be divided? It is reported that China is still centered on directors, while the United States is typically centered on producers. From a film production perspective, is the director-centric system more effective or the producer-centric system better? On the above issues, the editor interviewed Wu Xiaocong, producer of Fujian Dashang and Film Industry.
Wu Xiaocong revealed: For a movie, the producer and the director are the two drivers for the completion of the project. The director is responsible for the execution of the film from the script creation to the realization of the image, while the producer is responsible for the preparation and implementation of the production. When we discuss whether it is "director-centric" or "producer-centric", we over-exaggerated the differences between the two. There is no difference between the essential goals of the two, but from the beginning, it is implemented at the implementation level. Rights and responsibilities should be clarified. In any project, the cooperation between the director and the producer is very important. It is necessary to establish full trust between the two with a common goal. The director and the producer must have their own responsibilities and fully cooperate.
Wu Xiaocong told the editor: Hollywood created not only a producer-centric system, but a producer monopoly that deliberately strengthened the power and status of the producer and weakened the director's artistic personality. The producer is given the supreme status, and the reason why China has formed a director-centered system is because for a long time, when Chinese films were in the era of unified purchase and sales, the production after the project was established was given the full responsibility of the director. Yes, this makes the director the only position with experience in the whole process of film production. Therefore, in the early stage of the reform of the film industry system in the 1990s, China’s first batch of domestic films were named after the director, and the producer was only responsible for the funds or the name given by the friendship. This inertia has continued to the present part. In the movie. Therefore, in the Chinese film market in the first ten years of this century, no matter what kind of system is adopted, what kind of theme is chosen, what kind of story is told, it is basically from the perspective of "film creation" to make what the director understands. "Good movies" as the main goal of artistic behavior, this is the origin of the so-called "director-centric system."
Wu Xiaocong said: Whether it is a producer-centered system or a director-centered system, the two are complementary and indispensable. In the Internet age where intellectual property rights and content are king, we do not want to discuss the quality of the two systems, but the times. In the changing and market-oriented era, the artistic quality of film and television works is the basis for the success of commercial films, and the market and audience are the nourishment that films rely on for development. We need to find a balance between artistic creation and commercial value. Therefore, it is the call of the times to train a group of producers with excellent film appreciation ability, excellent project planning ability, accurate market judgment ability and marketing publicity ability. Is the only way for Chinese films to mature
