As far as Li Qian is concerned, he believes that to a certain extent, people like Shi Kuiyong are real geniuses, and "pseudo-geniuses" like himself with thirty or forty years of life experience, knowledge, and vision that are nearly twenty years ahead of this era are actually just the assets of Chinese people. Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 ｉｎｆｏ

Genius is respectful and desirable, but it is also very helpless.

If you go in the right direction, geniuses can turn any impossible into possible, but if you go in the wrong direction, even if your head is broken, geniuses are rarely willing to stop, review and reflect on the path they have chosen.

It all stems from the paranoia of genius.

Paranoia is good, and paranoia is bad.

Because he has a vision that is nearly 20 years ahead of this time and space, Li Qian clearly knows what direction the current society will develop, and will know what the most correct development direction will be for music, records, movies, TV series, and even the entire entertainment industry.

With this kind of great advantage that is close to a prophet, and to some extent, even surpasses the prophet, Li Qian has an extremely clear plan for what path Minghu culture will take in the future.

At this time, Lu Lingxi and Chen Kefang were both puzzled, Lu Lingxi was better, Chen Kefang directly looked like a smile, and said, "You want to say that literary movies are dead?"

Lu Lingxi pursed her lips and smiled, turned her head to look at Chen Kefang, and then quickly retracted her gaze and fell on Li Qian's face - she was really curious about how Li Qian would answer.

It's not the first time for her, even from Li Qian, it's not the first time she's heard this kind of argument.

Literary films are, or have been, synonymous with niche.

Back then, Mr. Chu Yuan's "One-Armed Knife", with its distinctive image style and characterization full of classical beauty, coupled with a clear and concise narrative technique, became popular in the film market at the end of the sixties, and for a while, the people of the rivers and lakes gave it the nickname "Chu Yidao".

This movie and Mr. Chu Yuan himself, although they were criticized by some big figures in the film industry at the time, thought that such a movie was contrary to art, something to entertain the public, crude and shallow, and had no connotation at all. But at that time, this film swept the north and south of the country, and under the influence of this, martial arts novels, martial arts movies and martial arts TV series became an extremely important branch of domestic literature and film and television works in the following three decades.

Thirty years later, the works of the big names in the film industry who criticized him back then were no longer interested and could only be shelved, but Chu Yuan was hired as a visiting professor at Shuntian Film Academy in 1981, and then became a full-time professor, and from 1988 to 1992 for three years, he personally served as the director of the directing department of Shuncheon Film Academy, and he retired in 1992 and was awarded tenured professor, and the following year, he was invited to serve as the honorary dean of Shuncheon Film Academy.

Now known as one of the troika of domestic films, the great director Du Weiyun is his private disciple, during the filming of "One-armed Knife", he was one of the crew's dramas, and Du Weiyun's directing style has also inherited the advantages of the master to a great extent. The great director Qin Wei made a speech when he won the Best Director at the Cannes International Film Festival for the first time, and repeatedly claimed that he was Mr. Chu Yuan's "disciple".

And not only them, in the years when Chu Yuan taught Shuntian Film Academy and served as the director of the director department, quite a lot of relevant talents have emerged in the film academy, and many of them have emerged and become the backbone of the domestic film industry - in recent years, Lu Lingxi of the 87-level director department, Wu Han of the 89-level director department, and Lu Ping of the 90-level director department are all authentic disciples of the old man.

As for the movie "One-Armed Knife" itself, it has become one of the must-teach models and teaching materials for major film and television art colleges and universities in China since the late 70s.

Even now, the quality of the movie itself is still exceptional.

Even, what is a little absurd is that to this day, this movie, which has been repeatedly criticized by countless literary film celebrities, has been classified as a "treasure of domestic literary films".

Which is right?

There may only be one conclusion left: those who are more literary and artistic have been eliminated by the times. As a result, a little literary and artistic, but more popular in attributes, survived and became the banner of art.

