VOL.44
Huang Jianxin
"
film industry must be stable,
still need to pay attention to industrialization"
Before the interview, Huang Jianxin suddenly became interested when he saw the Blu-ray disc of "Black Cannon Incident" we brought.
"They seem to have delivered a copy to me. I haven't had time to watch it. I'm really too busy these days." He flipped through the Blu-ray suit and talked about the short story behind it. It’s printed out. Look at it. The ending subtitles of the previous movies of
were so short, not as long as they are now.
is like Guo Fan and his "Wandering Earth" crew with thousands of people. In the end, just the subtitles, you have to roll 7, 8 Minutes.
"
Although Director Huang ridiculed the increasingly long subtitles of the movie endings, in fact, in his opinion, this is a symbol of the industrialization of the film. And
's pursuit of film industrialization is exactly what he is most obsessed with right now.
Huang Jianxin is really busy in the past few years when the Chinese film industry is slowly moving towards the "producer-centric system".
We can always see his name on the posters of different movies. But most of the time, the title of "producer" hangs before his name. In terms of this status, he is definitely the most successful and busiest producer in the Chinese film industry. But it seems that everyone has almost forgotten that he was once a director, even the best in the fifth generation of directors.
In just September, he brought two film works-the film "Me and My Motherland" as the producer and the producer and director of "The Final Moment".
At the beginning of the dialogue, we used the word "finally" to emphasize his rare role as a director this time. He himself was stunned. He looked at the staff outside the camera and asked "Have a long time?", and then replied, "Last time it seemed to be "Party Founding" in 2011! It's been 8 years."
The shooting scene of "The Great Cause"
8 years, for film creators, it can be regarded as a long time. Especially compared to other fifth-generation directors, he is really not a director who frequently exerts himself.
For Huang Jianxin, many viewers have the same question as us, why this director who has filmed pioneering works such as "Black Cannon Incident" and "Dislocation" suddenly stopped his creative pace at the best time What?
Of course, we did not throw the question to him from the beginning. Instead, we followed the small chat before the interview and continued the topic in an attempt to find the answer.
In the movie "My Motherland and Me", the "Eve" directed by Guan Hu was launched on March 24, 2019. As the chief producer of the film, Huang Jianxin took the time to participate in the opening ceremony; the next day, he and Ning Haiqiang The co-director's "Time of Victory" officially launched.
Huang Jianxin is busier and more tired this year. This is because he needs to deal with two such heavyweight movies at the same time.
is fortunate that from the very beginning of "My My Country", it was agreed that the seven directors would organize their own team to ensure the independence of the work. He only needs to make a certain amount of control from a macro point of view, so that more time is left for "Decisive Moment." In the end, he took the time to find precious materials from Russia, and restored the color images of the founding ceremony and put them in the movie.
In short, in order to have better quality for both films, he still rushes to the two crews frequently, even for a few days when he is busy, he can only sleep for two hours a day. "Today I was working on the premiere of "The Final Moment", but in fact I was still editing the late stage of "My Motherland and Me" in the editing room last night."
Fortunately, both films are now released smoothly, "Me and Me" "The Motherland" on Douban scored an excellent score of 8.2 points-I thought he could rest for a while, but he told us that the following projects are already waiting.
In fact, it was an accident to be the director of "The Final Moment" this time. "This project is too short to be filmed. So we have to gather everyone's efforts, otherwise the filming may not be finished." For many film projects, Huang Jianxin is like a needle in the sea.
Because of the movie "October Besieged City", he and director Chen Kexin became attached. At that time, together with Yu Dong, the "Everyone Movie" was established, but after "October Besieged", because of their different concepts, the "Everyone Movie" did not continue to operate.
Even so, Chen Kexin still "relied on" Huang Jianxin very much. The two produced "Martial Arts" and "Dear" in the name of "We Produce". To this day, the two still find time to sit down and talk about various subsequent movie projects.
In fact, in the early days of the establishment of "Everyone Film", Huang Jianxin hoped that in the future, he would be able to film well on the basis of the existing system and talents, and form a stable return system. Although this short experience was not successful, he had gradually explored a road to industrial cooperation. If
wanted to trace his production process, the earliest was 1994. At that time, he was still working at the Xi'an Film Studio. The crew of the Taiwanese film "Flying Sky" asked him to be the producer. At the end of the filming, the crew ran out of money. He lent his money to the crew without even an IOU. hit.
In 1998, Huang Jianxin was transferred from Xiying Film to the China Film Co-production Company as the artistic director. A year later, the co-production company merged the production department with the China Film Group to form the fourth production company. He served as the manager and participated in projects such as "With You" and "Big Name". "At that time, the producer was still a lot of prestigious elements, mainly doing some preliminary planning, discussing the structure of the film, not the nature of the CEO of overseas films."
really made Huang Jianxin understand that the function of the producer was the movie "Kill Bill 2".
