The so-called "crowd shooting era" refers to the current phenomenon and trend where everyone can be a director and make movies. As early as March 2017, the "Film Critic Today" program paid attention to the phenomenon of many actors, screenwriters and even agents directing films across borders. At that time, Sha Dan, the curator of the China Film Archive, who was a guest program at the time, gave a triple director "threshold" for the phenomenon of uneven cross-border directorship, namely, resource allocation ability, team management ability, director skills and artistic thinking. Today, when many popular blockbusters are directed by filmmakers who are not from majors, do these thresholds still exist?
On October 8th, film critic Tan Fei was a guest at "Film Critic Today", making sharp comments on the performance of current non-scientific directors, and working with audience friends to explore the threshold of the "post-public filming era". Director
shouldn’t make a deal with the intermediary flower
non-professional background, but not a layman
From the “crowd shooting era” where insiders of the film and television circle crossed the boundaries, to the “post-crowd shooting era” where “outsiders” of non-scientific background have directed popular movies. In two years, did Shadan’s director threshold in "Today's Criticism" still work? Combining the word "after", Tan Fei bluntly stated to "Film Critic Today" that there have been huge changes, especially the resource allocation ability that Shadan emphasized is no longer important. Speaking of the past project managerialization of directors and the weirdness of often needing to accompany investors and local cinemas to drink, Tan Fei bluntly denounced these things that shouldn't be done by directors, which turned some directors into "social flowers". In his opinion, in this era of low tide of hot money, the emphasis on movie content and quality has been put on the table. At the scene of
"Today's Film Critic" program, Tan Fei took the top three box-office films in China's film history as an example, and pointed out that their directors were not of academic background. According to Tan Fei, the director of "Wolf Warrior 2" Wu Jing was born in Xiwu, the director of "Nezha: The Devil Boy Comes to the World" Dumpling had studied pharmacy at West China Medical College of Sichuan University, and the director of "Wandering Earth" Guo Fan was from Hainan Bachelor of Laws from University. Regarding the so-called "outsiders occupy the top three at the box office in China", Tan Fei frankly said to "Today Film Critic" that it is unfair and not objective enough. In his view, these three directors are by no means laymen. On the contrary, their social experience, social cognition, and audience psychology may be more accurate.
The top three movies in the prehistoric history are all non-professional
movies with high box office and no more shame
This so-called "post-crowd shooting" phenomenon has also received widespread attention from the media and audiences. Some netizens said that the top three box office films of Chinese film history have one thing in common, that is, they are all shot for Chinese audiences, not for winning prizes but for realizing their dreams. Tan Fei agreed with this statement. Starting from the strange phenomenon he had encountered, he pointed out to "Film Critic Today" that the more utilitarian the film creation, the more biased. Regarding the three directors who were not from a major, Tan Fei told "Today's Film Critic" that the process of their filming became a good story. Guo Fan's unpopular science fiction road was supported by Wu Jing. Wu Jing was wounded all over the play, and Dumpling went from rebellion to success like Nezha. Tan Fei pointed out that the reason why the three of them can be recognized by the majority of the audience proves that they have integrated their life experience into the work of the industry, nationality, youth, and passion.
Regarding the phenomenon of crowd shooting, Zhang Xiaobei, who has been transformed into a director by a film critic, believes that college education should not be underestimated, nor should there be a tendency to counteract, let alone judge the quality of a movie or a director using box office numbers. Tan Fei pointed out to "Film Critic Today" that this is currently the most objective summary. However, at the same time, Tan Fei also pointed out to "Film Critic Today" that although it cannot be "box office alone", the reality that the current high-box office movies are all excellent works also proves that the high box office is not ashamed. Once upon a time, the debate around the box office inside and outside the industry was fierce. Many people accused the pursuit of high box office of being "vulgar." However, in Tan Fei's view, the era of inferior box office cheating has passed, the audience has been sober, and the practitioners should also be sober. The
director evaluation system has changed.
needs to practice internal skills in the post-crowd shooting era.
has media combined awards and box office counts of 60 well-known domestic directors, of which only 11 are from the directing department. Among the seven directors who directed the National Day box office champion "My Motherland and Me", four of them were not directing. In this regard, Tan Fei told "Film Critic Today" that the current director evaluation system has changed, and that a truly good director does not rely onWhat can be learned in a few years in the college, on the contrary, is a lifetime practice. In Tan Fei's view, the reason for the change in the director's threshold in the "post-crowd shooting era" is closely related to the changes in the market and audience. "Shanghai Fortress" is the last failure presented in the capital era.
So, in the "post-public shooting era", what is the threshold for director? Tan Fei pointed out to "Today's Film Critic" that only by integrating all aspects of knowledge and life experience, plus the love of film and the professional and aesthetic abilities in film, a director can make a good film. Mentioning several necessary abilities, Tan Fei told "Film Critic Today" that the first thing is the director's aesthetic ability. After solving this problem, the aesthetic ability of Chinese audiences will naturally improve. The most basic training actor's artistic ability and strong execution ability are also key. In addition, media capabilities should also be valued, and directors should learn to say appropriate words in corresponding situations.
It is reported that the daily broadcast column of film culture commentary category "Today's Film Critic" is broadcast on CCTV-6 movie channel every Monday to Friday at 22:00.
