Wu Jianye is famous!

It's famous!

Before the release of "The Red Lantern Hangs High", although there were already a lot of reports in China, and even on the CCTV news, but at that time, he still gave the domestic people a false feeling, after all, everyone had not seen "The Red Lantern Hangs High", at that time, everyone just knew that there was a great director in China and won the most awesome film festival award in Europe.

But now it's different.

The movie was released, everyone went to see the movie, although people in this era also have their own little cunning, but they still have blind worship for foreign awards, coupled with the limitations of the times, there are not so many comparisons, and there are not so many so-called commercial blockbusters, visual blockbusters bombardment.

So even after watching the movie, some people feel a little unconscious, but they still clap their hands and say that it is amazing.

And those professionals, after watching this movie, couldn't help but clap their hands, as if this movie had knocked on another door for them!

In the past, Chinese film directors repositioned the relationship between film and drama, and rediscovered the creative characteristics of Bazin's documentary aesthetic style of long shots. They oppose falsehood and pursue truth, vigorously promoting Krakauer's "image restoration of material reality" and Bazin opposing too much editing and advocating the documentary aesthetic style of long shots. In the creation of the film, he starts more from the nation itself and life itself, and explores the inner spiritual value from the simple life scenes.

Their films show the plain and sad side even more!

This is also the creative idea that was later called the fourth generation of Chinese directors.

As for the content of the films, on the one hand, there are a large number of films that reflect historical themes, and on the other hand, there are some films that reflect real life emotions, but the number of the latter is not very large. Historical dramas such as "Xi An Incident" and "Nanchang Uprising", etc., reflecting real life, such as "Little Street" and "People to Middle Age", etc., although the number is not very large, many of them have excellent works come out.

Of course, "Under the Bridge", which Wu Jianye participated in before, can also be classified as this genre.

And the appearance of Wu Jianye and "The Red Lantern Hangs High" has changed this phenomenon.

"When we were studying at the Academy, we were already able to see many foreign films, such as the French New Wave and the Italian Neorealist films.

I remember that at that time, Chen Kaige, Zhang Yimou, Tian Zhuangzhuang and others and I would repeatedly watch Godard and others' New Wave films, and I often discussed the new composition and editing, as well as the narrative techniques and the scheduling of shots, and I discussed this issue with Godard when I attended the Venice Film Festival this year.

China is developing, and our movies are also developing, so I have always believed that movies are not made behind closed doors, and we should go out and watch more.

This will not only broaden the horizons of everyone here, but also allow you to see the operation of overseas film companies.

I believe that in the future, many of you here will take the leadership position, your vision will be farther than us directors, you can no longer pay attention to the success and failure of one or two films, but look at the entire film industry with a strategic eye, this is what you will pay attention to in the future!"

Yenching Film Academy, in the classroom of the cadre refresher course.

Wu Jianye put down the guide tube, picked up the chalk, and became the Wu teacher of the academy again.

In 1983, he was a student of the Yenching Film Academy's cadre advanced training class, and he was already enrolled at this time.

Han Heping and Huang Jianxin also sat in the audience with notes and carefully memorized the content of Wu Jianye's lecture.

Through the word of mouth after the graduation of the students of the last cadre training class, Wu Jianye's reputation is no longer unfamiliar among these people, and Wu Jianye is the first winner in China to win the biggest award at the European A-class film festival, so they did not have the so-called disobedience to management at this time.

It's a lot better than the previous one.

"Mr. Wu, you said that we should pay more attention to it, can you tell us more about it?"

Han Heping sat below, like a good student.

Han Heping officially graduated from Sichuan University last year, but like many figures of this era, he already worked before going to university, serving as the director of the art center of Emei Film Studio.

After graduating next year, he will return to Emei Film Studio as a director and deputy director.......

then transferred to Yanjing Film Studio, and then became the head of China Film, controlling the lifeblood of the entire Chinese film.

Wu Jianye pondered his thoughts for a while, and then said: "What you want to study is the system, not the shooting technology of a film, the system of the film studio, the system of the future development of the film, and the system of the marketization of the film!"

"The system of film marketization?"

The bigwigs in the audience were slightly stunned, this was the first time they heard someone say: "The system of film marketization!"

"Yes, for example, the current film genre in our country is a little vague, and there is no clear plan for the entire movie-watching market, let's not talk about overseas, only talk about Xiangjiang movies, Xiangjiang is a small place, the development of the film industry has long been mature, and various types of movies are emerging in endlessly.

There are commercial films born specifically to entertain the audience, which are divided into action films, kung fu films, comedy films, gangster films, and drama films...... Even if each of these genres is divided into different small genre films, each type of film has its own audience.

At the same time, they will also have different theaters to show different types of movies, which are the progress of the film industry, but in our country, there is no such attention at all, basically what kind of movies the studio shoots, and the audience has to watch what type of movies.

These gaps may not be visible now, but with the rise of the development of the TV industry, the film industry is bound to be impacted, and when the time comes, if the domestic studios are still like this, then I dare to assert that in the near future, the Chinese film industry will suffer a serious blow!"

Wu Jianye's words made everyone fall silent, and it was obvious that at this time, what Wu Jianye said seemed to these people to be a bit alarmist, and even a little deviant.

"So how can all this be avoided?"

Han Heping asked subconsciously.

Wu Jianye glanced at Han Heping and said in a surprising voice: "Since the whole country is talking about marketization now, I think our film industry should also enter the marketization system as soon as possible, let's take the simplest example."

Now the studio produces a movie, no matter what the cost is, but the income of a single film created by the studio is about 1.2 million at most, so this actually limits the cost of filming to the studio.

The production cost of a single film must not exceed 1 million, otherwise no matter what the results of this film are, the studio will not be able to make money, which indirectly hinders the development of domestic films.

Let me give you a simple example, in 1981, Xiangjiang filmed a movie called "Mr. Zombie", the shooting cost was 8 million, but the box office in Xiangjiang reached a box office record of about 23 million, and the box office revenue in the entire Southeast Asia was more than 100 million, excluding all the expenses, the movie "Mr. Zombie" brought more than 70 million Hong Kong dollars to his production company!

It is precisely with the return of this fund that this film company has invested in many movies one after another. ”

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