Author|Jianjiao
"Recovery" is the key word of the mainland film market in 2023, so what is the key word of the Hong Kong film market?
Shao Jianqiu, general manager of production and project development of Emperor Films, gave the answer "hard", because "the audience's confidence in Hong Kong films has decreased." ”
Last year, the highest-grossing Hong Kong film in the mainland was "Goldfinger", which just exceeded 500 million, ranking 31st on the box office list, "Sneaking" starring Andy Lau, with a box office of only 360 million, and the classic IP "Anti-Drug 3" was less than 300 million, and the head films failed to recover their costs.
A Hong Kong filmmaker even told Entertainment Capital that he didn't want to distinguish between Hong Kong films and mainland films, because "for some audiences, Hong Kong films are no longer a compliment." ”
According to Hong Kong 01 News, the local box office in Hong Kong during the Christmas prime time in 2023 will decrease by 40% from the previous year, falling to a new low in nearly 20 years. Correspondingly, during the New Year, more than one-third of the audience of a cinema in Shenzhen is Hong Kongers.
Now, Hong Kong films have bottomed out.
On March 11, Alida Entertainment announced the Hong Kong Arts Revitalization Plan in Hong Kong, which is expected to invest 5 billion yuan in the next five years to cooperate with Hong Kong film and television companies in Hong Kong dramas and Hong Kong films, cultivate new directors and new actors, and further deepen the cooperation between the mainland and Hong Kong film companies.
Entertainment Capital also talked to Hong Kong's leading film and television companies such as Emperor, Media Asia, and Tianxia Yi during the Hong Kong International Film and TV Festival, and found that they began to turn as early as two years ago, on the one hand, to develop more new genres and new themes in addition to police and bandit action films, and to find new growth points by combining the existing industrialization advantages of Hong Kong films, and on the other hand, to support Hong Kong young directors to create local themes through low-cost production, and to help new directors and actors reach mainland audiences through online distribution.
In the future, the development of Hong Kong films still needs to embrace the vast market of the mainland, but after the disappearance of the dividends of the past visual spectacle and unique themes, how to find the connection point between the two places emotionally and achieve the "integration" and emotional "resonance" of the production side will be a new problem for Hong Kong people to "go north".
The audience has changed, but Hong Kong films have not
Why will Hong Kong films be so "hard" in 2023?
When talking to the leading Hong Kong film companies, "the audience has improved" is the dilemma that everyone generally mentions: during the epidemic, the release of cinema movies was blocked, streaming media invaded, and in the past three years, the audience's viewing patterns and preferences have changed significantly, and the number of moviegoers in cinemas has generally declined.
At the same time, Hong Kong films have changed little.
On the one hand, there are objective reasons, many Hong Kong films released last year are backlogs, similar themes are released together, and the genre is repetitive, causing the audience's aesthetic fatigue. Qiu Litao alone has four crime action movies released: "Anti-Drug 3", "Assassination Storm", "Jedi Pursuit" and "Moscow Operation". "Don't Call Me "God of Gamblers" was filmed to celebrate the 20th anniversary of Macau's return to the motherland, and was originally supposed to be released in 2019.
But three years have passed, the audience has changed, and the market's enthusiasm for traditional police and bandits and gambling themes is no longer there.
On the other hand, this is also due to the path dependence of the formation of dividends in the early themes. Deng Weibi, executive director of Tianyi Film, recalled, "In the early days, if you wanted to make a co-production, most of them were basically about police and bandits, and most producers generally believed that mainland audiences only liked this direction. ”
Zhu Weijie, chairman of Infinite Freedom, believes that the large output of online movies on similar themes is also one of the reasons, such as "explosion scenes, strong confrontation shootouts and other big scenes frequently appear in online universities, and the audience has aesthetic fatigue", which has further emphasized the decline of this type of theme in theaters.
In addition to the duplication of Hong Kong film genres, the problem of the lack of Hong Kong film directors and actors has also been unresolved.
Director Wang Jing told Entertainment Capital that some young filmmakers in Hong Kong are influenced by Western trends of thought, and their willingness to integrate into the mainland is not particularly strong. He also found that most of the directors of the "First Feature Film Project" funded by the Hong Kong government had difficulty making a second film, "because the films made by these young directors would not have had any commercial opportunities if they were not paid by the government." ”
At present, the "First Feature Film Project" has been carried out for the eighth time, according to incomplete statistics from Entertainment Capital, among the directors who won the first seven awards, only a few young directors such as Zhuo Yiqian, the director of "Youth Diary", and Huang Qilin, the director of "Jindu", still have the opportunity to continue directing.
