After China became the world's second-largest film market, more and more countries wanted to poach a piece of cake from this market. The copyright fees for the "batch films" released every year are increasing day by day; filmmakers are trying to add Chinese elements to the sub-ledger blockbusters, or explore the preferences of Chinese audiences, and many film creators come to China, and even directly shout out the slogan of "Chinese audiences decide whether we can make a sequel".
Cameron promoted in China that Chinese audiences decided whether we could make a sequel or not
There are also many films that have further tested the waters before the direction, and there is such a market as co-production films.
However, the domestic co-production market has been mixed, worrying about the cultural differences between China and co-production countries, so that many co-production films on both sides of the "water and soil are not satisfied", but the joy is that the incubation capacity of the Chinese market is increasing day by day, from 2013 to 2015, a total of 107 co-production films were released, accumulating 15.65 billion yuan at the box office. In recent years, it has also handed over report cards such as "Megalodon".
Not only the cooperation with Hollywood, co-productions as a means for Chinese films to go abroad and enhance mutual understanding among people in various countries have also received strong support from many policies, making China's cooperation plans with neighboring countries launched.
In 2014, China and India signed an audiovisual co-production agreement, opening a new starting point for Sino-Indian film exchanges.
In 2018, China and Japan also signed an agreement to co-produce films. According to the agreement, Sino-Japanese co-productions can be treated in the same way as Chinese domestic films, and are not subject to the restriction on the number of imported films. This is also the first time that Japan has signed an agreement with other countries to support co-production of films.
Behind the signing of these agreements is the explosion of Indian films and Japanese films at the box office in the Chinese film market.
In 2014, after China and India signed the agreement, the "China-India Film Cooperation Briefing" sponsored by the State Administration of Press, Publication, Radio, Film and Television and the Indian Embassy in China was held in Beijing, and three Sino-Indian cooperative film projects, "Kung Fu Yoga", "Tang Xuanzang" and "Big Trouble Tianzhu", appeared at the film briefing between the two countries.
These three films are dominated by Chinese filmmakers, and the film's creativity and story mainly rely on Chinese filmmakers. India, as the place where the story takes place, adds an exotic touch to the screen choices of domestic audiences.
Today, The Sino-Indian co-production has entered the "2.0" era.
With "Mysterious Superstar" becoming the first Indian sub-account film, the domestic importers of Indian films have changed from simply purchasing copyrights to introducing Indian capital to create new Sino-Indian co-production films.
To make this move, there are naturally market factors. Peacock Hill, a company that focuses more on the introduction of Indian films in China, told Xiaodian jun that the copyright fees of Indian films have gone from hundreds of thousands of yuan in 2017 to tens of millions of yuan now, and now dozens of companies have pushed the price to tens of millions of yuan.
During the Beijing International Film Festival, at a press conference on the strategic cooperation between Chinese and Indian films, Chinese and Indian filmmakers announced new co-production projects together. Amir Khan starred in "Stars on Earth" will be released in China, and "Little Lolita's Monkey God Uncle" director Karby Khan is going to create a movie called "Asingo's Wonderful Journey", which is currently scheduled to be released in 2020.
"Stars on Earth" will be filmed in China
In an interview with Xiao Dianjun, the Chinese producer of the two films, Genesis Star revealed that "Stars on Earth" and "Asingo's Wonderful Journey" are projects that have been developed for a long time. "At present, the Chinese version of "Stars on Earth" is a Chinese director, amir Khan is the supervising producer, his requirements for the film script and roles are very comprehensive and strict, so the progress is slower than expected, but it has entered the final stage of the script improvement, and the cast will soon begin to be finalized.
"Asingo's Wonderful Journey" was announced in 2016.
"Our Chinese producers have been working with the director to revise the story and script part, and it has also reached the final stage, this level of Sino-Indian co-production is a new attempt and a new beginning, so both the Chinese and Indian teams are constantly groping and growing, and the Indian team has very high requirements for the story and script, so we have also given the main creative team enough time and patience." Genesis told little electric jun.
