.
The conversation got further and further away, but Li Qian and the others did not interrupt, and waited patiently for the senior to finish speaking.
However, Zhang Yimou has a different view.
"Movies about women are not just about these, I think the most important thing is to show the oriental beauty of women."
Good guys, Zhang Yimou started to debate with Cheng Kaige.
One is about criticizing real-life events about women, and the other is about expressing the oriental beauty of women.
It is also different from the female characters in their works. Zhang Yimou used to use Gong Li, and what she represents in the movie is the unique oriental beauty of women of that era.
This beauty is not about the appearance, but about the heart.
The topic of women used to be the theme of every film by Zhang Yimou, and it is the common theme of his films. In fact, it should be called a motif.
In Zhang Yimou's films, women are always the first ones present.
In "Raise the Red Lantern", the master, as an invisible symbol of power, is always just an illusion and cannot reveal his true face. The male protagonist's visual absence is only used as a voice-over, as a back and profile. In the story, the male protagonist is an invisible figure.
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Women appear fearless in Zhang Yimou's films.
Each character is full of rebellious spirit. Whether it is Songlian, Jiuer, Judou, or Qiuju, they all appear in a posture of rejecting the world, and at the same time they appear, they are forced into a world full of suffering.
background, a temperament suppressed by force.
A movie is the history of a woman's resistance, through her own efforts and struggle, she achieves self-salvation.
In fact, this is very consistent with modern women, but there is one difference. Those female characters are meaningless and more or less "ignorant".
This ignorance is not a derogatory term, it is a limitation of the general environment.
Two directors with different interpretations of female characters, both of whom are master directors, began to debate how to present female characters in this era.
Li Qian was speechless. He wanted to talk about another popular movie "Zhu Xian" during the Lunar New Year.
The male protagonist in "Fortress" is actually no longer the top actor in the past few years. In comparison, the male protagonist in "Zhu Xian" is the largest top actor in the entertainment market today.
In addition to the other three idol-turned-heroines, they also have countless fans, although only one of them is considered top-notch.