Wen | Ling Fox Bo Guang
Zhao Jinmai, Bai Jingting and other starring TV series "Beginning" is about to end, whether there is a bad ending, it is already the first domestic drama in 2022, it can be said that "Beginning" has a good start for domestic dramas in 2022.
As we all know, "The Beginning" is a TV series of the noonday sun, and the noonday sun can be called the pillar of the current domestic drama, even if there is some controversy in the word of mouth of the online drama, but the quality is still very strong, and usually causes a strong response in the market.
For example, the two dramas in 2021, "Children of the Qiao Family" and "Mountains and Seas", the earlier "Qing Ping Le", "All Is Good", "Great Rivers", "I Am Yu Huanshui", "Do you know if it should be red fat and green skinny", but do not mention "Ode to Joy", "Langya List" and "Pretender".
As for the earlier "Battle Changsha", "No War in Peiping", "Parental Love" and so on, they belong to the works of "Mountain Shadow".
Some people say that the current noonday sun in domestic dramas is a bit like the feeling of mainland TVB, in fact, the two models are completely different, TVB relies on Hong Kong's top TV stations, top film and television capital, top artist economy and film and television industry chain as one of the huge business empire, although it is now declining, but at its peak it is roughly equivalent to Disney's status in the American animation industry.
Noonday Sun is only a film and television company, and it has been established for less than a decade, because the number of works with limited time is still far insufficient, and it has given up the artist economy in order to concentrate on creating quality. Unless you can add the "mountain shadow" from the state-owned factory, it is really on par with TVB.
The current noonday sun and TVB are not comparable, and I personally think it is more like becoming China's HBO.
Compared with "Mountain Shadow", it is also average? How the noonday sun is the conscience of domestic dramas
If you look at it from the perspective of production mode, the current domestic drama is basically a "traffic" central system, more accurately a platform central system, from the end of the 90s to around 2010, this is the "coal boss" missed by screenwriter Wang Hailin, which belongs to the director-centered system.
In the 1980s and 1990s, when the "planned economy" was state-run, literary and artistic works were the same as those of early state-run factories, products had production indicators, and then the state set prices, not market pricing, and all practitioners basically took basic wages. The domestic dramas of this period are mainly based on CCTV's "Four Masterpieces".
Anyone who has ever known knows. "Journey to the West" Director Yang Jie filmed this drama is very difficult, in addition to the difficulties in conditions, the biggest difficulty is the leadership above, if it is not Yang Jie who perseveres under pressure, there is no "Journey to the West" that we see at all.
The end of the 90s to around 2010 was the peak era of domestic dramas, which can be said to be the peak of the balance between artistic expression and market commerce. The reason is that with the change of the environment in the mainland, the leadership center system in the "state-run" era has become a director center system.
In the state-run era, many directors and cultural workers were capable and had been trained by a large number of previous works. After the marketization, they began to shoot their own works in the sea, because of their strong ability and experience, the aesthetics and connections of the state-owned factory were very strong, plus the actors and literary and artistic practitioners at that time were very serious.
The domestic dramas of this period can really be fought, such as the historical drama "Daming Dynasty", "Towards the Republic" and director Zhang Li, such as the war drama "My Regiment Leader My Regiment", "Soldier Assault" and director Kang Honglei, and other urban dramas such as Zheng Xiaolong, spy drama Liu Yunlong, police drama Gao Qunshu, idol drama Zhao Baogang and so on.
Look, the classic TV series of this period, this theme is deeply bound to the style that the big director is good at.
Today we look at the domestic dramas from the late 90s to 2010 or so, and everyone remembers the works more, the big directors and the actors in the works. But the producers and the film and television company brands behind them are not loud, and it is still a little strange that the TV drama companies that have hardly formed any brand power in the past decade are still a bit strange.
ps: Since it is market-oriented, even if it is a director-centered system, due to the flow of resources behind it, there are still many TV drama companies in place, and the TV drama companies established by learning the Hong Kong and Taiwan TV drama models include Tang Ren, Zhou Yi, HuaCe, etc., and in the same period, there are huanrui, Hualu Baina, Ciwen and so on that we are familiar with, but they are all facing a strong impact of one thing in the back.
Why are domestic dramas getting worse and worse? The "coal boss" that Wang Hailin misses is the answer
After 2010, the new capital of the Internet platform has risen rapidly, and they all want to create a monopoly in the entertainment industry chain, and the original director-centered system of domestic dramas has collapsed into a "traffic-centric system", more accurately, a platform-centric system. It's not that domestic dramas don't have good film and television companies, good big directors, good producers, good actors and good scripts, this is a thing called "right to speak" in the end.
What determines the quality of a film or television series? The level of production, the actors' performances and the story plot, there were also unspoken rules when the director centered the system before, and there was also something dark. But the big director understands the script and has a pursuit of art. This is the reason why Wang Hailin misses the "coal boss".
"Coal bosses" They do not interfere with the creation at all except female stars, so the quality of the TV series made is good.
After the rise of the Internet platform in 2010, the big director-centered system collapsed, and the producer-centered system was not formed. We all know that video sites and later the "traffic economy" are deeply bound. TV series sold to the market is no longer quality, but big IP (with its own popularity), traffic stars (popularity), hot search hype (guiding traffic) after the launch, this platform in order to sell TV series money, and put the most money all into the purchase of big IP, please traffic stars, and even spend money on hot search and hype and so on.
