On the 21st, at nine o'clock in the evening, the "New Wave Industry Forum" started. This is the latest forum for the Golden Rooster Awards. It ended at 11 o'clock.
Although it is late, the popularity of this forum is not diminished. The audience is full and it is hard to find a ticket. This is because the guests of this forum are all heavyweights! "Chinese Women's Volleyball" director Chen Kexin, "囧Mo" director Xu Zheng, "Chinatown Detective 3" director Chen Sicheng, 3 Spring Festival film directors, plus director Zhang Yibai hosting, it can be said that it is a gathering of big names in the film industry! The theme of the
forum is the "New Commercial Blockbuster" era! The films released during the Spring Festival have always been big stars and big productions, full of commercial elements, so the three directors Chen Kexin, Xu Zheng, and Chen Sicheng have a great say. What is
the era of "new commercial blockbusters"? This started with "Tai囧" directed by Xu Zheng in 2012. This movie has a gross box office of 1.267 billion yuan. It is the first film in the history of Chinese film that has a single box office of more than 1 billion yuan, opening a new era.
Since then, countless blockbusters have emerged. Compared with the previous traditional large-scale productions, these works are more and more integrated with reality, showing more realistic features, achieving a balance between commerce and art, and at the same time possessing huge Social value and influence is a film with a particularly good balance between art and commerce. Now the box office of domestic films has exceeded 3 billion and 5 billion, so it is called a new commercial blockbuster. The three directors of
talked about many topics, including the origin of personal film creation, the characteristics of new commercial blockbusters, and the competition of Spring Festival films. A lot of fresh content has been exposed. Let's watch it together!
Part1: The origin story of the Spring Festival movie
Chen Kexin directed "Chinese Women's Volleyball", Xu Zheng directed and starred in "囧Mom", Chen Sicheng shot "Chinatown Detective" to the third part, why did you create these movies? All three directors have something to say.
"Chinese Women's Volleyball"-I have not filmed a sports movie.
Chen Kexin:
is always looking for something fresh to question himself, to make himself more enthusiastic when shooting, and to challenge his weaknesses and make himself more insecure I have always wanted to find some new themes. I have photographed various types of things before. In recent years, I have started to shoot realistic themes and I feel very comfortable. I like to shoot life a little bit. After shooting "Dear" , Is there anything else I can take a step forward in realistic themes? Do something that I don’t understand. I just thought that sports films didn’t seem to have been filmed before. At that time, I started preparing sports films and found something that I felt very passionate about. Shoot.
When I was young, I actually had a certain relationship with the women's volleyball team. When I was 16 in Bangkok in 1978 when I was in middle school, it was probably Lang Ping’s first time going abroad to play a formal international competition. I was watching them play. That should be the first time for the Chinese team to return to the Asian Games. The brilliance, long legs in white clothes, white clothes and white pants, everyone is tall. When I saw it, it was completely different from other volleyball teams. I feel very shocked.
As an overseas Chinese, when I saw the Chinese team come out, I recalled that scene and I thought of the young people now. That thing is worth taking, far beyond volleyball and far beyond sports. In fact, it is the whole people and this sports. The interaction itself is also the whole Chinese people in line with international standards. So, in this respect, I find it very interesting to get in touch with this subject.
"囧囧"-the title is "囧", the audience has become accustomed to
Xu Zheng: When
was filming "Tai囧", it was because before I acted a "People on the Road", I am an actor, As a creator, I suddenly found a story that I can control and shoot even as an actor. Every director has his own certain specialties. There is one category that you will know better and better master. Only then dare to shoot.
So, after "Tai囧", I filmed "Hong Kong囧", not just for the word "囧", I feel that I have been aesthetically tired by now, and I have seen many comments saying that I have come to fried cold rice again. So, originally this movie didn’t want to be called 囧, such as calling a very long name, mom took a train to Moscow, but there was no way, because the market has matured, the audience has matured, and the audience already has an idea about your movie. Inner cognition, hope to go in this direction.
Later I did a lot of investigations and used a fewName, which name do you prefer, most viewers still tend to call 囧, which shows that everyone still has such a concept in their hearts.
I have been thinking about commercial films, in addition to external commercial elements, deepening is also a direction of hard work, I might as well make this theme deeper and deeper, I want to make a more Chinese-style family-related film .
We talked about carnival. I found that Chinese families are very different from American families. There are a lot of tears in various Chinese relationships. If you talk in a completely correct direction, it will be too sad. If you express it in a comic way, It can give everyone a feeling of seeing their shadow in this. No matter what it is or where it goes, the most important thing is the growth of the protagonist and the change of relationship. So, after finding this theme, I used it to make "囧Mom" again.
