Like the man who thinks that apples change color at night, most people think that these uncomfortable cultural products are the result of "mercenary capitalists, teams, creators" who have opened Pandora's box and constantly sold their disgusting and vulgar products in order to make money.

This is, of course, false, and easy to argue.

Whether it's China or the United States, whether it's Hengdian or Hollywood, whether it's writing or making music, most mature creators, the purpose of doing most things is very clear - to make money, of course, it can also be for dreams, but we are talking about most, and those who shout about their dreams, once their dreams come true and start making money, what they do is no different from those who don't have dreams.

Making money on the premise of not breaking the law and not seriously violating morality, "making money" is really not wrong, it is nothing more than a matter of eating appearance, we can say that Ma Yun is very elegant when dining, and Sister Feng is very ugly, but they are all legal laborers, to work hard to earn remuneration, we can say that the former is elegant and the latter is vulgar, the former has contributions and the latter is stupid, but they are all right, because making money legally is not wrong, and it is what each of us is doing, which constitutes the cornerstone of today's business world.

Therefore, those "mercenary" capitalists are making money with popular little fresh meat, which is completely compliant, and the whole world is doing this, and the value of small fresh meat in the United States is much higher than here!

Profiteering is the principle of capital, he has no obligation to be loyal to a certain ideal and belief, what to make money to do, there is simply nothing more right than this, small fresh meat attracts fans, the glory of the king spares no effort to attract players, doing these things is not for any lofty ideals, just to make money. If this is wrong, then it is also wrong for an administrative scrivener to meticulously make forms, unless he has a "great dream of producing the most perfect forms".

Of course, we can be sure that no matter where we are, there will be some producers who have loyal film beliefs, but they are by no means the main force, and it is the costs and benefits that support the operation of the entire Hollywood, every company, film, screenwriter is struggling to make money, the strikes organized by the trade unions, the catwalks of stars, and even the Oscars are all based on everyone's common yearning for money, not faith, willpower or anything else, but in Hengdian, shouting "movie dreams" There seem to be more people, perhaps because they are not qualified to care about money at all, if they really realize their dream of movies one day, they must be no less concerned about the remuneration than any capitalist.

"More people work to make money", this is a cornerstone that can no longer be foundational, it is the same everywhere, there is no difference between Chinese and American filmmakers in this regard, and Hollywood makes excellent movies definitely for making money, not for some great movie dreams.

Especially in film technology, there is never a special effects artist who shouts "my dream is to make the most gorgeous special effects in the world"!

He just wants to make good special effects and get paid more.

These words show that everyone has the same purpose, and there is no distinction between high and low consciousness, Hollywood movies are not good because they are great, and Chinese movies are not because they are vulgar, everyone is the same to make money, please don't look for reasons to attack "little fresh meat" in the quality of life and ideological consciousness.

This is a typical mistake, first find a position, and then find a reason, this is also the process of 99.999% tearing beep on the Internet, there can always be thousands of examples and reasons, this is not a debate, but to see the facts.

Miraculously, it seems that most people are more accepting of the fact that "Chinese are mercenary and have bad quality", and the accusations of small fresh meat are based on the reasons of "quality", "conscience", "social responsibility" and "greed", which makes it difficult to understand that Hollywood bosses are not nobler than the bosses of China's small fresh meat companies.

Because Chinese, or Chinese businessmen, artists, creators are inferior, and can't make good movies, this is really too wrong, please never try to question the quality of a "legitimate moneymaker", what you see is just their posture, Ma Yun drinks a cup of coffee very elegantly, and Sister Feng's legs on the subway are very thick, the United States also has their Ma Yun and Sister Feng, maybe Jobs and a certain Internet celebrity with no lower limit, it's all the same.

The above part sounds logical, but it is not a fatal blow, and there is still a way to go before the fatal blow, because what we want to give is not a superficial conclusion that sounds comfortable and conforms to people's instinctive positions, we have to explore "where he came from" in line with scientific logic, to be honest, it takes a while to cultivate such a way of thinking, which is why more people are "scolding if they are unhappy", why people with some content just read and don't say anything.

Since Chinese and American filmmakers are all here to make money, and there is no distinction between high and inferior, we have to pay attention to other factors.

Let's look at the most intuitive IQ and execution first, I don't think Chinese will lose to anyone in this regard, if someone is adamant that Chinese IQ is low and execution is low...... Then I really didn't say it, I will have to come up with 10,000 examples to show the strength of the Chinese, and the other party will use another 10,000 examples to show "inferior roots", and this matter will be over.

To prove it by scientific methods, that is, to give the same task to 100 Chinese and 100 Americans who have not been affected by acquired education, to see which of them completes well, this experiment can not be done, we pass the real-world intelligence test and project completion ability, in the side to prove that Chinese are not worse than Americans, I believe this is the consensus.

As for film technology, in this era of internationalization, both sides can hire teams and studios across borders, and the flow of talent is also very frequent, "The Great Wall" is the best example, through cooperation and outsourcing, technical barriers can be broken to a considerable extent, it is not clear which country the film should be produced, in fact, many Chinese teams have Hollywood-level special effects, although they cannot compete with Marvel super blockbusters, but it is not difficult to make satisfactory special effects.

The "technology gap" exists, but countless bridges have been built on that ditch, and our problem is not that "there are not as many good movies in China as in the United States", but that "China is almost all small fresh meat, and there are no good movies", not the problem of 50 and 100, but the problem of 0 and 100.