The government's funding route is not smooth, and the market cultivation path with TVB as the source is also blocked: "TVB has been like a 'wet nurse' since the 70s of the last century to send talents and nutrients to the entire film industry. ”
In Wang Jing's view, TVB should have actively integrated into the mainland in 1997, and it was a good time until 2015. But now, TVB's influence in the mainland is not as good as before, and it can only cooperate with the mainland to make "Hong Kong theater" to maintain its vitality.
The disconnection with the mainland has also led to a cognitive gap between the new actors who originally used TVB's actor training classes as the main source in the mainland, and the situation of "old faces" starring in drama co-productions and new actors "playing soy sauce".
Wang Jing also believes that some Hong Kong directors are not deeply connected with the mainland enough, and should be based in the mainland: "If they all fly to the mainland to shoot after the project is approved and the approval is completed, and leave after filming, how can they have time to understand the growth of mainland audiences?"
In recent years, Wang Jing is more willing to cooperate with young people in the mainland, "they are more popular, more willing to learn, and work harder". In addition, he is also looking forward to having a "fast hand" like Qiu Litao among the new directors, who can shoot two or three films a year, so that the new director can grow rapidly.
The older generation of Hong Kong directors has been "going north" for many years, which has also affected the growth of local directors in Hong Kong. Deng Weibi found that "when Hong Kong directors who go north find that the experience of the mainland staff is gradually mature, the degree of technical cooperation is sufficient, coupled with budget considerations, the main creative team behind the scenes that they can bring to the mainland will also be reduced." ”
As a result, there are fewer and fewer opportunities for a new batch of directors to work in the north. "These new directors are all fresh graduates from universities, and they don't know the preferences of the mainland market very well, and they can only shoot some low-budget films in Hong Kong, and because of the tight budget, the subject matter is limited. ”
Directors, actors, and Hong Kong films themselves all need to find new opportunities to embrace the mainland and make changes.
North or south?
"Hong Kong films are dead" has been said for many years, but Wang Jing believes that movies are more passive, and the difficulties faced by Hong Kong films today are caused by a "natural law": "In the 50 years since I went from a young audience to entering the industry, Hong Kong films have been high and low, unhindered, not because Hong Kong films have changed, but because of changes in society that affect Hong Kong films." ”
He once mentioned in an interview that the decline of Hong Kong films was due to the relaxation of import restrictions on Hollywood films in the Taiwan market in the 90s, which led to the disappearance of Hong Kong film box office.
At the same time, co-operation between Hong Kong and the mainland is gradually emerging. After co-producing "Shaolin Temple" in the early days, a series of martial arts commercial films such as "New Dragon Gate Inn" and "Huang Feihong's Lion King Competition" emerged.
In 2004, the Mainland and Hong Kong Closer Economic Partnership Arrangement (CPEA) came into effect, with two provisions relating to the film industry: co-productions between the Mainland and Hong Kong may be regarded as domestic films for distribution in the Mainland, and Chinese-language films shot in Hong Kong may be distributed in the Mainland without import quotas after being reviewed and approved by the Mainland authorities.
After that, a large number of Hong Kong filmmakers "went north" and shot many box office record-breaking co-productions. For example, in the top ten box office in the mainland in 2013, "Journey to the West: Conquering Demons", "Di Renjie's Divine Dragon King", "Private Custom" and so on are all co-productions, and Hong Kong film companies are involved in the production.
However, when "going north", Hong Kong filmmakers still often have to face a run-in period of teamwork and integration of production processes between the two places.
AI Mapping by Entertainment Capital
In the beginning, Hong Kong film crews such as directors, behind-the-scenes staff and actors were very welcome in the Mainland. Deng Weibi recalled to Entertainment Capital that by around 2010, the mainland film market was emerging, capital was pouring in, the dominance was gradually tilted towards the mainland, and the attractiveness of teamwork between the mainland and Hong Kong gradually declined.
The policy changes also highlight the rise of the mainland market, which no longer needs the "leadership" of Hong Kong films. Previously, it was stipulated that "the proportion of mainland main actors shall not be less than one-third of the total number of main actors in the film", so there are often starring combinations of Hong Kong actors + mainland actresses. In 2019, after the relevant regulations were amended, co-production films have "no restrictions on the main creative personnel, the proportion of actors, and mainland elements".