"Chinatown Detective 3"-Shaping the modern Chinese detective
Chen Sicheng:
My "Tang Detective" is also an idea born in Thailand. One day I ran through Chinatown. That street is the same age as Thailand. It has a history of more than 500 years. There is a Chinatown in a country like Thailand. It was the first group of expats from Guangdong, China who went to Nanyang to establish ours there. Base area. I passed by Chinatown the night before, and the next day I had a flash of inspiration while running. Why not tell a detective story like this in Thailand’s Chinatown. Everyone knows that in the past, the image of domestic detectives was mostly Bao Qingtian and Di Renjie, which are relatively ancient. Now everyone familiar with them, such as Sherlock Holmes and Conan, are all imported products. China has always lacked the image of modern detectives, so at that time The image of a wretched uncle and a talented teenager suddenly appeared in his mind. When
did the first and second story, I was thinking about how to make this story bigger. I have been studying the serialization of the American film industry, this kind of sustainability, and even IP with industrial potential. For example, Marvel, which everyone knows. My research has found that the reason why Marvel exists in the United States is due to the poor culture of the United States, because it has been around 300 years since the founding of the country, and it can only be science fiction. I can’t tell you anything before. We have 5,000 years of cultural history. Many things can be really explored, including Chinatowns all over the world, and many Chinatowns. But it is true that we cannot find American Street in our country. This is our unique cultural symbol, and it is a blend of Chinese culture and local culture in other countries, and it collides with a cultural experience with different characteristics, so I Let's talk about making a Tang Detective series.
"Tang Detective 3" is the last "Tang Detective" work directed by myself. It is not that this series will not go on, but that there will be many new directors joining, more like Marvel, a new generation of "Tang Tang" "Detective" works are not detective images based on Tang Ren and Qin Feng, but movies dominated by web dramas or other images, and may become more typified and purer, and explore all aspects. I will try a new type of film in another theater field.
Part2: New commercial blockbusters and the progress of the Chinese audience
What are the characteristics of the so-called new commercial blockbusters? Compared with the blockbuster a few years ago, what is the difference?
I Combination of commercial and practical meaning
Xu Zheng:
When we were working on "I'm Not the God of Medicine", we said what the final result would be like. He said that it would be pretty good if it could achieve the results of "Old Paoer", in terms of such a subject. But I didn't think that it would be the result of summer vacation that year. When we see that realism has a lot of sociality implanted in it, but the director used a lot of commercial elements of genres during the entire creation, when they are combined together, it can have a fermenting effect.
The topics you care about need to be commercialized and typed, but the content itself must have practical value and be well integrated. The so-called original commercial blockbuster is only a measure of entertainment demand, and it immediately rises.
II genre cross-genre
Chen Sicheng:
Chinese movie audiences should be the cutest in the world, but they are also the most professional audiences. This kind of growth comes from the fact that Chinese audiences can watch everything. I found that when you go to the United States, the United States is one In a country with a very conservative culture, many locals don’t watch other movies, only American movies. Europe is the same, there is still a sense of cultural superiority. Chinese viewers were pirated DVDs since childhoodI grew up with video tapes, and now I watch a lot of things. I watch things from all over the world, and my vision is very broad. Not only watching American films, Korean films, Japanese films, European films, but even Thai films and Indian films, I believe that young Chinese audiences are the same. Instead, we do not have such a strong cultural guard or cultural firewall.
Director Xu Zheng’s "囧 series" gave me a lot of inspiration in the creation, because I like detective films very much, so I wanted to make it, and then when I saw "囧" I wondered if I could combine comedy and detective together, so I I feel that all creators are still learning the filming methods of many predecessors. We only become the type we are today through some of our own creations.
III The audience is improving.
Chen Kexin:
I have been filming in the Mainland 15 years ago, and I have really witnessed rapid changes. I very much agree with Xu Zheng's saying that Chinese audiences are very powerful.
I remember that after "Hero" in 2002, there were basically seven or eight years in which no one had invested in a romance film with a small investment of 10 million. It would take hundreds of millions to have many investors interested. Of course, there is no opportunity for young directors. Without new themes, it becomes a vicious circle.
The audience in China has been changing. I mean the US market is big. The bigger the market, the bigger the pie. Only non-mainstream movies or non-typical commercial mainstream movies will have a chance to come out. But now in China, "Yao Shen" and "Lao Pao Er" are all non-mainstream movies, but the box office is very mainstream, which is impossible in the world. This is what makes me continue to do it at such an age, because the audience is really cute, very powerful, and very judgmental.
Part3: The Spring Festival stalls are crowded together-we will never black each other
The 2020 Spring Festival stalls are absolutely hot, in addition to "Chinese Women's Volleyball", "囧Mom", "Chinatown Detective 3", as well as Lin Chaoxian's "Emergency Rescue" and Jackie Chan's Vanguard ", the animation "Jiang Ziya" and many other movies were released. Why do blockbusters choose to get together during the Spring Festival? How do you view the fierce competition between works? The three directors of
first talked about the fit of their works and the Spring Festival file.
Chen Sicheng:
is still the same as the first and second because of "Tang Detective 3". It has both comedy and reasoning elements. It has strong family attributes and does not have too much murder, violence, and erotic scenes. It is suitable for all ages. A conscientious work by the young man. The core expression of "Tang Detective 3" this time is an anti-war thinking thing. It is about the Asian community with a shared future and a community with a shared future for mankind. It is easier to be accepted by everyone. This time it will be more down-to-earth. I hope the audience will bring it together The whole family walked into the cinema together.