"At that time, the crew went to the Shanghai Film Studio, but in the end we brought him to Beijing. As a Chinese producer, I assisted in the filming of Chinese scenes. There was a producer named Bennett Walsh. I always asked him for advice, and he told me about some experience and methods. Only then did I know that the production system in the United States is completely different from China, and the system will be more complicated."
"Kill Bill 2" 》
During this series of experiences, he has accumulated a lot of experience in financing management and business management. At the same time, let him understand that as a producer, he should be involved from the beginning of the script. “So later I became a producer and almost stayed on the set.”
Huang Jianxin and we emphasized that now through the "Take Tiger Mountain" and "Operation Mekong". The shooting practice of "Wukong Biography" and other films is to hope that more Chinese filmmakers can work together to promote the establishment of an industrial system for Chinese films. Only in this way can Chinese films develop steadily. In his view, "
hot styles need to be studied, but hot styles can never support the entire film industry, they can only be counted as exceptions.
"
without the support of the huge film industry, in fact, many films are difficult to go. Completed, ""My Motherland and Me" involved the acquisition of information from all walks of life. "Convoy" directed by Wen Muye, without the support of the air force and the necessary conditions for the film industry, it would be difficult to shoot female pilots. The fighters led the follow-up flight echelon to accept the review.”
This year is Huang Jianxin’s 40-year career. When he just graduated from the Chinese Department, he was recommended to the Xi’an Film Studio because he liked movies. In the beginning, his job was to read scripts in the literature room. One day, a director saw him and thought why he was sitting here so young, so he took him to make a record.
Later, he discovered that the person with the most decision-making power in the crew was the director, so he set his ambition to be a director. Halfway through, he was sent by Xiying Studio to the 83-level director training class of Beijing Film Academy for one and a half years. After
came back from further studies, he met the "best time" at Xiying Studio. At that time, he had two choices. One was to co-direct a commercial film with others, and the other was to adapt a novel by writer Zhang Xianliang. Huang Jianxin was fascinated by Zhang Xianliang's new novel "Romantic Black Cannon", he wrote to the author, conveying his obsession with the content of the novel, and asked him if he could adapt the novel at will. After obtaining permission from the author, he took the script and went to the factory director Wu Tianming. Unexpectedly, if Director Wu didn't say anything, he would let him do it himself, and even let him direct independently. I have known that in the past, film studios had an old rule that the first three works of the new director were to be co-directed. Finally, the "Black Cannon Incident" was born.
Later, he shot the "Pioneer Trilogy" including "Dislocation" and "Reincarnation". At the same time, the works of Zhang Yimou, Chen Kaige, etc., both of the Xiying Studio, caused a sensation at home and abroad. At this time, Huang Jianxin did not continue to publish works, but ran away as a visiting scholarOverseas.
Two years later, when he returned to China, he discovered that great changes had taken place in Chinese society and the film market had also accelerated. But at this time, we are faced with a contradictory situation. Overseas markets prefer to see films like "Red Sorghum", while audiences are looking forward to more entertaining works. This is an impact on the fifth generation of directors.
In this context, Huang Jianxin's urban trilogy was born: "Stand up straight, don't get down", "Back to back, face to face" and "Red light stop, green light go".
The 90s of the last century can be said to be the peak of his creation, almost maintaining the output of one one a year. This creative drive has continued to the "psychological trilogy" at the turn of the century: "Tell Your Secret", "Who Says I Don't Care" and "Please, Praise Me".
But since then, his creative desire ceased. It was not until 2008 that Huang Jianxin was invited by the then chairman of China Film Group, Han Sanping, to co-direct the film "The Founding of the People's Republic of China", which showed the founding process of the People's Republic of China. Since then, he started his "Red Trilogy"-"The Founding of the Country" and "The Great Cause of Party Building" and "The Great Cause of Army Building". These three works are all mainstream films made with commercial film thinking, and set a benchmark for subsequent films of the same type.
In fact, for Huang Jianxin, the so-called creative desire comes from his own curiosity. Towards the end of the interview with
, he half-jokingly said to us, "I am a Gemini, and I am more curious. I have not been interested in anything for that long. I have not been interested in anything for a long time. I have not expressed my desires anymore. I used to think. When expressing, I can create 3 movies in 2 years, but when I don’t have it, I can’t even be a producer.” That’s what he said, but he repeatedly emphasized that for him, movies are just a profession, creation. “I can only do this, and I can’t do other things.”
may be right now, we still don’t know how to find how to stimulate Huang Jianxin’s desire to express himself, perhaps the answer lies in the future movies with his name Search in. After
/welfare/
won the best actor, Su Daqiang gave us an acting class.
The director who made "Three Kingdoms" brought a bloody war movie
Zhou Xun, Chen Kun, Yang Mi... These actors have all worked "Tortured" by her
What is the best of us? She used this life to give the answer
/HOT/