The result determines the real three major conditions for the quality of the TV series, the production is shoddy, the actors are invited to traffic stars to act badly, and the script is a mess. Moreover, in order to sell more money, the TV series also led to three common problems, and the product implantation caused by advertising investment affected the plot overwhelmingly, because it was sold according to the number of episodes to "inject water" flooding.
Even the platform is popular with some traffic stars, spending a lot of money to invite big stars to speak big (the selling point is that he | her). At the peak of the domestic film and television drama traffic economy, the money spent by a film and television drama to ask stars to account for 70% or 80% of the budget, so big stars add dramas and change dramas abound.
These combined production level problems, script problems and water injection problems, how can domestic dramas not rot like this?
In the film and television companies of this period, producers and big directors really did not have the right to control the TV series. Just like Penguin later acquired a film and television company Xinli, which was originally a mature film and television company, the dramas filmed before the acquisition were "Cliff", "Beijing Love Story", "Big Husband", "Second Gunner" and other serious dramas.
As a result, the environment during this period was not good, and the serious crew did not have good results, and the dramas that were later acquired and remade were "Qing Yu Nian", "Douluo Continent", "Son-in-law", "Qing Qiu Xing", "Snow In the Sword Line" and other IP dramas. And the director and the team behind the scenes are basically outside the invitation (see "Knife In the Snow"), and this actor choice is usually three.
The talent stars behind the platform (the platform to be praised), the powerful actors and the old drama bones (now common dramas), and the hottest star combination in the current market (there is traffic). We can't say that it's all bad dramas, but the traffic route copied by this big IP + traffic star + market success model is clear at a glance.
ps: As far as I know, Xinli's early creative team was also "state-run", which is a film and television company that pursues a little in terms of TV series quality. The combination of other idol dramas and TV drama companies with no discipline at all, just like "Mirror Twin Cities", cannot be watched.
Mainland TVB or Chinese HBO? Domestic dramas need "noonday sunshine"
What's so good about the MIDDAY SUN TV series? The answer is already self-explanatory. It is a domestic drama company that has done a good job in the new era of business + art + re-IP, and it is even a brother in domestic dramas.
The noonday sun is the producer-centered system, because it was born out of the state-run team of "Mountain Shadow", and the teacher Fu Kong blessed is not mentioned, even if there is no Kong Sheng's blessing, the producer Hou Hongliang supervises the production to grasp the product wind direction and market wind direction, and then gives the quality of the product to the director to play.
At noon, inheriting the director training mode of "passing on the help" master and apprentice in the Shandong film and television period, from photography to co-director to independent director, Kong Sheng's master is the old directors of Shandong Film and Television, Wang Wenjie, Li Xue, Sun Molong, Jian Chuanxuan, and Zhang Kaizhu, all of whom are Kong Sheng's apprentices.
Kong Sheng's ability does not need to be mentioned, other young directors have their own shortcomings, but the good gangsters have been exercising for ten years, and they are all state-run "mountain shadows", and their ability may be insufficient, and this aesthetic and attitude are at least first-class. That is, there may be many problems with TV dramas. But you rarely see deliberate shoddy, deliberate actors and actors adding dramas in the noonday sun, and then deliberately injecting water, perfunctory dramas but still wanting to make bad money.
The actors of the TV series produced by Noonday Sun will not be paid more than 50%, so all the money is taken to do it behind the scenes, as well as taking care of the writers and creative staff, as evidenced by the revelations of the original author of "The Beginning". These are coupled with the directorial ability of aesthetics and attitudes, and it is normal for noonday sunshine to become a brother of domestic dramas now.
Many people think that there is a gap between the current TV series of the noonday sun and the works of the "Mountain Shadow" period, but in fact, they have made a mistake in one point. When the director center system is made, the work is linked to the ability of the big director, and the noonday sun is already a film and television company that plays a brand, and the number of directors under it is large, and the ability is high and low.
Teacher Fu Kong Sheng's TV series is not inferior to the previous classic dramas, but the young director's ability is poor.
Those who hate the noonday sun are actually hating the young directors of the noonday, I don't believe you will dislike the TV series directed by Kong Sheng, they must not think that the noonday sun is OK, but miss the peak level of Kong Sheng. And what was the level of Kong Sheng's peak era? That was the peak level of Mainland dramas such as Zhang Li, Kang Honglei, and Zheng Xiaolong, how terrible.
The noonday sun and "mountain shadow" are different, after all, it is a deeply market-oriented film and television company, just the gene that continues the "state-run" era. From the big director-centric system in the late 1990s, it has become a producer-centric system like it is now. It is a film and television company with a producer with a lot of experience and vision (Hou Hongliang), a big director (Kong Sheng), a group of young directors with high and low abilities, and a whole set of mature film and television industry chain teams.
It naturally challenges dramas with different themes, with the aim of retaining audiences of different ages. It is definitely necessary to support different young directors to be independent. The ultimate goal of cooperating with popular stars and powerful actors in the market is to make this film and television company better survive in the market.
Finally, Hou Hongliang, the core figure of the noonday sun, is very envious of the model of HBO in the United States, and I think that both TVB and HBO are not the same at present, mainly because the time is too short. Unless the young director becomes a teacher, they bring a few more young directors, and the whole team is expanded by five to ten times, and they have to build their own platform.
Otherwise, there is no comparison with HBO and TVB, which have their own platforms, but whether it is Chinese HBO or mainland TVB. The current domestic dramas are very much in need of noonday sun, because it proves that the actor's remuneration does not exceed 50%, does not engage in shoddy manufacturing, water injection, etc., and the real pursuit of quality of domestic dramas can be artistic and commercial win-win, which is the most important.
The midday sun is itself, never HBO and TVB.