Xu Zheng:
I had a little wish when I was shooting the movie "囧Mom". I hope that after watching my movie, everyone can go home and have a hug with my mother. My movie is about how to finish with my mother. Hugging, when people grow up, they feel that hugging with their mother is extremely rare. There is a survey data. Before the Spring Festival, the marriage rate became higher and higher, but after the Spring Festival, the consultation rate of psychologists became higher and higher. It is because the family can't run away is the last quarrel. I just hope that Chinese families can grow up in a Chinese style and have a Chinese style of harmony.
Chen Kexin:
When we were promoting the Chinese women's volleyball team, the post-90s generations in the team received many calls from home. Mom, dad, grandparents said they would watch the Spring Festival. I think this is a good movie. It's really suitable for all ages and families. The story of the entire Chinese women's volleyball team covers the entire period from the 1980s to after the millennium to 2013 to 2016, and until the New York Olympics, so the amount of information is very large. In each era, we can find the memories of watching the women's volleyball team in the movies. Hope to do it. The three directors of
also talked about the length of these films:
Chen Kexin: I have not fixed the cut. The fixed cut is three to four hours. I always thought that two and a half hours should be able to win. In the end, it was cut for two and a half hours. All the releases said that the Spring Festival could not be two and a half hours, because your opponent would not have more than two hours and 10 minutes. I just want to ask everyone how long is the movie?
Chen Sicheng: I am now 139 points, I can accompany you.
Xu Zheng: I will be within two hours.
Chen Kexin: Then I have 138 points. I'll go back early tomorrow morning to continue cutting. You should know that there are so many files for the Spring Festival.
Xu Zheng:Director, don't sacrifice too good content for length.
Chen Kexin: There will be good content later.
Xu Zheng: Every director is struggling when he cuts himself.
Chen Sicheng: The longest this year is "The Wandering Earth".
(ps: "Wandering Earth" is 125 minutes long, the longest movie in the Spring Festival in 2019, but it eventually won 4.6 billion box office and became the champion of the Spring Festival) Commitment, never hack each other.
Chen Kexin: It is impossible not to compete, but I hope that at least these three dramas will compete with each other. The Spring Festival stalls are large, and there will be such a situation, and we will attack each other. I think today we will at least do these three. Do not play, just do yourself well.
Xu Zheng: Each drama is not only a director, there are countless teams behind it. The main creators of the entire team have a thing created by many of them, and everyone upholds a kind of ethics and spirit in the industry, because Out of the love of the movie, our main creative staff moved me very much and participated in the movie very hard, hoping that this would have a good result.
Chen Sicheng: This year’s National Day file has been deeply verified. Because of the three main theme movies, no one dared to hack each other, but everyone became particularly good and the box office was particularly good. This fully proves that mutual hacking will not bring you good. On the contrary, it is a kind of firewood that everyone collects and the flame is high. Director Yibai, as the leader of the announcement, can be used as the whole observation. We are here to ensure that our team does not black out each other, and can be used as a news headline today.
So why does the Spring Festival stalls have large crowds? Directors also have their own opinions.
Chen Sicheng: A lot of things are due to chance, and they all come across one. We were the first to set the file. After "Tang Detective 2", the file will be fixed. See you in the Spring Festival two years later. We will try other schedules in the future. A work is a summer file. The key issue is that the type of film determines the current period. "Tang Detective" has a strong family character and is suitable for the Spring Festival. I think the next film may be suitable for summer vacation, and I may make more summer preparations.
Xu Zheng: The choice of schedule is now becoming more and more difficult. Creators have to control the schedule. This is a very hard task. Entering a good schedule means more intense competition, and a lot of other stressful work will increase from the production. And now the audience is more and more inclined to word-of-mouth. The spread of word-of-mouth determines whether to buy tickets to watch this movie. As a filmmaker, I am still willing to return to the perspective of my creator and try my best to make the film well.
Chen Kexin: It’s the first time for me, so I’m also very scared. After hearing the stories of the Spring Festival file, I feel too dangerous, because it is indeed large, and sometimes we don’t have the final say. There are issuers and investors behind. When the volume is large, the gambling is very large. It is such a big market. The audience will watch so few movies. There will be four, five, six and seven movies. There will be some movies that should have bigger box offices, but During the Spring Festival stalls, there are not so good box offices. There are also some movies that do not have such good box offices, but they are better at the box office because they are placed in the Spring Festival stalls. This suppresses competitors and pushes themselves up. This is terrible.
Chen Sicheng: I never gamble. The Spring Festival is especially like a VIP gambling hall. Everyone has a certain amount of chips to get in. You win big and you lose a lot.
In the end, Director Zhang Yibai called for the Spring Festival to take out his works in a fair, innocent and peaceful atmosphere. The Spring Festival stalls are indeed not far away. Winter is here, can spring be far behind. So I still hope that everyone is supporting our films and Chinese films.
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