On October 27, the eighth episode of Li Chengru's "Drama Confucian Life" can be watched online. In this issue, teacher Li Chengru talked about the content of the police drama, and then talked about the fact that he helped the director choose the heroine in hundreds of photos. Thus, Teacher Li sighed that the director still had the right to choose the role actor, and now, the director can only arrange the shooting, vehicles and accommodation, and the real decision on the choice of actors has become film and television capital.
In this issue, Teacher Li Chengru did not continue to talk about the selection of actors' roles. In a film and television drama work, a role, which actor should be hired, used to be the director's final say. Nowadays, with the development and expansion of the film and television capital market, the director's right to speak has been reduced, and there is indeed a problem of film and television investors and even platform parties deciding on actors. This new phenomenon deserves an in-depth discussion.
The voice of film and television investors and platform parties in the employment of actors has obviously exceeded that of directors. This phenomenon also mainly appears in traffic drama works. Teacher Li Chengru sighed in the program, 150 million investment pressed on an actress, is it reliable? That said, in fact, there are many traffic dramas, which are tailored for traffic stars, and these dramas are not dominated by scripts, but by traffic stars. In addition to traffic stars, other film and television content is just a side dish. Film and television companies and some platforms want to win traffic stars, which is also a consideration for market profitability.
For film and television investors, through one or more film and television drama works, to promote the star artists belonging to their own companies, it is obviously a consideration of commercial operation. In doing so, even if one or several TV series in a row are not ideal in terms of broadcast performance and audience reputation, at least the star artists under their own company have gained popularity, and even have the possibility of becoming traffic stars. In this way, this group of artists, in other commercial activities, has gained more possibilities. Therefore, from the perspective of film and television investors, it is inevitable that they have robbed the director of the casting choice.
The broadcast platform side of film and television dramas has a suggestive and guiding role in the selection of actors for film and television drama works invested by film and television investors. In many broadcast platforms, TV drama works are rated based on factors such as the actor's coffee position. Works with high ratings will get better copyright fees, marketing promotion, and internal resource support of the platform. Because the rating of this platform side exists, many investors respect the opinions and suggestions of the platform side very much, and are especially willing to use the traffic artists recommended by the platform side. Therefore, the platform side of film and television drama broadcasting has actually indirectly realized the control of the selection of film and television drama actors.
At present, there is a new phenomenon, that is, a large number of young actors and artists have begun to directly sign contracts with the platform party and become the artists under the platform party. In this way, as long as the film and television drama works broadcast on the platform, the first choice of these artists must be considered. And young artists who can't sign a platform have even really had no drama to shoot. Many of our middle-aged female artists complain that there is no drama to shoot, which is still not a real complaint. Those young actors who have not signed a contract platform and have just graduated from the film and television academy really have no drama, and many even passively sign contracts, becoming traffic artists that some companies want to create.
The current state of the film and television industry is the principle of traffic priority. What is traffic priority? It is that the platforms have begun to use the way of traffic big data to calculate the previous data, and those artists with high traffic indexes will inevitably obtain better film and television resources, especially the favor of the platform side and the film and television capital side. The operation of the traffic big data used by the platform can only be calculated out of the specific data. And this data is dimensionally controlled. Therefore, many young artists have to create their own data on these dimensions to obtain the opportunity to be selected.
At present, the biggest problem with network big data calculating the network index of actors and artists is that many of the content that forms data can be calculated, but many content at the quality level cannot be calculated. An actor, acting very well, the performance of the work, is also very high quality. However, it is biased towards literature and art and profoundness, and has not formed any traffic data. So, is such an actor a good actor or a bad actor? In our network big data, such actors belong to actors that need to be carefully selected, and it is not recommended to choose. Data, can not measure the quality, this is a big problem of data operations.
In fact, whether the director has the final say or the capital has the final say, there are problems of their own. Of course, letting the director have the final say is equivalent to returning the creative power of film and television to the creator. However, a TV drama work, did the director pay for it? If he didn't pay for it, would he be able to guarantee the responsibility for the TV series? The film is good, and the results go to the director. The filming is broken, and the director has no financial responsibility. Because of this, many film and television companies firmly control the choice of actors in their own hands.
Between the director and the capital, there is also a noteworthy "third party", that is, the producer. Producers are responsible in both directions, to the director, and to the film and television company. At present, the industry has been discussing the producer system, especially the professional producer system. Can the power of many directors and film and television investors argue with each other to be assumed by the role of producer? This is a common consideration in the industry. (Text/Ma Qingyun)