reporter Zhang Jingchao reported from Shanghai
Internationalization is a high-frequency word at this year's Shanghai International Film Festival, whether it is at the opening forum, the "Belt and Road" film week, or in the dialogue with international distributors and buyers in the film market, Bringing outstanding Chinese filmmakers and film content to a larger international stage, and then introducing well-known overseas filmmakers, powerful film companies, and culturally appealing films into the country is an achievement achieved by domestic and foreign filmmakers and film companies. consensus. For the Chinese film industry, this is also an opportunity to participate in the international cycle.
However, so far, the overseas box office record of Chinese movies is still set by films such as " Crouching Tiger, Hidden Dragon " and " Heroes " more than 20 years ago, which were US$210 million and US$139 million respectively.
's long-lasting records mean the pressure of internationalization for the Chinese film industry. How can it go abroad and gain recognition?
In addition to carrying out daily cultural and industrial exchange activities, strengthening cooperation in the commercial field and thereby increasing the voice of Chinese companies has proven to be a feasible path.
"Today's world is in a cycle of continuous fluctuations. In this cycle, we see that the ones with the most resilience and growth potential are often business models and business entities that are rooted in the local market but have global awareness. In recent years In fact, there are a large number of domestic companies that go overseas, including cultural and consumer companies, and they have successfully brought Chinese cultural products and business models to the world," said Zhao Jilong, CEO of Trisolaris Universe. Ying Xujun, Vice President of
Chinese Culture Group, President of Chinese Pictures, and President of Oriental DreamWorks, said: “By devoting yourself to the world industry and actively participating, you can become a member and understand the pattern and ecology of world movies. ”
Sino-foreign co-productions are integrated into the world industrial chain
In the process of foreign exchanges and cooperation in the Chinese film industry, Sino-foreign co-productions are one of the main ways.
A reporter from "China Business News" learned from the Beacon Professional Edition that in 2023, the number of Sino-foreign co-production films registered with the National Film Administration will be 77, an increase of more than 11 times compared with 2022, and has returned to the level of 2019 (79 department).
Among past co-productions, the "Meg" series is undoubtedly a more classic case. Maoyan Professional Edition data shows that the global box office of "The Meg " released in the summer of 2018 was US$522 million, of which the box office in mainland China was approximately 146 million US dollars and the overseas box office was US$375 million; "The Meg 2" has a global box office of US$396 million and an overseas box office of US$279 million. As a Chinese cultural master and a film IP jointly developed with Warner Bros., the success of the "Meg" series has undoubtedly built confidence in Chinese films going global.
"If we look at the success of Chinese films in going global in recent years, it is still the cooperation with the five major Hollywood companies, especially films such as "The Meg", which has a global distribution system, including the entire IP development , is an expression of globalization and a narrative form that can be accepted by global audiences, which can help Chinese films win more audiences around the world," said Feng Wei, Vice President of the Asia Pacific Region of the American Film Institute and President of Greater China.
Ying Xujun concluded from the case of "The Meg": "I think this kind of film is a model we innovate, that is, 'Chinese control + international resources'. China's control means that IP is in the world market The novel IP purchased online is then developed by a Chinese company; international resources refer to the selection of suitable screenwriters, producers, directors and actors from all over the world after reaching cooperation with major international companies at the institutional level. So that it can be distributed globally. I think this model is particularly suitable for science fiction and fantasy themes, such as the development of the Three-Body Universe.”
Ying Xujun also believes that in this process, not only Chinese companies and Chinese filmmakers are needed. To go abroad, we also need to introduce overseas filmmakers and film companies to China, so that they can experience the progress of Chinese films first-hand, so that they can spread it to the world. "I think this is also a very important step for Chinese film culture to go abroad. important part".
At the same time, the advancement of AI technology has also provided unexpected help for Chinese and foreign co-production films.
"In our previous international cooperation, the English of our basic team was not good enough. During production, we would have thirty or forty translators in one team. At most, there were 62 translators, but the level of each translator was not good enough. "It's the same, but when it comes to the final meeting, each group understands it differently, which causes a lot of trouble." Director, screenwriter, and producer Huang Jianxin said, "Language is an obstacle to Sino-foreign cooperation. Now AI technology can at least help us. 50% of the problems have been solved, making our cooperation more convenient and simple.”
Cultivate an international perspective
In the process of Sino-foreign cooperation, international perspective and awareness are also essential. However, the shooting and production of film and television products naturally involves the subjective consciousness of the creative team such as directors, screenwriters, actors, etc., which places higher demands on the creators and the companies behind them.
"On the one hand, movies are very author-oriented. It must be related to the way each creator wants to express themselves. However, I think movies cannot be too author-oriented because I always hope that it can be seen by more audiences. ” Chen Guo, director of the Shanghai International Film and Television Festival, said, “I think in the process of Chinese films going global, including the introduction of world films, there are several common points in the successful cases: First, the subject matter can attract everyone. With more common feelings, this kind of thing can make everyone resonate with each other; secondly, in terms of common values, there must be an understanding of truth, goodness and beauty. I think such films can also be recognized by more countries; thirdly, there must be an understanding of truth, goodness and beauty in common values. Third, the films we bring out must have Chinese expressions and elements of Eastern culture. Only in this way can we better let the world understand China through our films. If these key points are met, we should have them. The basis for international expression. "
Some Chinese companies have already taken action.
On the other hand, "At an Alibaba Pictures event a month ago, we proposed a new three-to-five-year strategy. We hope to transform ourselves from a Chinese film company to an Asian film company. Of course, such a vision, The most important point is that at least 30% of the films we produce, invest and distribute in the future should come from various film markets in Asia, or be the result of director creations," said Li Jie, President of Alibaba Pictures, "around this. For this goal, we have done some things in the past two years: First, we have been paying attention to new directors, especially new directors with overseas backgrounds. In this plan, we are looking for directors around the world with professional backgrounds in international languages and proficiency in international languages. We believe that this group of young directors may be an important backbone force for Chinese directors to go global in the next 10 years; secondly, we are actively doing one thing to introduce the world's best movies to China Come and let the audience see it. In summary, I think our movies must be open and international, and they must be able to make Chinese movies understandable to global audiences. This is my idea."
(Editor: Wu Qing) Reviewer: Li Zhenghao Proofreader: Liu Jun)
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