Wen | Zhao Jun
Editor| Uncle Cat
No one is indifferent to the issue of market management, but if the producer pays too much attention to such things as whether the ticket subsidy is cancelled or not, whether the marketing is more commercial, and ignores the quality of the work itself, then how many seemingly equal and fair market management and marketing increases, I do not believe that the film market box office can succeed. True fairness must be in the innate talent of creation, and without excellent works, only protests, only appeals, and only trying to please capital, it is impossible to achieve fair returns.
Of course, the market management of the film industry is very important, and events such as "Ip Man 3" are of course discussed by the whole people! For example, a large-scale purchase of a film many days ago, crazy ticket refunds before the release, is also harmful to others and self-interest. Industry management must be re-regulated, and those who are unfairly competitive must be corrected and brought to justice.
Because these are all acts of infringing or harming the interests of others and disrupting the market order by improper means, and the market order belongs to the public instrument and is the breakwater of the interests of all investors. However, the film's investors and creative team should be immersed in their own efforts to create one after another artistically excellent films.
From the current observation, most of the films on the market that do not sell well are mostly due to the lack of exploration of artistic laws. If you focus your attention, or pay too much attention to other aspects of creation, such as ticket compensation, buying sessions, and commercial packaging, you may be led to a side road and blame your failure too much on external factors.
On the road of life, there is not much time to bury your head in creation, and a friend who aspires to a movie is very critical to the heart inward or outward. We must pay attention to the unfairness of the market and accumulate our own thinking about reality. At the same time, see it as a lesson in life and help yourself understand society. Then concentrate on thinking, look for the perspective of creation, and excavate and refine the understanding of life. That's being able to hold your breath, that's being good at thinking. Those successful filmmakers are all strivers who seek themselves and polish them day by day. At the end of the day, success lies in the quality of your work.
How to look at the unfairness and chaos of the market, we must not think that the audience is a fool. If you blame the market for the failure of your own films, people will lose the sensitivity and self-reflection ability of film art. Even if we think that creators have their own original intentions and independent pursuits, we cannot ignore the changes of the times and ignore the profound impact of social reactions on creation. The times naturally have high and low requirements for art, but in the end they are the requirements of the times.
Smart creators are at the forefront of the times, not followers. The so-called standing at the forefront means that it always maintains independent thinking about reality and pursues a unique artistic expression style from a unique angle, which requires the creator to have a high artistic nature. There are many people engaged in artistic creation, there are very few people with a strong nature, and what Chinese films need now is to evoke this nature, need a large number of works with keen insight into reality and people's needs, and need filmmakers like a brilliant galaxy, they will never repeat, but each film can not be imitated, and rooted in life, especially social and spiritual life, to enlighten the audience and produce good social benefits.
The current transformation of Chinese society is very profound, and reform and opening up have not been seen in five thousand years; today's game of complex world relations and confrontation with the most powerful Western countries is unprecedented since the reform and opening up. We say that the Chinese nation has never been so close to the great rejuvenation as it is today, and this judgment in the face of the world and the future is also Chinese people have not risen up in the past hundred years! The social environment faced by filmmakers has undergone three profound places: Chinese is changing the world, China's social environment is innovating in fission, and civilization is changing unconsciously.
Excellent Chinese filmmakers are sensitive, Spring River Plumbing Duck Prophet. Once we had "Full Moon in England" and "Sweet Honey", Chinese still regarded the world and the West as their dreams, spiritual sustenance and life destination. In the movie "Beijing Meets Seattle" a few years ago, Chinese's life in the United States is like a difficult time, and the West is still Chinese the paradise of dreams. But in the current Chinese movies "Tai 囧" and "Wolf Warrior 2", Chinese's overseas image has changed from a supporting role to a protagonist. Yes, Jackie Chan and Jet Li have made many films in which Chinese play supporting roles overseas, but the American blockbuster "Gravity" actually wrote the Chinese space station as the Eden of the return of American scientists! Chinese cinema and The Chinese image began the first step in the journey of commanding the world, it is not a simple image of Chinese cinema, but began to become a film and film image with the world as the background.