Chu Weijie also remembers that in the past, co-productions were completely dominated by the Hong Kong team, and the entire crew spoke Cantonese, but after 2016, due to more investment from the mainland and a heavier mainland market, there were fewer and fewer Cantonese speakers in the co-production crew. Most of the main theme films such as "Outwitting Tiger Mountain" and "Operation Mekong" directed by Hong Kong directors such as Tsui Hark and Lin Chaoxian are dominated by mainland companies, and the advantages of "integration" are further highlighted.
There are also companies like Emperor that insist on taking Hong Kong's local team as the core and making pure "Hong Kong flavors". Shao Jianqiu revealed that in the current films produced by Emperor, in addition to Wu Xing and some mainland actors, considering the production cost, the time required for the team to run in and the filming location, the Hong Kong team will be preferred, "We are also more familiar with what kind of director of photography and style is suitable for a Hong Kong film, and which art director is suitable for the style." ”
In addition to "going north", Hong Kong film companies have also started a "south" strategy in recent years, developing different themes, such as ghosts, BL or films with bloody and violent elements, as well as more small-budget films that cannot be released in theaters in the mainland, which can also help recoup their costs through the Southeast Asian market.
"There are a lot of preferential policies for filming in Southeast Asia, and the staff there are very good in terms of skills and dedication, and the smiles on their faces on the day of filming are also very encouraging for directors and producers. Deng Weibi told Entertainment Capital that the Southeast Asian market is a new venue that needs to be developed urgently.
Whether it is "going north" or "going south", Hong Kong films always need to "go global", but in this process, how to maintain the balance between pure Hong Kong characteristics and local market preferences is the key.
New directors, new emotions and new Hong Kong films
Although Hong Kong films will usher in the "freezing point" in 2023, recovery and revitalization are also underway.
Media Asia Group Chief Executive Officer Ip Chai Tak told Entertainment Capital that Media Asia discovered the weakness of the police and bandit theme two years ago, and planned to develop different types of themes. At this year's Hong Kong International Film and TV Festival, Media Asia is also one of the few companies to hold a new film press conference.
In the film list, the suspense mystery movie "Impostor" is directed by Lee Kuan Yew and produced by Liu Weiqiang, the director of "Three Killings" Zhuo Yiqian has just emerged with his debut film "Youth Diary", and the director of "Rival Game" Feng Zhiqiang once had a box office of 250 million in the mainland "Crime Scene". Ye Caide concluded that Media Asia's choice is not to choose a complete newcomer, but a young director with a certain box office guarantee.
In addition, as one of the earliest Hong Kong film companies to "go north", Media Asia has always been closely integrated with the mainland, so it has also collaborated with director Zhang Mo in "Waiting for Dawn", and with the new generation of mainland director Wang Jing, who has directed "More than Endless", in "Sweeping Rat Ridge".
Emperor also has its own methodology when it comes to nurturing new directors.
Previously, the "Marriage Without a Day" series directed by Chen Maoxian was released locally in Hong Kong and released online in the mainland, opening up popularity through the theme of romantic comedy, and the heroine Wei Shiya was also nominated for the Academy Award. Shao Jianqiu believes that allowing young directors to shoot themes that they are interested in and good at can exercise their ability through small-budget Hong Kong films, "The director himself will look at the evaluation of mainland audiences on the online platform, and this direct feedback is more effective than we convey it to him."
Chen Maoxian's new film "Broken Hell" is a funeral theme, starring Huang Zihua and Xu Guanwen, and the main creative lineup and investment volume have obviously risen to a new level. Although it is not a romantic comedy, Shao Jianqiu believes that Chen Maoxian has an accurate grasp of the emotional relationship of ordinary people. "He is a screenwriter, and when the script is given to us, 90% of it does not need to be revised, and more importantly, the completion of the first directing is also very high."
Shao Jianqiu emphasized that Emperor does not evaluate the director's ability based on the box office, and within the Emperor, there is no fixed meeting mechanism for new directors, but more attention is paid to "how the director uses the camera to tell the story, and how to adjust the performance of the actors on the spot." There aren't many standard answers to what is created, and there aren't that many considerations for new directors. ”
But the important thing is that new directors should put the market and commerciality first, forming a virtuous circle, "I tell every new director, only if you know what the market wants, the film you make has a good reputation, and the box office is good, will more investors come to you later." ”
When it is difficult for the new generation of Hong Kong directors to have the opportunity to follow the old directors to the mainland, Hong Kong film companies and producers who work closely with the mainland should act as a bridge in this. The next day is following a similar path.