At this time, Li Qian answered some questions, but said slowly: "The sixties and seventies were the era when European art films were popular all over the world, because at that time, the art of film was still in the exploration period, whether it was a filmmaker or a movie audience - of course, we look back now, we should admit that because of the developed economy, the absolute number of people who could afford movies back then was not too large - All of them have a great interest in films, from practitioners to audiences, and they all have a supportive and affirmative attitude towards the artistic exploration of films, no matter how bizarre they are. But by the 80s, this kind of exploration had basically come to an end. ”

Speaking of this, Li Qian habitually spread his hands and pursed his lips, and then continued: "After twenty or thirty years of rapid development and active exploration, what is the boundary of film is still blurred, it still has a strong explorability, but film as a tool of expression, some of its commonly used techniques, from an industrial point of view, and an artistic point of view, have been basically explored and basically matured. At that time, the three major European film festivals were world-renowned because they represented European cinema and the cutting-edge of the entire world film industry!"

Chen Kefang listened and hugged his shoulders.

The corners of the mouth are slightly upturned.

In a place like a film school, it is really not uncommon to hear this kind of discussion or discourse, but what is rare is that this time it is a student who has not yet graduated, talking eloquently in front of his two teachers.

And the problem is that although what Li Qian said has not yet become a complete conclusion, it is no longer a new tone in a place like a film academy.

Some professors in the academy are even more extreme than Li Qian, and some people simply believe that when the Venice Film Festival is born, it means that the exploration of European art films has come to an end. It's the same as autumn is coming and the harvest is over, so we need a festival to celebrate.

If we look at it from this point of view, the Venice Film Festival was founded in 1957, then even the sixties and seventies can be regarded as a "return to the light" of European literary films.

Therefore, for Li Qian suddenly started to talk at length, as if he wanted to teach himself and Lu Lingxi a lesson, but what he said was not a new thing, Chen Kefang felt a little funny at first, and then felt a little unhappy in his heart - these things, still use you to tell me? It's hard to say anything else, can I know less about the development history of movies than you? You are coming to teach me a lesson now?

But then, the arm she hugged her shoulder loosened unconsciously, and the whole person suddenly felt shocked, and then raised her head with a solemn face-

"Literary films will never die, but the market for literary films is gone. ”

"European filmmakers have made a lot of explorations for the development of films, but the fragmented national boundaries in Europe, and the fact that it is difficult for them to form a full-category industrial system, makes it difficult for them to continue to develop films, so American filmmakers took over the baton. ”

"They have a developed economy, a large market and strong demand, and a strong industrial base. Therefore, since the 80s, European art films have begun to be unable to beat Hollywood, and now, Hollywood's major production companies have formed a complete film industry system, and to the recent "Titanic" in which I participated in the soundtrack, in fact, it has proved that all countries in the world, all filmmakers, have no power to fight back. ”

"As far as I know, the film was shown in more than 100 countries around the world and won the all-time box office number one in almost all markets!"

"Movies are made for people to see, not for self-appreciation. So, the box office is not absolute, but it is absolutely indispensable. ”

"Europeans' pride in art films for many years makes it difficult for them to put down their bodies to take the commercial route, even if they want to go, it is still the same reason, their industrial base and market foundation are not too sufficient. But we don't have to have such a big burden in China, although since the early years, it has been particularly popular in our country to learn European literary films, until now, there are many, many directors, screenwriters, and actors in China, all of whom particularly respect literary films, but really, I am not so obsessed, and I also feel that I can't be so obsessed. ”

"Now, Hollywood's major production groups are fully equipped to mass-produce a lot of commercial films every year. These movies are not artistic, but they are well-made, with special effects and very good looks, and the stories are easy to understand, tense and exciting, and popcorn movies! Enough to make audiences all over the world pay for them! Europe has completely fallen, and Japan is about the same, and has become a big box office in Hollywood. ”

"Our country is tough, and we dare to stand up to the United States and not let go of this market, and only give them a limit of 20 films per year, but look at the data, people only come in 20 movies every year, and they will kill so many domestic movies and abandon their armor, and they are powerless to resist!"

"Besides, even if no Hollywood movies are included, our country's economic development has been so rapid in recent years, and the progress of domestic films will not be able to catch up with everyone's consumption appetite at all. ”

"Looking at the long run, we can't always guard our own one-third of an acre! The U.S. market is huge, and considering the global nature of the English language, its market is indeed super large, but the market for our Chinese-language films is not small! With so many people in China, once the economy grows to a new level and a population of one billion, how big will this market have to be to develop thoroughly? I think that these places should naturally be the backyard of Chinese movies, and Hollywood has not had time to completely take them, we should take them, and Hollywood has already conquered, so we must also take them back!"

***

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