For polishing such a co-production story, Shah Rukh Khan, one of the "Three Khans of India" who has many films released in China, believes that "it may be that everyone works together to make a movie, which will not be a particularly big problem in performance." But because people from two cultural backgrounds come together to shoot something out, this may not be the most difficult, but the most time-consuming part is the communication aspect, after all, everyone has different cultural backgrounds, and the understanding of the story is not particularly the same in all aspects. ”
Shah Rukh Khan
For China and India, where the cultural and ethnic gaps are relatively large, the run-in of co-production films is a natural need. However, as a neighbor of China, Japan has a great influence on culture, and the two countries have greatly different themes and shooting methods for movies.
Although the two countries did not formally sign a co-production agreement until 2018, in 2017, there were large-scale Sino-Japanese co-production films such as "The Legend of the Demon Cat" and "The Hunt".
Poster of the Japanese version of "The Legend of the Demon Cat"
However, compared with India, the previous Japanese films have an obvious ceiling at the Chinese box office. Compared with the animation that can rush to 500 million, only the live-action film "Thief Family" currently tends to 100 million.
Although the "Hello, Zhihua" released in 2018 was filmed before the Sino-Japanese agreement, as a co-production in 2018, it is the first Chinese film directed by Shunji Iwai, with Zhou Xun joining, and the performance still stops at 100 million.
In 2019, "I Care About You" starring Yu Feihong and Takao Osawa was filmed in China and Japan, but the box office performance was similar to that of imported Japanese films, and the splash was small.
"I think that in order to discuss Sino-Japanese co-productions, we must first wait for Japanese films to really become a force in China. At this stage, it is mainly Japanese anime that everyone still has an impression of, and even if Japanese anime is released in China, there are many examples of failures. Z said. His company has also been involved in a Recent Sino-Japanese co-production.
In his view, the challenge of Sino-Japanese co-production stems from the speciousness of the cultures of the two countries. This is very obvious in the viewing habits. The Hollywood narrative to which Chinese audiences are accustomed is rare in Japan. "This cultural gap is insurmountable in the short term."
"The King of Kings" may be a new direction for Sino-Japanese co-production. The film, which was filed in China as early as the Chinese era, is based on a Japanese manga. The main creators are Japanese from the director to the main actor, and there are stars such as Kento Yamazaki, Ryo Yoshizawa, Masami Nagasawa, and Kana Hashimoto. The film was filmed at Xiangshan Film and TELEVISION City in China. The Chinese capital of the film produced the Guangyan era of "Yangtze River Map".
"The King of The World" is also a Sino-Japanese co-production
In addition to India, Japan and other countries that are valued by the Chinese film market. Many new countries have become a new outlet for co-productions. So far, China has signed co-production agreements with more than 20 countries.
With the advancement of the "Belt and Road" strategy, Central Asian and West Asian countries have also become the next outlet for co-production. The opening film of the Beijing International Film Festival, "Music Festival", was co-produced between China and Kazakhstan, and will also be screened in China through the art federation line in May. Iranian director Majid Majidi has also reached a cooperation intention with Chinese companies.
"The Musician" is the first Sino-Kazakh co-production
The director of "Little Shoes," who has been in China several times, said he had made short films for the Beijing Olympics as early as 2008 and believed that the two countries, which also have a long cultural history, would find the right way to cooperate. "I really like co-productions, but I also tend to culture Beijing closer to the cooperation of Eastern countries. Iranian cinema has a lot of potential, and I hope that our art can achieve more results after cooperating with Chinese film technology. ”
It can be said that in addition to helping film companies find new cooperation opportunities, co-production films are also a new boost to promote Chinese culture to go global.
The cooperation with the film power is to absorb new technologies on the basis of equal sharing of ideas and stories; and the international stories and international publicity, after being accepted by global audiences, can make the emotionalLy Full of Chinese stories move more Chinese and foreign audiences.
Interview/ Fangstooth, Kino
Text/spelling a lot
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