The small performance of Chinese films is exactly what China has changed greatly in the world. China has changed its open perspective today, becoming a country that has begun to establish Chinese standards in the world, and this step will go faster. Because China is a huge, unified, rising market, this market is more able than any other country to mobilize resources, providing trial and error costs and follow-up opportunities for economic development around the world. As long as China is willing to go anywhere, this ability to expand can have a compelling future. Chinese filmmakers have felt it today. The movie has to answer the fact that what should Chinese do after they go out? What is the real Chinese story and Chinese hero?
China's own internal problems have not been slightly alleviated by going out, on the contrary, in such a big era, Chinese face huge wealth opportunities, and new changes are taking place in the political, cultural, economic environment and way of life of society. The new disparity between the rich and the poor, the new human torture, and the new ethical choices, such as new employment attitudes, new concepts of love, and new values and dreams, have all become unprecedentedly severe. Because the capital and opportunities in Chinese society are flowing out, the old traditional way of life is facing challenges, and even the slow change in the order of social systems and mechanisms will cause dissatisfaction, because contemporary social contradictions have a grander global background and a world background of mutual advantages and disadvantages.
"Wolf Warrior 2" is such a movie, a Chinese soldier encountered a forced demolition incident in China, for his comrade-in-arms he punched and killed "Zhen Guanxi", at the expense of being sentenced by a military court, expelled from the military, and then ran away from Africa in a lone ranger way, fighting overseas mercenaries, becoming an invincible arm of the Chinese army in the emergency evacuation of overseas Chinese. Such a story is unprecedented. Social and economic development is faster, corrupt officials, powerful and crazy accumulation of wealth, upright people are full of heroes, and the open-minded vision is not what it used to be. This is the film theme of social contradictions derived from social development. The so-called Innovation of Chinese Society in the Midst of Fission, if there is no background and stage to go to the world, it is another kind of film.
China is going to the world, and the world is changing China. Cheng Yong in "I Am Not a Medicine God" dares to sacrifice himself to become a benevolent person because he has Indian generic drugs, and the foreign boss of "The Richest Man in Xihong" is willing to give his three billion inheritance to a Chinese stranger with noble humanity. These films are visionary and innovative, and the tragic comedy technique is open, imaginative and free. Letting go of the mind and opening the brain is the root cause of the success of these films. Live better ("Dad, I Must Be Able to Do"), do better ("Nan Ge"), do things more successfully ("Red Sea Action", more tenacious will ("77 Days"), dream higher ("Middle School"), life is more ideal ("My Poems" documentary), they are the "Chinese Dream" of today's Chinese.
There are still not many good movies at present, partly because there are too few filmmakers who pursue a connotation and a pattern of life, and partly because filmmakers lag behind in their understanding of changes in life. It's not that you can make a blockbuster movie and say you have a strong nature. Only by bravely expressing the face of contemporary Chinese society, resolutely expressing the current open society and life, and shaping the Chinese with today's spiritual life, can your film truly poke at the reality and ideal world. The self-indulgence, the laissez-faire of desire, and the antiquated creations that do not keep up with the times all have a common flaw, and they have no focus in the relationship between contemporary China and the world. Every historical stage has a perspective on each stage, including the inner lives of people at different stages. Half of the film belongs to industrial exploration, and half belongs to the spiritual life.
Creators should unswervingly place themselves in the latter, establish a biography for the spiritual life of contemporary people, and pursue the light of humanity and the spiritual world in a profound and unique theme story. The problems of the industry will continue to change and become better with the continuous progress of creation.
If the pattern of the industry, including policies, measures, and norms, is unreasonable and becomes a resistance to creation, the power of creation will form a new wave to impact it. The trend of creation and production represents the future, so the fundamental contribution of Chinese filmmakers to social progress is only one point, shooting more excellent works.
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