"Chinese audiences are very hungry and accepting of new content. This places a lot of demands on creators. The topics you care about should be commercialized and typed, but the content itself must be realistic. The value of the film must be well integrated. The so-called commercial blockbuster is only a measure of entertainment demand, (now) it will be elevated."
held the 28th Golden Rooster and Hundred Flowers Film Festival on November 21st— —New Wave/Industry Forum: Xu Zheng said at the roundtable forum of the era of "new commercial blockbusters" of Chinese movies. Director Chen Kexin of
brought his latest masterpiece "Chinese Women's Volleyball" and "Chinatown Detective" series director Chen Sicheng, "I'm Not the God of Medicine" and "囧 Ma" director Xu Zheng, "Hurry Up That Year" director Zhang Yibai and others gathered at the forum to discuss Chinese movies" Market development and prospects in the era of "new commercial blockbusters."
In 2002, the martial arts movie "Hero" directed by Zhang Yimou truly opened the curtain of the era of Chinese blockbusters. The film won the box office of the Chinese movie that year. The global box office totaled 177 million US dollars (approximately 1.4 billion yuan). The film was named the first place in the 2004 "Top Ten Best Films in the World" by Time Magazine.
Ten years later, "Tai囧" was released in mainland China, with a box office of 310 million yuan in the first week, setting a record for the first week of a Chinese film. The film has a cumulative box office of 1.267 billion, breaking through 1 billion for the first time. A new era of commercial blockbusters has arrived.
Nowadays, more and more commercial films are closely integrated with reality, showing more realism characteristics, and the box office has continuously exceeded 3 billion and 5 billion. While realizing commerciality and entertainment, it has huge social value and strong social influence. After nearly thirty years of development, Chinese commercial blockbusters have gradually matured, and Chinese films have entered the era of "new commercial blockbusters".
Chen Kexin: Highlighting the "Chinese taste"
Chinese women's volleyball team has long surpassed sports itself.
is the spiritual symbol of the Chinese people. In addition to sports, it has something to do with the whole society, with the expectations and hopes and self-confidence of the whole people.
As of November 19, Weibo data shows that the total number of readings of "Chinese Women's Volleyball" related topics exceeds 1.5 billion, has been listed on hot searches 6 times, and the number of video views has exceeded 480 million. Users in more than 40 fields including sports, humor and finance, etc. participated in the discussion of women's volleyball.
From winning the World Cup in 1981 to successfully defending it in 2019, the Chinese women's volleyball team has carried the memories of generations of Chinese. Chen Kexin said that its influence has long surpassed the meaning of sports itself. It is not only a collective memory of the times, but also a spiritual symbol of Chinese people.
He recalled his relationship with the women's volleyball team when he was young, "I was watching them playing games at the time. It should be the first time that the Chinese team returned to the Asian Games. That brilliance, white clothes, long legs, white clothes and white pants, everyone They are all very high, completely different from other volleyball teams. I also felt shocked after seeing it. It is actually the interaction between the whole people and the sport itself, and the whole Chinese people are in line with international standards."
Chen Sicheng believes that it is now the top box office The runners-up are all domestic films, which deeply shows that Chinese audiences love domestic films the most, and they hope to see Chinese films telling Chinese stories.
mentioned the source of inspiration for the "Tang Detective" series. Chen Sicheng explained that China's image in the field of modern detectives has always been lacking. Sherlock Holmes and Conan are all imported products. The use of unique cultural symbols like Chinatown creates a cultural experience with different characteristics.
Xu Zheng said that there are too many Chinese stories and Chinese stories in terms of content, subject matter, and theme mining. We expect that Chinese films can really lead the global Chinese and Chinese films. We should also ask ourselves to pursue that height in the subject exploration. The
movie "囧Mom" has more than 600 million views on Weibo related topics. Once the movie trailer and poster were released, it has been on 3 hot searches. The first video material has more than 10 million views, among which "expectation", "arrangement" and "train" are the three most popular keywords discussed by Weibo users.
Xu Zheng focused his new "囧系" work on Chinese-style families. "Because Chinese families are completely different from American families. There are many tears in various Chinese relationships.It would be too distressing to speak in the right direction. But speaking in a comic way, you can also let everyone see your own shadow. "
Xu Zheng: Taking into account the commercial and humanities
theme should be commercialized and typed
but the content itself should have realistic value
" Chinese audiences can grow so fast! The endurance of Chinese audiences, the hunger for new content, and the acceptance are very strong. "Xu Zheng exclaimed. The United States and South Korea have been exploring genre films for a long time. The reason why the United States has become a variety of genre films is that through the market there is a spirit of contract between creators and audiences.
was originally filmed. "I'm Not the God of Medicine", Xu Zheng expected that with such a subject matter, it would be pretty good to get results similar to "Old Paoer", and it became the hottest summer movie that year, with a box office revenue of over 3 billion. He said Chinese audiences’ acceptance of content, fusion of genres, and all the creators’ desire to express all points in it can quickly be realized.