In the face of this problem, with the construction of "technology bridges", the technology gap factor can only be a factor, not a decisive factor.

Another factor is "capital", although the expected box office of China's films is still quite far behind Hollywood, and it is difficult to have blockbusters with an investment of more than 100 million US dollars, but it is possible to get it within 100 million US dollars, in fact, the investment in "The Great Wall" has far exceeded this number, and crushed the vast majority of Hollywood movies in the same period, almost reaching the level of "Guardians of the Galaxy", in addition, Chinese capital has even begun to invest in Hollywood, "Warcraft" and "King Kong: Skull Island" have a lot of Chinese capital blood. (Hey, Miss Jing is so beautiful!I bought a ticket for her!)

The gap in capital does exist, but it is not so big for a long time, and there are countless excellent Hollywood works within the investment capacity of Chinese films, not to mention those excellent feature films with small budgets, not to mention old movies, the recent "Wonder Woman", "Space Traveler", "Alien Awakening", "Hacksaw Ridge" and other films, all within the investment range that Chinese film capital can afford, in fact, the box office and broadcast authorization of these films in China alone are enough to cover the cost, of course, considering the publicity and distribution and theater account sharing, the situation is more complicated, but this is only a limited gap in quantity, and it has not yet reached the level of qualitative change.

This is also evidenced by many Japanese, Korean and Indian films, and the capital gap is not decisive.

Perhaps more important is the "branding" of its imported blockbusters, which may be the real priceless gem. If China shoots a "Space Traveler", there may not be many people who have the courage to enter the cinema first, but just like "Wrestling Dad", in this highly active world of information technology, a good and market-oriented film, no matter how bad its publicity is, the audience will give him enough box office.

This lengthy discussion is to illustrate China's current market size and capital scale, although it cannot support super investment at the level of "X-Men" and "Captain America", but at least a film of the level of "Space Traveler" has investment conditions and technical conditions, and it is more paranoid, and it is tried and tested to pick up "Wrestling Dad" and slap it in the face.

Since capital is not decisive, there must always be a decisive factor, right?

A seemingly crucial factor emerges -

Audit.

This unavoidable shackle will indeed inhibit the depth of content, breadth of content, and genre selection of cultural products to a considerable extent, and will greatly increase the difficulty of creation. The achievements of anti-Japanese dramas in this regard can be described as the pinnacle, until they go crazy, selling blood and squandering their IQ with the banner of "correctness".

Fortunately, "Operation Mekong" did its best to correct some of them, and we look forward to the day when a good film like "Mekong" will not have to be carried by a political department to fight censorship.

Even if the shackles of review are so heavy, but this is still not the reason for the phenomenon of "domestic film degeneration" today, we can easily see dozens of imported films every year, they undoubtedly meet the review standards, in fact, many international big-production film teams, they may know more about China's film review than Chinese filmmakers, how can such a large film market be left behind? China's film review standards will be taken into account in the project establishment and screenwriting stage, and now unless a producer or screenwriter is crazy, it is impossible for a plot of "satirizing Chinese politics" in the movie, and it is not possible to hint at it!

Therefore, it is obvious that the vast majority of today's excellent, high-grossing movies fully meet my country's film review standards after being edited innocentially, not to mention that there are too many movies that do not need to be edited at all!

Most movies have no reason to discuss politics at all, and they don't need to explore human nature in an overly sensitive and extreme environment! Whether it's simple and pure love (you name it), or a brainless visual feast (Fast and Furious), or a smorgasbord of cuts (Wolverine 3) and Invincible (Wrestling Dad).

As you can see, the impact of the review on the international team is very limited, which does not hinder the production of the masterpiece too much.

Of course, the pain of "censorship" still exists, but it is not as serious as imagined, and today's censorship scale can probably be understood in this way for the shackles of movies-

For every 10% liberalization of the review scale, 10% more excellent works will be born, until the scale is 100% liberalized and reaches the level of the United States.

This also means that if the audit scale reaches the same level as that of the United States, the number of domestic masterpieces we see will be doubled every year!

If there were two great works, it would be four!

If there is a zero, then it is still zero!!

(Manual Funny).

There are many, many other factors to name a few.

For example, film tradition, film system, talent reserve, etc., these seemingly reasonable factors, I am not going to explain them one by one, but I will only refute them with one fact here-

"Alive", "Farewell My Concubine", "Sunny Day", "Party A and Party B", "Red Sorghum" and so on, our film industry, 20 years ago, already had the level of producing excellent feature films, with enough traditions, systems, talent reserves, etc., etc., but today, there are only a handful of films that can give the hat of "excellent feature films" every year, and the entire film market has swelled dozens or hundreds of times. Today, when the market size and other objective conditions are much more abundant, as we are getting closer to Hollywood, the production rate of excellent feature films has plummeted, which is simply incomprehensible.

There is no reason for outstanding directors such as Chen Kaige, Zhang Yimou, and Feng Xiaogang to regress at the same time, why are there no evergreens like Spielberg, Eastwood, and Martin Scorsese?

Neither tradition, nor system, nor talent, nor quality can explain these problems, and everything they have is tens or hundreds of times greater than it was twenty years ago.

You could certainly say they're behind the times, but Spielberg, Eastwood and Martin Scorsese are even more behind, but that doesn't stop them from creating great works.

In the face of this fact, we cannot rudely link the factors of "system" and "talent reserve" with "the number of excellent films per unit of time", and the decisive factor that really causes today's prosperity must be hidden somewhere else.