"New directors don't have a very clear grasp of the themes and censorship systems that mainland audiences like, and if they want to enter the mainland market, they may go in the wrong direction from the beginning, such as excessive bloody violence or ghosts and superstitions, and we will warn them of the risks. Deng Weibi said.
Tang Weibi told Entertainment Capital that compared with large-scale co-productions with big directors and well-known actors, low-cost films that are currently shot with local characteristics in Hong Kong and are suitable for importing to the mainland may be a better choice. "First, there is less pressure on the small cost, and second, the process of introducing films is much more streamlined than before, and if a mainland distributor comes to us, we can have more choices in terms of schedule and operation. ”
For example, the new film "Electric Shock" is an e-sports theme, directed by a rookie director, and it is difficult to invite familiar big actors from the mainland because of limited funds during filming, but because the theme is novel and young, and the content is biased towards positive energy and inspiration, it has a more universal emotional resonance. Therefore, Tianyi is also in contact with friendly partner companies, hoping to introduce distribution. Due to cost, the film may not be released in theaters nationwide, and the focus should be on the Greater Bay Area and online platforms.
"Under the White Sun", which will be released on April 12, is also a typical case. Deng Weibi told Entertainment Capital that when he first invested in this very regional Hong Kong film, because the content was more related to Hong Kong's local policies, he had no plans to release it in the mainland, "At that time, I just wanted to reflect the living conditions of some disadvantaged groups." ”
After that, "Under the White Sun" received several nominations in the Golden Horse, opening up its popularity. During the 2023 Shanghai International Film Festival, Tianxia first approached some mainland distributors and found that there were opportunities for cooperation, so it started the introduction process.
Not only "Under the White Sun", but "Diary of a Youth" became the second highest annual box office of Chinese films in Hong Kong last year, and realistic themes have also risen in Hong Kong. Further back, "The Bad Tongue Lawyer" became Hong Kong's first Chinese-language film with a local box office of over 100 million, and the romantic comedy "Rice Drama Attacking the Heart" with Hong Kong characteristics exceeded 100 million at the mainland box office.
If you look at the nominations and winners of the Academy Awards in recent years, you will find that nearly half of them are "new Hong Kong films" made by young Hong Kong directors, who pay attention to the new emotions between people and become a new force in Hong Kong films. ”
"Now mainland films can sell more than 1 billion because of emotions, but it is difficult for pure Hong Kong films to produce emotional fission. Zhu Weijie told Entertainment Capital that the direction of Hong Kong films in the future should be "integration": make good use of Hong Kong's professional industrialization team and make good use of the combination of mainland actors and Hong Kong actors. Connect the two sides of the common mood in the early stage of creation.
In recent years, the directors of "Go North" have also consciously sought more exposure opportunities for new Hong Kong actors when making co-productions.
For example, before the filming of "Goldfinger", in addition to the two protagonists, director Zhuang Wenqiang hoped that new actors could play heavier roles, rather than just "a little brother running around next to the police". He went to discuss and finalize with Andy Lau and Tony Leung. The new actors have more roles and more room to play, "There will be one more actor to use in the next casting." ”
In addition, in the face of the problem of "permutations and combinations" of actors, Emperor's new film also strives to choose fresh faces, such as Jacky Cheung in "Customs Front", who has not made a movie for many years before, and this Sha in "Spreading Anger" is the first "proton" to participate in Hong Kong films, and he is also a representative of new actors in the mainland. ”
Fusion takes time, differences are hard to undo and resonance is hard to find. One reason why director Wang Jing no longer makes comedy films is that "it is easy for mainland comedy directors to find resonance with the audience's laughter, but it is difficult for Hong Kong directors to find it." ”
But there is always a willingness to accept each other, the faith to understand, and the effort to build on each other. Wang Jing does not think that Hong Kong films should be distinguished from mainland films, "after 1997, there were only Chinese-language films". On the other hand, this is also the ultimate direction to achieve "integration".
People always miss the golden age of Hong Kong films, and the kung fu and martial arts films that were once popular all over the world have become the key to Chinese films going global.
may not be that "Hong Kong films are dead", today's Hong Kong films still have a complete film production system and many film talents whose professional abilities are widely recognized by the industry. It's just that in the face of social changes and great changes in the market environment, what Hong Kong films need is not the long-lost "Dugu Nine Swords", but a set of "new swordsmanship" that they have realized.