Chen Kexin recalled that after 2002 "Hero", there were basically seven or eight years of film No one invests in a romantic movie with ten million investment in small books. Young directors have no chance, and it becomes a vicious circle. The audience goes in to watch the spectacle.
soon started from "Thai 囧", and the mainstream movie genre changed again until The current cross-genre. The Chinese audience has been changing, especially the Internet comments make the audience feel that they have the right to vote, they still have a judgment. "This is what Chinese filmmakers are proud of in this industry. "Chen Kexin said bluntly.
In Chen Sicheng's eyes, Chinese movie audiences should be the cutest but also the most professional audiences in the world. He explained that young Chinese audiences have been grown up by pirated DVDs and video tapes, which is a source of growth. Chinese audiences can watch everything. Because of this, Chinese audiences are comparing the world's films with us.
Therefore, he frankly said that he will make new types of films and explore more fields of blue ocean and IP blue ocean. , The blue ocean of content. This also urges myself to bid farewell to the "Tang Detective" series quickly.
And the maturity and tolerance of the audience also puts forward higher requirements for creators.
Xu Zheng said that the theme should be commercialized and typed Deal with it, but let the content itself have realistic value and be well integrated. The original commercial blockbuster is just a measure of entertainment needs, and it will be elevated. The director of
"I am not the god of medicine" uses many types The commercial elements of the film are embedded in sociality. When they are combined, it can have a fermenting effect, "like throwing an atomic bomb," Xu Zheng said. "I was shocked when I went to the roadshow. All of them are private, with medical systems, insurance systems, and legal systems, which are spontaneous, because the topicality of the content produces mutual communication power. "
talked about the best fit between the new work and the 2020 Spring Festival, and Chen Sicheng was the first to speak.
"Same as the "Tang Detective" series, "Tang Detective 3" combines comedy and reasoning elements, and has a strong family attribute. At the same time, the core expression is about anti-war thinking, it is about the Asian community with a shared future and the community with a shared future for mankind. What the previous series talked about was too metaphysical, and many viewers couldn't understand it.
Although our country is a country that is peaceful, there are still many places where regional frictions are increasing. The war has always surrounded people, and the constant ringing of alarm bells is what I want to talk about. "Tang Detective 3" has more universal value and is more acceptable to people. I hope that the audience will bring the whole family into the cinema. "
Xu Zheng emphasized the care of "囧 Ma" for reality. Before the Spring Festival, the marriage rate has become higher and higher, but after the Spring Festival, the consultation rate of psychologists has become higher and higher. I hope Chinese families can have it. Chinese-style growth, Chinese-style harmony. "I hope that after watching this movie, the audience can go home and hug their mother." "囧Mom" talks about the growth of the protagonist and the changes in the relationship.
Chen Sicheng: The team will not be black
During the National Day, the three main themes were sold at the box office
. The Spring Festival file can also be collected by everyone. The flame is high
According to the statistics of Weibo movie data, the attention and discussion of the Spring Festival file has increased year by year. The amount of discussion on topics related to movies in the 2019 schedule is 19.7 billion. , An increase of nearly 75% compared to 2018. In 2019, netizensThe focus of the festival has increased by more than 140% from the previous year.
Faced with the situation where the Spring Festival films are released together, box office competition is inevitable. Several directors also responded to this.
Chen Kexin took the lead in stating that the Spring Festival stalls are so large that it is impossible to not compete, but hope that the competition will belong to competition and not attack each other.
Xu Zheng answered from the perspective of film ethics. He said that the film was created by many teams. Out of the love of film, every staff member hopes to present the best content to the audience on a benign platform.
Chen Sicheng used the big box office harvest of the three main themes during the National Day period to prove that mutual blackness does not make himself very good, and everyone gathers firewood and flames. At the same time, he also explained that the family carnival attribute of "Tang Detective 3" is indeed more suitable for the Spring Festival file, and the summer file will be considered for the next one.
Xu Zheng also expressed his views on the schedule dispute. He said that at any time there are competitors, it is still necessary to focus more on the content itself from the perspective of the creator, and make the film well.
Several directors denounced the phenomenon of vicious competition in the industry. The host Zhang Yibai also expressed support, calling for his works to be used for the Spring Festival in a fair, innocent, and peaceful atmosphere, and hoped that the audience would support Chinese films.
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