It has to be a chatterbox. Able to speak loudly and for more than 4 hours in one go. Otherwise, how can you fool investors, persuade directors and actors, and direct a large group of people to follow them?

It must be a litigant. Make a plan upfront, resolve any things that don't go according to plan in the medium term, and fight and litigate later – know the relevant laws and understand all the laws that are not relevant.

Must be a money junkie. Not only will you ask for money, but you will have to spend money. It is necessary to have a strong financial ability, to do what should be spent, the province of the province, to know the proportion of funds allocated to guides, cameras, lights, beauty, clothing, chemistry, and Taoism, and even to know how much a screw is.

This is the biggest challenge for me in the future!

The competition in the film industry is a competition between producers, not between directors and directors, actors and actors. The root cause of the problem of Chinese films may lie in the lack of excellent producers with strong professional qualities.

If Huaxia film producers fail to meet the professional quality of Hollywood producers, and only position themselves as managers, limited to financing and making money, or just an accountant who manages money, Huaxia films will never be opponents in the competition with Hollywood.

Many Chinese producers and directors rely on the director, rely on the director, attach themselves to the director, and are even completely overshadowed by the director, such as Zhang Weiping and Zhang Yimou, Wang Zhongjun and Feng Xiaogang, Han Sanping and Chen Kaige.

This kind of practice of one director raising one production company abounds in China, and if the director leaves, the company will immediately fall into a situation of bankruptcy. It's also a sadness for the producer to do this kind of work.

Even many Chinese producers don't even read the script!

Even if you read it, you can't tell whether the script is good or bad, whether it is professional or not.

Spielberg must read a script every night before going to bed, and after reading "American Beauty" that year, he summoned the screenwriter and director the next day, and the first sentence was that the script should not be changed a word, and this movie will become a classic movie in the history of American cinema.

Such a script is placed on the table of some Chinese producers, and I don't know how thick the dust must be!

Even the producer lacks independent judgment on the director's skill, quality and expertise, the potential of the script, the quality of the film and the prospects of the film.

Such producers abound and are known as the biggest names in cinema. This kind of unbridled hype is a kind of lack of self-confidence;

In the final analysis, there are many ticket holders, at most a person who spends money, and if he votes for a movie in a year or two years, he will consider himself a big producer, and he will compete with Hollywood and build a Chinese film aircraft carrier?

Think of yourself as a manager, an administrator, a person who works for the director, not the creator.

The quality of the film, the quality of the director, the artistic quality and technical quality of the film, I don't know in my heart, and the creation of the film is completely the director's business.

I didn't even know that the Oscar for Best Picture was awarded to the producer, and I thought it was for the director. The award is given to the producer's vision, insight and courage to turn words into images and produce an outstanding film under the leadership of the producer's organization.

Movies are the producers, and the art is the directors. Many Chinese producers are unbalanced, thinking that they are only serving the director, and the honor of a film is taken by the director and actors.

In addition, he has no sense of innovation, blindly imitates others, and the popular theme is swarming, and today's martial arts movies have been successful, and he won the Oscar, and he also came to a martial arts movie. Tomorrow, other people's magic movies will be popular, and he will immediately follow up the magic, swarm and run behind other people's butts forever.

In the domestic film industry, most investors do not have professional film and television qualifications, and intuitively prefer to trust a director rather than a producer.

Actors are more likely to work with the director than with the producer, and the screenwriter is more likely to communicate with the director than with the producer. As a result, directors are more likely to be trusted by creators, actors, and money than producers.

Such distrust has led to the fact that the ability of domestic producers cannot be fully developed and exercised, making it lack effective growth space. Producers who cannot continue to grow are even more difficult to gain trust, and the vicious circle formed by this leads to the improvement of the strength of domestic producers, resulting in an objective dilemma.

The producer-centric system in Hollywood has a long history, and it is in power. It is a mechanism to concentrate the core control of the project in the hands of the producer, comprehensively run through the marketing strategy and teamwork principle in the production process of the film, and maximize the commercial value of the film through rigorous research and scientific production process.

In this mode, the art director and the director of photography work together with the director to form the core art creation team. Executive Producers and Production Directors serve the producers and form the main management team. When the management lines of the two teams intersect, this matrix structure is formed.

The main purpose of this structure is to find a balance between artistic creation and market demand, and to complete the production according to the budget and standards established by the two core teams, reducing the risk of excessive concentration of power.

Theoretically speaking, the producer-centric system is more conducive to the interests of investors, and can better ensure that the budget of the film is reasonable and the shooting cycle is not exceeded. And liberate the director from the daily extra-creative affairs and concentrate on creation. In addition, producers can also start from the overall situation and formulate a unified overall strategy for project development, production, marketing, distribution, overseas, and brand continuation.

Most films today are produced by independent filmmakers, either for direct distribution or under film production contracts with large corporations. It is under such a systematic system that the growth and inheritance of filmmakers form a traceable route.

Nowadays, many well-known Hollywood filmmakers are mostly filmmakers, directors and even screenwriters at the same time. Filmmakers continue to introduce innovations and styles that shape the films audiences see today.

For example, Spielberg relied on strong creativity, music and special effects to create some popular and suspenseful movies, such as "Jaws", "Raiders of the Lost Ark" and "Jurassic Park".

George Lucas combines a fictional story about science fiction and computerized special effects with Star Wars and its sequel.

Spike Lee illustrates the experiences of African Americans that sometimes spark controversy in films such as "Black School" and "Jungle Fever" through his own writing, directing, producing, and editing works.

These filmmakers bring their own insights and special talents to the filmmaking process and learn from each other. Facts have proved that the unique producer-centered system in the United States provides sufficient objective conditions for the inheritance and growth of producers' skills and work.

In Ding Cheng's view, technically speaking, filmmakers don't seem to need any training. But a filmmaker, like any other business, if you're going to take on this job, you first need to understand it, you have to be familiar with all aspects of filmmaking, and be very skilled in some areas.

In other words, whether you are a screenwriter, writer, editor, or photographer, as long as you have the heart to learn, you have the potential to become a strong producer.

Producers pay more attention to commercial returns, so they will pay more attention to the certainty of the genre, the market reaction of the cast, the commerciality of the film elements, the visual and auditory experience, and the logic of the story and the smoothness of the story.

Everything the producers focus on is not out of personal aesthetic preference, but in consideration of what kind of film the audience wants to see. Such a film has a better foundation for being recognized by the audience and avoids becoming a self-congratulatory work of a certain person.