There was Brother Hu first, and now even Huang Bo can't get out of this strange circle?

Ding Cheng understands their original intention very well, as an actor with pursuit, he is tireless in his acting skills, dares to break through himself, and tries different roles......

This is also the biggest reason why I appreciate them.

Commercial films are measured by the box office, and the quality of literary films must be determined by whether they can win awards.

Despite the 30% annual growth rate of the domestic film box office, the mainland film industry is still facing a shortage of various professional talents.

In addition to directors and actors, lighting engineers, pyrotechnicians, blasters, special effects artists, makeup artists, prop artists, and accountants ......

These positions may sound trivial and unimportant, but they are essential to the smooth running of the film industry. Even Feng Xiaogang made a war movie, but he couldn't find a demolition division and pyrotechnic division in the mainland that satisfied him, so he had to turn to the South Korean team for help.

Therefore, it is impossible for a small-budget literary film to focus on these details, and many times mainland literary and artistic films are first raised by the director to raise a sum of money, and then form a grass stage team to start filming, where to shoot, the production method is very arbitrary.

Taking my favorite "Piano of Steel" as an example, I heard that director Zhang Meng only made a preliminary budget before the start of filming, and thought that it would take 6 million yuan. Even if I couldn't get enough of this number, I still decided to start the machine head-on.

Fortunately, the heroine Qin Hailu is a wealthy person who has a dream for literary films. At one time, there was only 47 yuan in the account at the time of filming, but Sister Qin took out the funds to make the film complete.

On the day of the finale, the crew had no money to pay the final payment for the actors and others. Qin Hailu returned the prepaid salary to the director, and continued to paste his own money to let the film complete post-production.

When Wang Qianyuan won the actor in Tokyo, he still held the salary slip in his hand.

That's why he told Huang Bo that if you want to make a literary film, you must have the courage to break the boat.

Even if it was Sister Tao back then, wasn't it Liu Tianwang's charity simply to support local films?

In fact, literary films are actually more squeamish than commercial films. In addition to the financial talents needed for commercial films, there is also a need for discerning film investors and experienced distributors. Such professionals are infiltrated and grown up in the mature film industry, and they cannot be cultivated in a few classes in the film academy.

The popularity of the mainland film market has made it possible for many people in the market to invest in films, but there are very few professional film investors. The vast majority of investors just see that the film market seems to be booming, hoping to get a piece of the pie.

Investing in a money-making movie is their real purpose, and it is precisely difficult for literary films to make money. As a result, there is such a situation: countless people have squeezed their heads to invest in the films of big directors, but Zhang Meng's films have not been able to find any investment.

Literary films are an ideal, even a kind of belief. Even a money-making machine like Wang Jing will pay for Xu Anhua's persistence. Of course, Wang Fatzi also knew that if the money was invested, it would be wasted.

As long as the movie can arouse some thinking and discussion among everyone, I think it is especially worth losing money, and only with this mentality can I play literary films.

Ding Cheng sometimes doesn't quite understand that there is a lack of professional investors and distributors in this current environment, and directors often shoot wherever they want, but why do mainland literary and artistic films grow stubbornly like weeds?

Thinking about it, there may be only one reason: the literary director is very persistent!

In a way, this is a valuable quality. If it weren't for insistence, Zhang Meng should have given up when he only had 47 yuan left in the crew's account.

Xu Haofeng's debut film "The Trail of the Wako" was also shortlisted for the Venice Attention Unit, when the somewhat alternative martial arts film was very popular at overseas film festivals, and was even considered to be the creation of a new genre of martial arts films, and he was also named the title of Hu Jinquan of the mainland by foreign media.

However, the release in the mainland was seriously polarized, and at the premiere, an audience asked him in person: "What does this movie want to express, I really don't understand." ”

While explaining that the film is about a noble story, he reiterates his insistence that he does not care about the box office and continues to make films in this style.

Not to mention the little-known little directors, even John Woo, Xu Anhua, and Wu Junru all have the same headaches. Wang Jing even declared: None of the literary films make money.

It wasn't until "Days and Nights in Tin Shui Wai" that he invested in "Days and Nights in Tin Shui Wai" won four awards at the Academy Awards, and the people who ate melons shouted: Is this that Wang Jing?

The reason why he invests in literary films is really not to sell his reputation, because he doesn't even have a name on many films, for fear that his signboard as the king of bad movies will affect the audience, but he really feels that good scripts should not be buried.

Whether it is Wang Jing or Liu Tianwang, they invest in literary films, not simply giving a sum of money and not caring about it, but using their experience in making commercial films to escort the film from beginning to end.

Wang Jing is an excellent producer, knows how to control costs, and is also a good hand in marketing. And Liu Tianwang has a professional team, staring at the set every time, helping to coordinate various issues, can this attitude be successful?

Thinking of this, Ding Cheng smiled dumbly, looking back on his journey along the way, the first should be an action movie, the second is a suspense crime, and the third is barely a literary film.

And they are all produced on Hong Kong Island, the pinnacle is Sister Peach, and it is barely one of them to find plums, and there is really no outstanding one in the mainland.

Of course, there is also such a type of literary film director: as long as he is willing to make a film, he will immediately send a lot of money to the door. If you shoot it, you can send it to a film festival to participate in a competition, get a few awards back, and even have a box office like a commercial blockbuster when it is released.

It is called Wong Kar-wai on Hong Kong Island and Jia Zhangke in the mainland.

has both the talent for filmmaking and the ability to calculate. To a certain extent, it has crossed the boundary between the so-called literature and art and commerce.

Because in the eyes of many literary and artistic youths, Wong Kar-wai is synonymous with petty bourgeois literature and art. But in his own opinion, he is definitely a well-rounded doer, not only a literary film director with a strong personal style, but also very aware of the audience, especially the taste of the film festival judges.

If you want to say that you know Wong Kar-wai the most, I am afraid that it is Wang Jing, who looks very different from him. Zeng once said a breakthrough: "There is no essential difference between me and him, we are both businessmen, just a trader and a hawker." ”

Jia Zhangke is good at using the money of commercial sponsorship to make personal style literary films, and I heard that the series of short films "Language Road" produced and directed last year was sponsored by a high-end famous wine brand.

There is no product placement of the brand in the whole film, and only a sentence that reflects the spirit of the brand is typed at the end, which is very forced.

The other is "Tale of Twenty-Four Cities", you are the name of a real estate. It used to be an old third-tier factory, telling the story of this factory, and there was no mention of the real estate at all, but relying on this title, the vulgar real estate advertisement entered the competition unit of the Cannes Film Festival?

Only unique films can attract the recognition of high-end brands, and although these films are not blockbusters in the mainland market, people who want to make movies and find sponsors can easily do it with a few phone calls.

sighed secretly, in fact, I also want to try literary films, but I have never had the opportunity, especially in the mainland, fate is not enough!